View allAll Photos Tagged foreshadowing
Black Hand's origin is one subject addressed in the "Green Lantern: Secret Origin" story arc.
William Hand is a disturbed young man working at his family's business, Hand Mortuary. He appears to hold a morbid fascination with the dead bodies within the mortuary and was twice seen secretly gazing at a corpse with an intent fascination.
His morbid behavior is portrayed as an ongoing problem in his family. When questioned why, as if acknowledging his diseased mind, William responds "I don't know".
At this point, William is unaware that he is being stalked by the alien necromancer Atrocitus. Atrocitus has foreseen that William Hand contains "the power of the black", an as yet unspecified power which Atrocitus believes will provide him with the means for revenge against the Guardians of the Universe.
Crafting a cosmic divining rod, Atrocitus follows the device to Hand intent on eviscerating the young man and claim the power within him. Hand is saved by the intervention of Hal Jordan and Sinestro, who was then still a Green Lantern. William then claims the cosmic divining rod as his own.
Green lantern
Black Hand is one of Green Lantern's oldest foes, originally portrayed as a villain who spouted clichés while committing his crimes.
William Hand was said to have been born of a wealthy family of high society. His "black" moniker was a testament to his having been the "black sheep" of the family.
Black Hand's major offensive threat to the Green Lantern was his use of a device that has come to be known as a Cosmic Divining Rod. This flashlight sized device could locate and collect Green Lantern energy, draining a Lantern's power ring. This energy could then be used by Black Hand to augment his strength, fly, create force-fields, or fired in destructive blasts.
Black Hand plagued Hal repeatedly during his early adventures. He even stood toe-to-toe with Kilowog on one occasion in which he matched the powerful Lantern with equal energy until Kilowog used his brawn, rather than his ring, to knock out Black Hand.
Justice League America
Black Hand has decided to stop being a Super Villain and go somewhat legit. He opens a seedy movie theater and tries to stay under the superhero's radar. His plan seems to be working until Guy Gardner and Ice come to his theater on a date.
Black Hand thinks they have come for him, and his therapist is on vacation, so he re dons his costume and introduces himself. He tries to shoot Guy with his Divining Rod but it just fizzles and Guy laughs at him and leaves with Ice.
Black Hand goes back into his office and gets his henchman Irwin to give him his gun, even though guns make Black Hand nervous.
He then chases Guy through the streets and once he catches up with the Green Lantern he shoots him but misses. This angers Guy and he beats Hand up. Hand tries to surrender but Guy is angry and knock him unconscious.
Guy Gardner Reborn
After Guy Gardner lost his Green Lantern Power Ring, he tries to fight the villains of New York City with his bare hands.
Black Hand was one of the first he tries to muscle out, because the Hand has opened a "Gentle Massage" business that is a front for illegal activities. Guy seemed to be winning until the Hand's henchmen realized that Guy had lost his ring.
They ganged up on the hero and toss him out on the street. The Hand lets Guy live because in his words, "Living well is the best revenge."
Rebirth
Once again, Black Hand used his divining rod in an attempt to steal Hal 's ring, which was being kept safe by Green Arrow.
Blasting his way into Arrow's home, Black Hand located and retrieved Hal's ring but failed to notice Green Arrow. Green Arrow got the best of him by shooting him in the hand, pinning him to the wall, causing Hand to drop the ring.
Although he was disarmed and posed no threat, the Spectre arrived and turned Black Hand's hand into coal stating "(now) he can live up to his name". The hand maintained its structure long enough for Black Hand to realize what had happened. Soon after, his hand crumbled into dust and Black Hand collapsed in excruciating pain.
Black Hand was not seen again until after Hal had been reborn as the Green Lantern. Hand was traveling cross country, clearly insane from his ordeal, when his flight was hijacked by Krolotean Gremlins, an alien race who abducts and genetically engineers other beings for sale as weapons on the intergalactic black market.
Something was awakened within Black Hand by their genetic modifications. His missing hand could now be reformed and used to siphon life force from living beings. Black Hand was returned to earth, where he quickly used his power to suck the life out of an entire floor of people at a nearby hospital. He could do this by either direct touch or through the use of a blast of life stealing energy he could now emit from his hand.
His murder spree was interrupted by Hal Jordan, who battled his new and improved enemy, ultimately burying the villain alive before taking him into custody.
Black Hand was last seen in police custody when an unexpected surge of power killed his guards and transported Black Hand to Ryut. There he appeared entranced by a mysterious voice which he heard calling out to him from deep space.
Blackest Night: The Origin of William Hand
This flashback story serves to foreshadow Black Hand’s importance to the “Blackest Night” story arc. The symbol he wears on his chest, that of the “Hand Mortuary”, has been seen reflected in the eye of “Scar”, the Guardian seemingly corrupted by her encounter with the Anti-Monitor during the Sinestro Corps War.
The Anti-Monitor was last seen having been entrapped within the Black Battery, the apparent source of power for the rumored undead army of Black Lanterns.
Blackest Night
Now hearing the voices of the dead calling to him, William takes one final set of actions as a living being. He returns to his home, and uses his rod to kill his entire family. Then he turns the rod on himself, blasting himself through his skull at point-blank range.
As his dead body lies on the floor of his home, amidst the corpses of his family, Scar, the corrupted Guardian of the Black, appears. Declaring William to be ready, she vomits out a black ring.
The ring flies to William's finger, and commands him to rise. As Hand is reanimated by the energy of the Black, he is declared to be the embodiment of their corps, the Black Incarnate, similar to Ion and Parallax and the Predator.
Fully risen, William vows to use this new power to finally extinguish the light. Hand is called to Wayne Manor, where he digs up the unmarked grave where the body believed to be that of Batman is located. At the behest of the voice of Nekron, Hand digs it up and carries it with him as the Black Lanterns begin to rise.
Hand is later encountered by the heroes in Coast City, where the Central Power Battery for the Black Lantern Corps has risen. It reaches 100% charge and Nekron is summoned to Earth. Nekron then resurrects the 7,000,000 civilians of Coast City that died in its destruction.
Hand creates a Black Lantern Batman using the skull he's carried around. By using someone that has emotional ties, he is able to take control of the heroes, turning them into Black Lanterns.
Deadman, who has traveled into the Black Rings and seen how they operate, possesses Guy Gardner to inform the heroes that Black Hand is Nekron 's tether in the physical world. If Hand can be restored to positive life, Nekron will be banished.
Nekron separates the Entity from Sinestro, but Hal is able to have it possess him. Hal makes a White Lantern Corps. The White Lantern Corps is able to resurrect Hand, banishing Nekron.
Hand vomits several White Rings, restoring twelve heroes and villains. In addition, the Anti-Monitor is brought back. The Anti-Monitor briefly fights with Nekron before being banished back to Qward. The heroes fight against Nekron again, and manage to banish him.
Hand is abducted by the Indigo Tribe,* and is seen bound by them. A translation guide for something he says translates to "Help me."
Hand is among the Indigo Tribe when they come to Earth to recruit Shane Thompson as the holder of Proselyte, the Indigo Entity. Hand explains that the Tribe gave him compassion.
Proselyte reveals that the Indigo Tribe help those that are unable to feel compassion by forcing it on them. When the New Guardians refuse the help of the Indigo Tribe, they attack. They are interrupted by Krona, however. Following this, it is unknown what has happened to Hand.
Black Hand is caught within The Book of The Dead. Hal and Sinestro are trapped there for a short time and when they escape Black Hand seizes his opportunity to escape. He breaks out of a grave plot and with a new Black Ring begins to kill people off relishing the new status quo with no Justice League.
He restores Martin Jordan and rips off his right hand and places the severed hand on his right nub so he can kill Jordan by his fathers own hand.
The Source Wall
Black Hand returns from the dead and begins to torment Hal Jordan. During the ensuing battle Black Hand joins the Source Wall and is destroyed.
Powers & Abilities
Previously, Black Hand was the wielder of the Cosmic Divining Rod, a device that detects and siphons a Green Lanterns' Energy Ring. After absorbing the energy, he could release it in the form of concussive blasts. This made Hand a fierce foe to the Green Lantern Corps.
During the events of the Blackest Night, Hand is the first to possess a Black Lantern Ring. Among other abilities, Hand has shown the ability to resurrect himself from death; can regenerate from any injury, and able to "see" the emotions of people. Hand is regarded as the Embodiment of Death, similar to Ion and Parallax being the Embodiments of Willpower and Fear , respectively.
Black Hand has demonstrated an obsession with death and corpses, and has total disregard for human life.
⚡ Happy 🎯 Heroclix 💫 Friday! 👽
_____________________________
A year of the shows and performers of the Bijou Planks Theater.
Secret Identity: William Derek Hand
Publisher: DC
First appearance: Green Lantern vol. 2 #29 (June 1964)
Created by: John Broome (Writer)
Gil Kane (Artist)
* The Indigo Tribe seen in BP 2023 Day 111:
Harbinger - One that indicates or foreshadows what is to come.
We had some wicked weather on the horizon, so the stormchaser wannabe in me headed directly for the core. This is when the mothership passed directly overhead in eerie silence. Canning Ontario
Explore - Highest position: 457 on Monday, June 29, 2009
If you heard nothing about a gang of Ginger Joe then you probably were born much later the events that occurred on the territory of the future state of Colorado. In 1858, in the streams of the Rockies gold was found. Thousands of people flocked here going for the gold. Soon prospectors camps have turned into small towns and became the object of attack of the the Indians and robbers. Then all knew the most notorious thugs - Joe gang. His fiery red hair was seen at the attacks on shops merchants, robberies on the roads and even attacks on bank branches. So far, luck was on the side of the bandits, but this time it all went wrong...
Bank robbery was planned carefully. All foreshadowed easy profits. But, instead of the two guards with sawn-off shotguns, hijackers met well armed force. In the skirmish was killed most of the gangs, but Joe himself managed to escape. He decided to get rid of the chase and to lay low for the some time...
By the wild narrow path riding on the Caesar he sneaks to Arizona. But suddenly old Sheriff Bill Kanning blocked the way...
Rossbach brilliantly fused historical precedent and contemporary materials in his hand-loomed wall hangings and, later, in his trail-blazing baskets. Among the many low-grade contemporary materials he favoured were cheap printed fabric, raffia and PVC. In this painting-adjacent abstraction, he inserted strips of partially faded cotton into plastic sleeves, then rewove them into a diptych. Juxta posing a striped pattern at left with a checkerboard at right, his compositions foreshadows the preoccupations of the 11970s abstract artists, such as Alan Shields and Francois Rouan, with the woven canvas support – the literal foundation of modernist painting.
Hey guys,
as you may have guessed already, yesterday 6 years ago I posted the very first picture on my photo stream. (I know I am a day late. Somehow I have missed it. :O )
As every year, I’d like to thank all of you for your continuous support. Since it has been a while since my last tag picture, three years, to be correct, I thought, I’d give you a little update on that.
So here we go. Another 100 facts about me, including some updated older ones.
About me in general
1. I am now 20 years old.
2. I’ve been posting photos on Flickr for 6 years now, which is more than 25% of my lifetime so far.
3. I started studying media design one and a half years ago.
4. For my studies I have been creating a lot of interesting projects, including advertisement campaigns, event planning, creating a website and an animated short film.
5. Sadly, the clip was never published, though the company we did it for said so and even paid for it (though that took some words of persuasion).
6. While I have postponed the idea of becoming a director for now, I am still interested in writing my own stories and who knows, maybe I’ll get back to it later.
7. I switched from Windows to Mac a while ago, because of university and I have to say I can work much better with a Mac than with a PC.
8. Along with my hardware my software saw great improvements and I now have the professional and full version of photoshop, which does make editing photos much easier.
9. While I used to take photos with three cameras, now it has come down to only one, the Pentax K-5.
10. Most of the time I use macro lenses like a 35mm or 100mm lens.
11. For those who wonder, the camera I build for the photo is not my Pentax, but my secondary camera, a Fuji X100, which I don’t use for photographing Lego, but which certainly looks great.
12. I have developed a certain fondness of using a low aperture when taking photos, it seems.
13. I have committed myself to a healthier lifestyle for a while now. For example I stopped drinking sugar filled soft drinks and try to eat less meat. Also I plan on taking up some sort of sport as a hobby.
14. I met a lot of nice people at university and have made a whole bunch of new real life and online friends over the time, which is nice.
My hobbies
15. One reason there have not been to many builds last year is, that I have taken up a lot of new hobbies, at least it feels that way.
16. I still play the guitar, though, I don’t get around to it to often anymore.
17. I actually have been starting to learn how to play the piano a bit.
18. I even composed some little songs, though, I have not yet shared any of them.
19. Also, I have put much effort into drawing recently. I am still far from where I want to be with my art, but I have certainly improved a lot.
20. If you want to have a look at my drawings, head over to my DeviantArt gallery.
21. Also, for more art related stuff and crazy fandom discussions, you can also follow me on Tumblr.
22. Drawing takes up a lot of time, but still is more flexible than building, so it is perfect for short periods of free time during the semester.
23. If you are interested in learning how to draw, I highly recommend watching some of Sycra’s videos on YouTube. I learned a lot from him and he even goes over some motivational issues one might have when starting out.
24. I have also gotten a graphic tablet for digital drawing, which is a lot of fun.
25. When drawing digitally, I work in Photoshop.
26. I have developed a certain interest in art books and am somewhat building up a little collection of them.
27. While the most prominent theme in building remains Star Wars, my drawings are mostly Korra fan art pieces. I think the range of themes for drawing might soon expand, though.
28. I am thinking about starting a webcomic at some point in the future.
29. For those who are interested in webcomics, I can highly recommend The Silver Eye and Romantically Apocalyptic.
30. While writing an assignment on design theory, which dealt with comics, I used the latter as an example.
31. As you can see, I have been getting very much into art as a hobby. But don’t worry, I won’t neglect Lego in the future.
Series and movies
32. Since movies and series are a big part of my hobbies, I will make this a separate category.
33. My interest has slowly shifted from live action to animated movies and series in the last few years.
34. One of the main reasons for that was re-watching Avatar: The Last Airbender with my good friend Mr. Grievous. I was amazed by the series and it soon led me to watching The Legend of Korra, too.
35. The latter has become my favorite TV series.
36. After reading some stuff about the production of Korra, I turned to watching all series by Shini’chiro Watanabe, who heavily influenced the team behind ATLA and LoK. While the three series he made so far do not have much in common, they all are true masterpieces. If you are curious, he is responsible for Cowboy Bebop, Samurai Champloo and Terror in Resonance.
37. Be warned though, that the latter will emotionally crush you at the end. :D
38. This is one thing that I think animation is especially capable of. Breaking down emotions to the core and displaying them in the most relatable and simplest way possible is an asset of animation, that live action movies are bound to miss, since they always rely on actors or actresses and their abilities.
39. Besides animated series I have been watching more and more animated movies recently.
40. While I am still working on watching all 22 Studio Ghibli movies, I have seen all movies by Makoto Shinkai by now, who became my favorite director over time.
41. Shinkai’s best work in my opinion is „5 cm per Second“, which is only about 60 min long, but has become my favorite movie.
42. For those of you not familiar with Shinkai, he mostly creates reality based stories with breathtaking visuals, which let you question whether it is still an animated movie or a live action film sometimes.
43. I could now go on and tell you to watch about 40 animated movies, which I think are awesome, but I guess I’ll save that for another time. If you are interested, don’t hesitate to ask me in the comments about it, though.
44. Most recently I watched the online series RWBY by Rooster Teeth. While I knew the soundtrack was awesome, I never expected the series itself to be that good. It takes a while to get used to the style of animation, but once you are accustomed to it, it is really engrossing.
45. It also is still in production, which makes being a part of the fandom a lot of fun.
46. While I am mostly into animated movies right now, let’s not forget about my ever extending collection of live action films. Some recent movies I can recommend are „If I stay“, „John Wick“, „Ex_Machina“ and especially the new Star Wars episode.
47. While I was a bit worried at first, Episode 7 of Star Wars turned out to be amazing, with only a few minor flaws. One of those would be the character Supreme Leader Snoke, who really weakened Kylo Ren’s position as the main villain and also is called jellyfish lord by Mr. Grievous and me now. I mean, come on, his CGI head looked like a jellyfish, didn’t it?
48. Now I am curious about Rouge One later this year and of course most hyped for Episode 8 in 2017.
Music
49. Coming from movies, I think it is a good point to put music next. I certainly have discovered a lot of great music in the last few years, of which some might be worth mentioning.
50. First, let me say that, even if you don’t watch RWBY, you should definitely listen to the amazing soundtrack by Jeff Williams and Casey Lee Williams. It is a good mix between different genres and astonishingly well made.
51. If you are familiar with the series, you should listen closely to the lyrics and count how many references to the events of season 3 you can spot. There has been a lot of foreshadowing, in my opinion at least.
52. You should also listen to the soundtrack of Cowboy Bebop, which is a kind of modern Jazz.
53. Overall my collection of soundtracks surely has grown over time. Sometimes I seem to prefer instrumental music over something with lyrics.
54. As for other music, I have of course continued listening to my favorite artists MGMT and Florence + The Machine, as well as Kanye West and others.
55. One mentionable discovery of mine would be the British rapper Scroobius Pip. His lyrics are just amazingly poetic and always on point. For everyone interested in rap or just in good lyrics, his stuff is a must have. After all, he might even have become my new favorite solo artist.
56. While I have discovered much new music, my favorite song of all time still remains „Time to Pretend“ by MGMT. I hope I can write this down again after the next three years. :D
Gaming
57. Next up on the hobbies list is gaming, a hobby which importance has certainly decreased over the years.
58. Not too long after my last tag picture, my PC started slowing down, making gaming almost impossible.
59. When I switched to Mac, it was clear that I’d also had to switch to a console for gaming. So I got a PS4 after a while.
60. I do not have many games for it yet, but I am cool with that for now.
61. My favorite game for it so far is the Legend of Korra game, which I know by heart by now, closely followed by the new Star Wars Battlefront, which is just amazing.
62. Another nice little game I may recommend is „Child of Light“. It is mostly hand drawn and also has a great soundtrack.
63. I miss my PC sometimes, especially since I never got around to finishing Knights of the old Republic. Also, I’d like to play some games like Mass Effect, Remember Me or the older Assassin’s Creed games again some day.
64. One game I am curious about is Life Is Strange. Also, I can’t wait for Horizon: Zero Dawn.
Literature
65. I have mostly given up reading Star Wars novels, especially after the new canon was proclaimed.
66. I still enjoy reading some of the older Star Wars novels, though I don’t do that too often.
67. In general my interest in books has shifted more towards works about drawing and animation, especially art books, which explain the production process of animated movies and series.
68. Also, I have started reading the books on Hayao Miyazaki’s Work (Starting Point and Turning Point), which are really interesting and motivating.
69. After all I don’t get around to reading too often anymore, since I do so much other stuff.
Lego
70. Whoohoo! Lego! Who thought I would bring that up? :D
71. While Star Wars remains one of my most built themes, I have been getting increasingly involved in other themes, especially The Legend of Korra.
72. Somehow my motivation seems very high when building something Korra related, which leads to me having built some of my best models for it, I think.
73. All in all, I can see that my building skill has improved over time, but I know there is still a lot to learn.
74. I still enjoy writing long descriptions for my builds, though recently they have become shorter and shorter somehow.
75. I still have some issues with building cockpits. I guess that will only change with very much practice, which I am not very eager to invest yet.
76. While building, I still have the goal of achieving zero visible studs, which I have become quite good at, I think.
77. I have become rather liberal when it comes to actually connecting certain parts to the main build. Some pieces tend to just loosely lay on top where they are needed, if no connection is possible.
78. Just as in 2012, I displayed some of my builds, including the Erinye, at the Lego Fanwelt in Cologne in 2014 and I plan on being there again this year, with my Korra builds and hopefully another SHIPtember entry.
79. I have lost interest in most sets produced and usually only stop by at the store to get some PaB cups by now. Sets, especially Star Wars sets, are just to expensive and to heavily focused on the figures these days.
80. The last set I bought was the UCS Slave 1, a set I have been waiting for all my life. And it does not disappoint.
81. My Lego collection is coming close to exceeding the storage capacity of my room, so there is not much of a chance for getting more sets anyway.
82. While I have a habit of planing very big builds, I have been resorting to rather small scenes and vignettes recently, due to time limitations.
83. I often have the problem of having time at my hands, but not being inspired to build something.
84. Then again, during the semester, when even taking out a box of bricks would take too much time, I have a hundred good ideas a day, of which almost none can be realized.
85. Also, interestingly, I am more often thinking of funny scenes these days, while I used to stick to dramatic or action packed scenes in the past.
86. I have officially given up on trying to keep up a constant stream of uploads, after last year. I’ll just build as much as I can and upload it when I can.
87. I have quite a lot of fun taking close up photos of minifigures, so you might see some of those, when there is no build for a while.
The Future
88. So, just as last time, I’ll give you a little overview of things I have planned for the future.
89. As for my personal life, I am really happy with the field of study and work I have chosen and I hope everything will go on just as smoothly as it did so far.
90. When I am done with my bachelor thesis, I might even continue studying and obtain a master some time.
91. As for my hobbies, I certainly want to get much better at drawing and, as mentioned, even start a webcomic at some point.
92. If that works well, I may even try my hands at animation some day, though, that will be a lot of work, as I experienced in my university project.
93. I still want to make more music and compose some songs. I should definitely get my hands on a good keyboard and sample program (like Logic or Cubase).
94. I am continuously working on my own story ideas, whether it be for Lego, a comic, a movie or a novel. One day, I’d like to finish and publish one of those stories, in what ever form suits it best.
95. Considering Lego, I still plan on continuing my story Uncertain Ways, though I have no idea, when I will do so.
96. Also, I want to test out even more different themes and maybe come up with some original ideas every once in a while.
97. Furthermore, the kind of funny scenes I started posting recently are really worth building upon. So, there will probably be more stuff like that in the future.
98. I swore to myself to stop promising things I can not live up to, so consider all these things to be vague ideas or sketchy plans.
99. I do not plan on doing another tag picture in the next three years. This one was hard enough with all these facts, without using any of the old ones.
100. I never thought these 100 facts could be more text than last time, but it seems they have become about twice as much.
All that’s left to say now is: Thank you my friends!
Without you I could never have kept this up for a whole 6 years.
As always, a very special thank you goes to my good friends n7mereel and Mr. Grievous.
If you are curious about the camera I built, a closer look will be uploaded soon.
So, here’s to another six or more awesome years.
Cheers,
Ordo
I believe this counts as "foreshadowing", as we are going to be heading into another snow storm shortly!
I uploaded this one extra large, so make sure to view it to see all of the details on the mountain face.
Nikon D90, 18-200, moving car
Seen in a shit quality image of mine from a little over a decade ago, is Maine Central #618 (Pan Am Railways) in Selkirk for repair work, amongst a gaggle of CSX EMD's and GE's.
"Bens Bridge" that I was standing on has since been taken down, removing any possibility of a good shot from this part of CSX's Selkirk Yard. It was such a cool vantage point. And I even found reverser handles on two separate occasions that I ended up using at work for years lol. Oh well. All good things must come to and end, I guess.
Oh yea, and if you haven't heard by now, CSX now owns Pan Am from Ayer to Waterville and everything in between. And the G&W owns everything to the west. Gross.
August 2013
Selkirk, NY.
Medium and high level clouds over Portsmouth harbour, the south coast and the Isle of Wight, foreshadowing a change in the weather.
The church's layout follows the basilica plan of three naves, the central one being wider, each consisting of four bays of semicircular arches, and each apse ending in a rectangular chapel. It lacks a transept, although two adjoining rooms, one on each side, might give a misleading impression. At the foot of the central nave is a narthex or vestibule, to which two rooms have been added, corresponding to the two side aisles. Above this structure is a gallery accessed by an interior staircase. A portico was later built against the south wall of the church, foreshadowing the arcaded galleries that proliferated in Castilian churches during the Romanesque period. The interior of the church is accessed through its south door.
Museo Tamayo Arte Contemporáneo in Chapultepec Park has a revolving series of exhibits.
This is a chocolate sculpture titled All the King's Horses (Todos los Caballos del Rey), a 2024 work by Andrea Ferrero.
6 of 7.
The work was on display from 28 Nov, 2024 to 16 Mar, 2025.
Andrea Ferrero’s installation, commissioned for Otrxs Mundxs at Museo Tamayo, offers a symbolic dismemberment of the equestrian statue of Charles IV of Spain by Manuel Tolsá that has presided over Mexico City in various locations and configurations since its completion in 1803.
Otherwise known as El Caballito (The Little Horse), the monument is the representation of a sordid colonial history that remains largely unresolved.
Ferrero’s life-sized replica of the original has substituted bronze for chocolate, undermining the inherent power relations that Tolsá’s work embodies in the context of Mexico.
*All the King’s Horses* imagines a possible future for the artifacts of a colonial past that continue to haunt the present.
Rendered in an edible material that also calls to mind methods of forced labor and colonial extraction, Ferrero’s work captures these narrative histories within industrial refrigerators atop a theatrical red carpet that foreshadows their eventual consumption and a reckoning with the past.
The "Wheel of Life" mosaic at the center of the floor was designed by French artist Louis Rigal. Rigal was one of the artists showcased at the 1925 Paris Exposition Internationale des Arts Décoratifs et Industriels Modernes, from which the Art Deco style received its name. The mosaic is composed of 148,000 hand-cut marble tiles imported from all around the world; in total, 181 different shades of marble were imported from Italy, France, Beligum, Africa, Ireland, Greece and Turkey. Each of the 148,000 pieces was cut by hand by mosaic artisans and cemented in place, one piece at a time, on a working cartoon made from the original Rigal design.
Rigal’s design iconographically depicts the drama of human existence from birth, to old age, and death. The first group shows the happiness of a mother, father, and relatives as a newly-born baby awakens. The second group represents youth and friendship. The third depicts the struggle for life with its defeats and disasters. The fourth group represents domestic felicity and mature serenity. In the fifth and sixth groups, the "Wheel of Life" dramatically turns the full circle towards old age and death. This mosaic is a stunning illustration of the decadent, yet scientific, preciseness of the Art Deco style. This work is juxtaposed dramatically with Rigal's 13 allegorical murals that line the ceiling of the Foyer. Each of the murals portrays the pleasures of life, serving as a foreshadowing of the comfort and luxury that can be found within the doors of the Waldorf Astoria.
This mosaic was not installed upon the opening of the hotel in 1931, but rather in 1939 due to the amount of time it took Rigal to complete this project. The Wheel of Life mosaic was brought to the waldorf in 102 sections with each piece of marble in the various sections fitted into place upside down so that when the design was turned over and set into the cement in the Park Avenue Foyer, the design only needed to be "peeled off."
Catedral de San Basilio, Moscú – Cathedral of Vasily the Blessed, Moscow - Собор Василия Блаженного, Москва
La catedral de la Intercesión de la Virgen junto al foso (en ruso Собор Покрова Пресвятой Богородицы, что на Рву, Sobor Pokrová Presvyatoy Bogoróditsy, chto na Rvu), más conocida como Catedral de San Basilio, es un templo ortodoxo localizado en la Plaza Roja de la ciudad de Moscú, Rusia. Es mundialmente famosa por sus cúpulas en forma de bulbo. A pesar de lo que se suele pensar popularmente, la Catedral de San Basilio no es ni la sede del Patriarca Ortodoxo de Moscú, ni la catedral principal de la capital rusa, pues en ambos casos es la Catedral de Cristo Salvador. Como parte de la Plaza Roja, la catedral de San Basilio fue incluida desde 1990, junto con el conjunto del Kremlin, en la lista de Patrimonio de la Humanidad de Unesco.
La construcción de la catedral fue ordenada por el zar Iván el Terrible para conmemorar la conquista del Kanato de Kazán, y se realizó entre 1555 y 1561. En 1588, el zar Teodoro I de Rusia mandó que se agregara una nueva capilla en el lado este de la construcción, sobre la tumba de San Basilio el Bendito, santo por el cual se empezó a llamar popularmente la catedral.
San Basilio se encuentra en el extremo sureste de la Plaza Roja, justo frente a la Torre Spásskaya (la Torre del Salvador) del Kremlin y la iglesia de San Juan Bautista en Dyákovo.
El concepto inicial era construir un grupo de capillas, dedicadas a cada uno de los santos en cuyo día el zar ganó una batalla, pero la construcción de una torre central unifica estos espacios en una sola catedral.
La leyenda dice que el zar Iván dejó ciego al arquitecto Póstnik Yákovlev para evitar que proyectara una construcción que pudiera superar a esta, aunque parece claro que no se trata más que de una fabulación, ya que Yákovlev participó, pasados unos años, en la construcción del Kremlin de Kazán.
La catedral de San Basilio no debe confundirse con el Kremlin de Moscú, que está situado a su lado en la Plaza Roja, y por tanto no forma parte de él. Aun así, muchos medios confunden ambas construcciones.
es.wikipedia.org/wiki/Catedral_de_San_Basilio
The Cathedral of Vasily the Blessed (Russian: Собор Василия Блаженного, Sobor Vasiliya Blazhennogo), commonly known as Saint Basil's Cathedral, is a church in Red Square in Moscow, Russia. The building, now a museum, is officially known as the Cathedral of the Intercession of the Most Holy Theotokos on the Moat (Собор Покрова Пресвятой Богородицы, что на Рву, Sobor Pokrova Presvyatoy Bogoroditsy, chto na Rvu) or Pokrovsky Cathedral (Покровский собор). It was built from 1555–1561 on orders from Ivan the Terrible and commemorates the capture of Kazan and Astrakhan. It was the city's tallest building until the completion of the Ivan the Great Bell Tower in 1600.
The building is shaped like the flame of a bonfire rising into the sky, a design that has no parallel in Russian architecture. Dmitry Shvidkovsky, in his book Russian Architecture and the West, states that "it is like no other Russian building. Nothing similar can be found in the entire millennium of Byzantine tradition from the fifth to the fifteenth century ... a strangeness that astonishes by its unexpectedness, complexity and dazzling interleaving of the manifold details of its design." The cathedral foreshadowed the climax of Russian national architecture in the 17th century. The Guardian compared building with "garish chunk of Disneyland architecture" and "a clown's nose on the face of the evil empire".
The Doni Tondo or Doni Madonna, is the only finished panel painting by the mature Michelangelo to survive. (Two other panel paintings, generally agreed to be by Michelangelo but unfinished, The Entombment and the so-called Manchester Madonna, are both in the National Gallery in London.) Now in the Uffizi in Florence, Italy, and still in its original frame, the Doni Tondo was probably commissioned by Agnolo Doni to commemorate his marriage to Maddalena Strozzi, the daughter of a powerful Tuscan family. The painting is in the form of a tondo, meaning in Italian, 'round', a shape which is frequently associated during the Renaissance with domestic ideas.
The work was probably created during the period after Doni's marriage in 1503 or 1504, and before the Sistine Chapel ceiling frescoes were begun in 1508. The Doni Tondo portrays the Holy Family (the child Jesus, Mary, and Joseph) in the foreground, along with John the Baptist in the middle-ground, and contains five nude male figures in the background. The inclusion of these nude figures has been interpreted in a variety of ways.
Mary is the most prominent figure in the composition, taking up much of the center of the image. She sits directly on the ground without a cushion between herself and the grass, to better communicate the theme of her relationship to the earth. Joseph is positioned higher in the image than Mary, although this is an unusual feature in compositions of the Holy Family. Mary is seated between his legs, as if he is protecting her, his great legs forming a kind of de facto throne. There is some debate as to whether Mary is receiving the Child from Joseph or vice versa. Saint John the Baptist, the patron saint of Florence, is very commonly included in Florentine works depicting the Madonna and Child. He is in the middle-ground of the painting, between the Holy Family and the background. The scene appears to be a rural one, with the Holy Family enjoying themselves on the grass and separated from the curiously (seemingly) unrelated group at the back by a low wall.
The painting is still in its original frame, one that Michelangelo might have influenced or helped design. The frame is ornately carved and rather unusual for the five heads it contains which protrude three-dimensionally into space. Similar to the nudes of the background, the meanings of these heads has been the subject of speculation. The frame also contains carvings of crescent moons, stars, vegetation, and lions’ heads. These symbols are, perhaps, references to the Doni and Strozzi families, taken from each one's coat of arms. As depicted on the frame, “the moons are bound together with ribbons that interlock with the lions,” possibly referring to the marriage of the two families.
There is a horizontal band, possibly a wall , separating the foreground and background. The background figures are five nudes, whose meaning and function are subject to much speculation and debate. Because they are much closer to us, the viewers, the Holy Family is much larger than the nudes in the background, a device to aid the illusion of deep space in a two-dimensional image. Behind Saint John the Baptist is a semi-circular ridge, against which the 'ignudi' are leaning, or upon which they are sitting. This semi-circle reflects or mirrors the circular shape of the painting itself and acts as a foil to the vertical nature of the principal group (the Holy family). Mary and Joseph gaze at Christ, but none of the background nudes looks directly at him. The far background contains a mountainous landscape rendered in atmospheric perspective.
The Doni Tondo is believed to be the only existing panel picture Michelangelo painted without the aid of assistants; and, unlike his Manchester Madonna and Entombment (both National Gallery, London), the attribution to him has never been questioned. The juxtaposition of bright colors foreshadows the same use of color in Michelangelo's later Sistine Ceiling frescoes. The folds of the drapery are sharply modelled, and the modelling of the figures is distinctly sculptural, suggesting they are carved in medium marble. The nude figures in the background have softer modelling and look to be precursors to the ignudi, the male nude figures in the Sistine Ceiling frescoes. Michelangelo's technique includes shading from the most intense colors first to the lighter shades on top, using the darker colors as shadows. By applying the pigment in a certain way, Michelangelo created an "unfocused" effect in the background and focused detail in the foreground. The most vibrant color is located within the Virgin's garments, signifying her importance within the image. The masculinity of Mary could be explained by Michelangelo's use of male models for female figures, as was done for the Sistine Chapel.
Michelangelo used a limited palette of pigments comprising Lead White, Azurite, Verdigris and a few others. He avoided ochres and used very little vermilion.
The composition is, most likely, partially influenced by the cartoon (a term referring to a detailed later-stage preliminary drawing) for Leonardo da Vinci’s The Virgin and Child with St. Anne. Michelangelo's Holy Family forms a tight, separated group in the centre foreground of the image, with the Virgin's figure constructing a typical Renaissance pyramid or triangle. Michelangelo saw the drawing in 1501 while in Florence working on the David.
The nude figures in the tondo background are said to have been influenced by the statue of Laocoön and His Sons, found in Rome in 1506, therefore dating Michelangelo's picture later than that date.
The Doni Tondo is also associated with Luca Signorelli’s Medici Madonna in the Uffizi. Michelangelo probably knew of the work and its ideas, and he wanted to incorporate those ideas into his own work. Signorelli's Madonna similarly uses a tondo form, depicts nude male figures in the background, and displays the Virgin sitting directly on the earth.
Three aspects of the painting can be attributed to an antique sardonyx cameo and a 15th-century relief from the circle of Donatello, available to Michelangelo in the Palazzo Medici: the circular form, the masculinity of Mary, and the positioning of the Christ Child. The Virgin's right arm mirrors the arm of the satyr in the cameo, and the cameo also depicts an infant located on the shoulders of the satyr, a position similar to the Christ Child being passed over the right arm of Mary.
Additionally, some scholars suggest that Michelangelo was inspired by the famous Greco-Roman group of Laocoön and His Sons, excavated in 1506 in Rome, an event at which Michelangelo is believed to have been present . The pose of the nude figure in the background immediately behind Saint Joseph, to our right, appears to have been influenced by the twisting contortions of the figures captured by the serpent in the Laocoön (again, if this were so, it would alter the date of the Doni Tondo by several years).
Furthermore, the inclusion of the five protruding heads in the paintings frame is often seen as a reference to a similar motif found on Ghiberti's Porta del Paradiso, the bronze doors of the Florence Baptistry which Michelangelo is known to have greatly admired.
The plant in front of John the Baptist has aspects of both hyssop and cornflower, yet is most likely a hyssop because it grows from a wall. Cornflower is an attribute of Christ and symbolizes Heaven while hyssop symbolizes both the humility of Christ and baptism. There is a citron tree in the background, which represents the Cedar of Lebanon. Michelangelo uses the hyssop and tree as a visual representation of a quote by Rabanus Maurus, "From the Cedar of Lebanon to the hyssop which grows on a stony wall we have an explanation of the Divinity which Christ has in his Father and of the humanity that he derives from the Virgin Mary." The clover in the foreground represents the Trinity and salvation. The anemone plant represents the Trinity and the Passion of Christ.
There is a multitude of interpretations for the various parts of the work. Most interpretations differ in defining the relationship between the Holy Family and the figures in the background.
Paul Barolsky argues that the Doni Tondo is a "devotional image […] more than an example of style, symbolism, [or] iconography". Barolsky bases much of his thesis on the language used by Giorgio Vasari in his work Lives of the Most Excellent Italian Painters, Sculptors, and Architects, from Cimabue to Our Times. His support for the idea of devotion comes from Christ being presented in the painting like a gift, which he links to the painting's patron due to a perceived pun on the Italian word for "gift," "donare," and the patron's name, Doni (meaning literally, in Italian, 'gifts'). Furthering the Christ-as-gift metaphor, Mary's holding of Christ in the painting is seen to reference the elevating of the host during mass. Mirella D’Ancona argues that the image reflects Michelangelo's views on the roles of the members of the Holy Family in human salvation and the soul's immortality. The Virgin's placement and emphasis is due to her role in human salvation. She is both the mother of Christ and the best intercessor for appealing to him. Michelangelo, who had been strongly influenced by the Dominican Fra Girolamo Savonarola in Florence, is using the picture to defend the Maculist point of view, a philosophy of the Dominican order rejecting the idea of the Immaculate Conception of Mary. The Maculist view is that the Virgin did not receive her sanctification at birth but at the moment of the incarnation of Christ; thus, the image depicts the moment of Mary's sanctification by showing the Christ Child blessing her. Michelangelo depicts Christ as if he is growing out of Mary's shoulder to take human form, one leg hanging limply and the other not visible at all, therefore making him a part of Mary. Moreover, his muscles and balance convey an upward movement, as if he is growing out of her, although he is above Mary, asserting his superiority to her. Furthermore, she argues that the nudes are to be interpreted as sinners who have removed their clothes for cleansing and purification through baptism. The water, which separates the sinners from the Holy Family, just beyond the horizontal band in the middle of the painting, can therefore be seen as the “waters of separation” mentioned in the Bible. She also argues that the five figures may represent the five parts of the soul: the higher soul (soul and intellect) on the left and the lower soul (imagination, sensation, and nourishing faculty) on the right, a visual depiction of the views of Marsilio Ficino, whom Michelangelo references in other works. Additionally, in looking at them as separate groupings, she suggests that the two figures on Mary's right represents the human and divine natures of Christ, while the three on her left represent the Trinity.
Andrée Hayum argues that the commissioning of the tondo by the Doni family helped to emphasize the "secular and domestic ideals" of the painting rather than seeing it as a "devotional object." In choosing a tondo as the format for the picture, Michelangelo is referencing the form's long association with depicting the "Adoration of the Magi, the Nativity, [and] the Madonna and Child." Hayum also finds many allusions to Noah throughout the work. She posits a referencing of the Madonna to Noah's daughter-in-law, a sibyl, which thus makes Joseph an embodiment of Noah himself. Hayum further supports this by acknowledging the direct link between Joseph and Noah as depicted in Michelangelo's Sistine Ceiling paintings. This link to Noah also gives an explanation to the nudes in the background, whose forms may have inspired the sons in the Drunkenness of Noah. The allusion to the Noah story also brings up themes of baptismal water, thus giving rise to an interpretation of the nudes similar to D’Ancona's: "catechumens awaiting baptism" from John the Baptist, whose "isolation within a pit-like space" indicates his special role as baptizer.
Roberta Olson states that the painting depicts the "importance of the family" and is related to "Doni’s hoped-for descendants." One of the ways in which the painting depicts a "good marriage" is by the seemingly "reciprocal action" of the handling of Jesus between Joseph and Mary. Much importance is given to Joseph by way of the colors of his clothes: yellow, indicating the divine aspect of the family as well as "truth," and purple, standing for royal lineage tracing from the House of David. Additionally, Joseph is important to the painting by referencing the middle name of the "Doni’s third child who lived beyond infancy." The theme of baptism is also suggested on the painting's frame through a possible reference to Ghiberti's Porta del Paradiso - being one of the three sets of doors of the Florentine Baptistry (two of which by Ghiberti) - the sculpted details indirectly referring to the rite of Baptism, important for the Donis and their desire for a child as the product of a good marriage, exemplified by the Holy Family, perhaps one reason behind the commissioning of the work.
Summer officially ends for me tomorrow (I have my first work related meeting of the new semester). :-(
On the bright side though, I do have my favorite season to look forward to!
This was taken LAST YEAR on September 29th (sorry fellow Fall fanatics ... not yet!)
Let's hope this season is a good one!
"The Rookery" is a name that is both literal and figurative. It references the pigeons and crows that once nested at this site, as well as the corrupt politicians that frequented it after a makeshift city hall was temporarily erected here following the Great Chicago Fire of 1871. When the prestigious architecture firm of Burnham & Root was given the commission to built a brand new 11-story office tower on the site, they embraced the name, even including sculpted cawing crows on the exterior of the building as a permanent allusion to it.
When completed in 1888, the building was one of the tallest in the world, featuring a hybrid design with load-bearing masonry walls and an interior metal frame that foreshadowed modern skyscraper construction. Because reliable electricity was not widely available at the time of its completion, its design featured this "light court" to provide illumination to interior offices.
In 1905, just 17 years after the building's completion, Frank Lloyd Wright was hired to renovate the light court. Wright clad much of Burnham & Root's ornate ironwork in white Carrara marble, replaced a pair of ornate lighting fixtures at the base of the stairway with urns, and designed new Prairie-style light fixtures for the canopy. Twenty-six years after Wright's renovations, his former assistant, William Drummond, was hired to make additional modifications which included adding Art Deco elements to the interior.
Over time, The Rookery changed ownership and fell into disrepair. The glass canopy which hung over the light court was covered with tar paper, creating a cave-like experience on its interior. To mitigate the feeling of being underground, everything inside the court, floor-to-ceiling, was painted white.
In 1989 an effort began to restore the old building to its former glory. But which version would serve as the reference: Burnham and Root's 1888 design, Wright's 1905 remodel, or Drummond's 1931 Art Deco edition? Although the building contains elements of each, it was Wright's renovation that ultimately served as the basis for the restoration.
©2025 Timothy Linn
All Rights Reserved
Girl with the flower
(August 30, 2009)
“Et incarnatus est de Spiritu Sancto ex Maria Virgine, et homo factus est”
PART I
Incarnation, the word is
poetry itself
not the image of Renaissance repose
with tall multi-stemmed lily in hand
not that Botticelli’s Cestello painting isn’t
exquisite
nor that the vestal, openly-ovular, stamen-
studded flower isn’t vividly
serenely symbolic
but it is anachronistic artistry
far-removed from the earthy
palette of annunciation
so I will paint with words, not
multi-hued oil paste
There is a moment of convergence between
his painting and mine, where
celestial light emanates from unseen source in the ordered room
(though I envision her outside in an olive grove
at the time of the angel’s intercession)
She of swarthy complexion, too young
for the wisdom necessary
hard-working peasant hands stained
with black olives
chipped fingers by dry stone and
arid, fertile soil
lustrous dark wild hair
but deep, pensive, pure eyes
She could always say no to the offer
Offer? Decree? Command? Announcement?
Angelic presence not calming nor soothing, could
a mere mortal actually decline?
Could she actually accept such a life-changing
culture-contravening, audacious venture?
Yet she kneels down on bruised knee
lies flat before the angel
perhaps seeing the grave
danger in acceptance
the futility of 33 years’ gestation
the foreshadowing of darkness
and light (now filtering
flickering through olive trees’
verdant canopy)
She accepts, accedes, even acquiesces
she nods, bows, prostrates herself
no virgin queen, no noble mantle
she opens to incarnation
to its absurdity and abundance
changes the history of our
world, our universe
[from I am Keats as you are by Glenn Peirson, 3 mos before his parting]
in the Palace at Mafra, Portugal
textures=mine+topaz
Ƈяєɗιт & More Pics
There are places that aren't just visited; they're experienced as a sensory journey. This exclusive nightclub is born from architecture, a habitable sculpture where every line, every light, and every texture seems designed to slowly seduce those who cross its threshold.
From the outside, the facade makes a striking impression as a contemporary work of art: a network of intersecting beams envelops the building with an almost organic aesthetic, filtering warm light outwards as if the interior were breathing. This geometric skin not only protects but also foreshadows what awaits inside: a universe where modernity and sophistication converse effortlessly.
Upon entering, the space expands in height and possibilities. Monumental columns support an ethereal atmosphere, while suspended sculptural light fixtures, like luminous clouds, soften the scale and lend an almost dreamlike quality. The carefully placed indirect lighting embraces the contours of the furniture and creates intimate corners within the spaciousness, inviting both private conversation and shared celebration.
The details speak their own language: curved armchairs upholstered in neutral tones with golden highlights, minimalist design tables that seem to float, illuminated bars that act as beacons within the space. The presence of greenery—palm trees, tall plants, and strategically placed planters—brings freshness and balances the strength of the contemporary materials, reminding us that luxury can also be welcoming.
In the lounge areas, the semicircular seating arrangement creates small islands of intimacy, perfect for getting lost in the music and conversation. Meanwhile, flashes of color from the drinks area add visual dynamism, like small jewels alighting in the elegant twilight.
This club doesn't just invite you to dance or toast: it invites you to linger, to observe, to be enveloped by a design that understands the night as a ritual. Here, every detail, from the architecture to the last soft light, constructs an experience where glamour feels contemporary, sophisticated, and profoundly sensory.
A destination where design doesn't just accompany the night: it defines it.
8IGHT Mainstore KARNA BISTRO - FURNISHED
instagram: instagram.com/agoodfella_minifigs/
Captain America: Civil War I went to see it with my son and my review will come in 2 parts. The 1st part will be spoiler-free. The 2nd part (which will be well marked) will include spoilers.
PART 1: Spoiler Free Review:
1) IMO this is not only the best MCU film to date, it's probably the best Superhero film to date (though I may need a 2nd viewing as this 1st viewing hasn't fully baked in yet)
2) Do you like action? Get your popcorn ready. This is a thrilling ride from start to finish and gives you way more than your money's worth. Buckle in and enjoy the ride.
3) The story was very well done. I won't get into specific plot details (my full spoiler review will come in Pt. 2 below), so I will say that I was pleasantly surprised at how well laid out both sides were. Whether you are Pro-Team Cap or Pro-Team Iron Man, you will walk away with a compelling viewpoint from either side -- and the tough choices each side must make.
4) At its core (despite its offering of eye candy and action packed sequences) this film / story is about universally relatable human values: friendship, family, loyalty -- things that transcend the super hero genre -- which is why I think this movie connects.
In sum, this is an amazing film and while DC's offering BvS left me feeling empty, CW left me with the complete opposite emotion, full -- very full -- on multiple levels. I will def. be seeing this again.
For those who will be seeing this when it opens (wherever you are) -- you are in for a treat.
☆☆☆☆☆ stars out of 5.
************************************************************************************
*** PT. 2: FULL SPOILER REVIEW // YOU'VE BEEN WARNED!!! ***
Wow. Where to even begin, this film knocked my socks off. I mean, I knew I was in for a ride, but boy it was even better than my expectations. That is probably the most succinct and best praise I could give it -- because I had pretty high expectations. The audience was clapping at the end. When was the last time you went to a film that had the audiences clapping? That to me is a very quick and dirty litmus test whether a movie hit it out of the park. I left the theater beaming.
Some general thoughts:
1) Marvel may have won this before they even shot a single frame when they made the smart decision to bring back the writer / directing team of the Russo brothers / Markus / McFeely from CA: Winter Soldier. The tone, look, feel of that previous film (which along with IM1 / IM3 were the best MCU films to date) seamlessly continues over to this film and then they take it to another level.
2) With so many new characters to bring into the fold, I was worried that something would get missed. Don't worry. Spidey was freaking AMAZING!!! One of the real highlights of the film -- I am pumped to see the upcoming film. He knocks the role of Peter Parker out of the ballpark -- best version of the role to date. Black Panther? Another amazing casting and performance. The interplay of Falcon, Ant-Man, Black Widow were also well done. On the short end of the editing room were Hawkeye, Vision (more on that later).
3) The action sequences are incredible. I don't want to delve too deeply into this, but there are a lot of wow moments. Spidey mixing up, Black Panther throwing down... it was awesome.
4) Despite all of the eye candy, this film is at its core about extremely relatable human values: friendship (Steve / Bucky, Tony / Rhodey, Steve / Tony, Natasha / Clint, Natasha / Steve, Steve / Sam), family (Tony / Father, T'Challa / Father) and loyalty (to friends, to country, to duty). The film does a sublime job weaving all of those complex issues and ends up creating a rich cinematic tapestry that is Marvel's most thoughtful and mature film to date.
Highlights: Major Spoilers Ahead!!!
- Spidey. I am so happy they did this right. The action sequences, the suit, the snarky comments while he is mixing it up -- Tom Holland does an amazing job. I can't wait for the coming Spidey flick.
- Black Panther. Another home run. The demeanor, the physical skill, the mystery. All good. The film sets up a very intriguing segue to his upcoming involvement in the MCU. Can't wait for more.
- Agent 13 / Sharon Carter's reveal that she is Peggy's niece was well done. Her inspirational eulogy at Peggy's funeral incorporating Cap's iconic "No, you move" line was not only a nice nod, it added weight and affirmation to Steve's decision to stand firm and stick to his guns. It was actually more powerful for Steve to hear it rather than him delivering it, very emotional scene.
- Ant-Man. So great to see him show up and add the right balance of comedic elements. Giant-Man was sweet!
- Vision / Scarlet Witch. I love the fact they are setting the groundwork for closer interaction between these two and the foreshadowing of the Mind Gem / Infinity War was nice.
- Tony and Steve. Man, I went into the film thinking the one problem might be that each side was going to take their positions too rigidly, but the film does a great job exploring the hard choices that need to be made -- the conflict that weighs on their minds and the consequences of those actions. It lays down both arguments fairly and I saw the merits of both sides. In the end, the message is clear: some things are worth fighting for be it friends, family, loyalty -- not a bad message huh? Well done.
Cons:
- Hawkeye. Not that he was bad, in fact he was great and Renner is one of my favs -- just that he didn't get enough screentime (as usual). I know they had to juggle so many storylines that some things had to suffer, but still it kind of a shame that he always gets the short end of the arrows.
- Winter Soldier. I love the character, and he was fantastic in it. Action sequences were superb. The issue I had with this part of the storyline is that Cap goes out on such a limb -- multiple times for Bucky -- that at some point, Bucky probably should have sacrificed himself knowing how much collateral damage is being created. He kind of ends up doing this in the end, but by that time the damage is effectively done. I guess this is the counterweight plot point which forces Cap to take his stand (friendship, loyalty) but still it did make me question if he was really worth it all, and moreover if Bucky was too selfish in that regard.
- The Villians. Crossbones (very short screen time) and Zemo. This if anything was the weakest parts of the film (and is a criticism that can fairly be made across most Superhero films and MCU films in particular). It's hard to compete with the larger than life personalities from the Avengers side I suppose, but nonetheless, could have been better fleshed out and executed.
So that's it. I will probably have more takeaways / observations upon a 2nd viewing, but the conclusion is clear. This is a runaway hit. One of the best films I have seen in a long time. A feast for both the senses and for thought -- a hard trick to pull off. I entered the theater hungry, and left the theater full and yet wanting seconds. Bravo.
Frank L Wright - 1896 (remodel)
The Chicago architectural firm of Burnham and Root designed the Charles E. Roberts house in 1879, and Wright remodeled the residence in 1896. The commission foreshadows Wright’s 1905 renovation of Burnham and Root’s iconic Rookery building in downtown Chicago.
flwright.org/researchexplore/wrightbuildings/charlesrober...
The church of San Vitale in Ravenna is a crowning jewel of early Christian art and architecture dating to the era of the emperor Justinian. Begun under the bishop Ecclesius in 526, it was completed under Bishop Maximian in 547. This view from in front of the altar in the sanctuary shows the magnificent mosaic program--a masterpiece of Byzantine art in the west. In the central dome is an image of a lamb, sustained by four angels--the "Lamb of God, who takes away the sins of the world." (John 1:29). In the apse, a youthful Christ enthroned upon the globe of the earth as sovereign of the universe, receives St. Vitale and Bishop Ecclesius, who are presented to him by angels. Christ hands a jeweled laurel crown to Vitale, a symbol of the victory of his martyrdom; while Ecclesius presents to Christ a model of the church. In the archway leading into the sanctuary are portraits of Christ (this time bearded) and the Apostles and other saints. Around the walls of the sanctuary are scenes from the Hebrew Bible, each alluding to a theme of offering, a typological foreshadowing of the offering of the Eucharist -- Abraham offering Isaac, Melchizedek offering bread and wine, etc. The church is a UNESCO World Heritage site.
Follow me on Twitter @arturoviaggia
Santa Monica glows in the soft light of a cloudy sunset. Cool blue clouds foreshadow a hammering of rain on the way while warm light on the horizon accents the city and the beach. Earlier in the day the skies were clear an the air was warm which led to decent crowds on Santa Monica Beach as people took advantage.
CO (Lake County)
Before 'hitting the trail' I usually figure it is a good idea to acclimate for a couple of days. The Leadville area is a perfect spot to do just that. Leadville itself is located at over 10,000 feet, and there are no shortage of camping possibilities, even at higher elevations. Dayhiking opportunities are plentiful as well.
Dayhike from Wurtz Ditch Rd to Holy Cross Wilderness Area, Segment 9
After camping at Clear Creek Reservoir Campground, I got up early and drove to Leadville (about 20 miles). It was 38f in the morning but I slept well.
Wurtz Ditch Rd is accessed via a dirt road. A very small parking area is here. The hike was about 8 miles roundtrip and fairly easy. Went over 2 bridges and finally made it to the edge of meadow, which I followed for 1/2 mile or more before seeing sign for Wilderness Area. This was all below treeling but it looked like trail may go above for a little while.
I took a short break and then headed back. Saw several other hikers. Also couldn't help but notice that some of the higher peaks had 'fresh' snow on them. I hoped it wasn't a foreshadowing of things to come.
My thought was to hike back to Wilderness Area sign from other trailhead tomorrow. I scouted it out and discovered that the road was very steep and narrow but also well maintained. My car did very well up steep grade but I don't think I want to do it again tomorrow.
Overall a good day. Maybe low 60s and breezy. Mostly cloudy but no rain yet. I camped at MayQueen Campground around Torquoise Lake. My site was near a stream. A nice sunset to end the day.
More in Hi-Res @ www.burieddreams.nl
Like or share: www.facebook.com/burieddreamsphotos
Pontsteiger, Houthavens Amsterdam, NL - arons en gelauff architecten
The building is located at the end of a 200 metre dam that projects into the water of the river IJ. The unusual form was designed with apartment dwellers’ preferences in mind: residential demand is highest either at the top of high rises (penthouse views) or at the base to connect to the liveliness at city level. In the Pontsteiger design concept the part in between is simply minimized. The large building consists of a six floor low rise block that wraps around a plaza on the waterfront. Two slender 60 metre towers at the open end of this block frame the river view. The towers carry a bridge spanning 48 metres rising to a height of 90 metres above the city. The result is an iconic building that foreshadows Amsterdam’s growth of high rise buildings around the river IJ.
The building is elevated 7 metres and set upon a base of four pavilions. The glazed pavilions accommodate lobbies, restaurants, bars and cafes. A marina for the residents of Pontsteiger is located at the Westside. The public space on ground level provides access to the water on all sides and creates views across the river in every direction. Despite its scale, the buildings elevated volume creates an astonishing light-footed presence on site and a constantly changing appearance different from every part of the city.
The ACU is one of the nicest looking contemporary motors.
Here is what was CP 576, and now KCS O-CPKCPA at Grandview, MO on the KCS Pittsburg Subdivision. What a thought it is to think both flags may fall in the future.
half hearted (do you see it?)
a wise man once said, "excuse me for being all drunk and stoned and shouty but this is where i feel at home" and despite whatever he says, it is SO an adage.
Taken at Panther / Hole in the Wall Beach, near Davenport and Santa Cruz.
Spent the afternoon as usual: peering out the window to check on conditions down out the coast. Since I had missed the fantastic sunset on Friday, I was especially antsy to get some shooting in, so when I saw some clouds building on the horizon, I hopped in the car and zoomed away down to the beach!
After some close calls at Four Mile and Laguna Creek where I almost stopped to shoot, I ended up at my old standby: Panther / Hole in the Wall Beach
Down at the shore I was immediately impressed by the massive waves, which were bigger than I'd ever seen them at this beach. (And if that doesn't foreshadow the events to come this evening, I don't know what would.)
For those who've never been there, to get to Hole in the Wall Beach, you have to go through a huge rock arch, which you can see here. All the storms here recently have eroded a ton of sand out of the floor of the arch, so the water comes up a lot higher than it did a few months ago. Just getting through the arch to Hole in the Wall was a little ridiculous. I had to wait for a wave to roll back into the ocean, then sprint through the arch and climb up some rocks before the next big wave came crashing and splashing through the opening. Then when that one would roll back, I jumped down from my perch and sprinted along the cliff edge up to dry sand. Easy peasy. Barely got my feet wet.
Kept on cruising down to the south end of the beach, past Jim P's pet rocks, and up onto the sweet-as shelves at the end of the beach.
Now, did I mention that the waves were huge? I originally intended to shoot the Devil's Bathtub (photo down below), but hell man, the waves were creaming that thing into oblivion, and more water was shooting out of the blowhole like a cannon (you can see where the blowhole is in the note on the photo above). So I was like, eff that! and skittered away to figure out something else to shoot.
But since this big old cleft was right there too and also pointed in the same direction as the Bathtub, it was an easy second choice. But frick. I have never seen water come up so high in this thing. It was fully exploding out of the cleft at times. But the light was golden, so I shielded my camera from the worst blasts and kept on snapping the shutter.
Now right around this time it started raining a little bit and the wind picked up. Oh, sweet. Humongous waves aren't enough, it's gotta start raining and blowing wind too? Then the rain came down harder and by golly, it even started to hail. That's right: Hail. At a beach in California.
Eff this ess! I shouted and ran around the corner to hide behind some cliffs. Shot some quick video and after a few minutes the rain slacked off, so I zipped back out the cleft where the passing thunderstorms were turning whole rainbows' worth of color.
I stood there thinking, "oh my, what a wonderful moment to take a photo," so I grabbed this shot, and the outtake down below, and about 50 more just like it.
Then it started to rain again. Well poop. My cleaning cloth was soaking wet, so I packed all my gear up and walked about 50 feet back towards the car. Then it stopped raining, the clouds opened up a little bit, and these killer waves came pounding in over Jim's pet rocks. The documentarian inside of me beat up the "let's go home" wimpy nerd inside of me, so I unpacked all my gear and snagged a shot of the mountainous waves. See that photo down below.
But then the light was going, going, gone, and I decided to do the same, so I hustled back up the beach to the arch. But wait a minute, what the eff? These waves are even huger than before! And they're going right through the arch! How the crap am I supposed to get through there???
I figured that with careful timing and careful scrambling it should be doable. So I got on some rocks and watched the first wave roll through. As it receded I ran to the next set of rocks. Ok, so far so good. After the next wave I ran to the next set of rocks and was just climbing up them when Boom. The end. Do not pass go. Do not collect $200.
A rogue wave mashed into me and lifted me off the rocks like I was a rag doll. Then I was down in the water, 100% percent submerged, getting bashed into rocks as the wave pushed me up the beach and slammed me against the cliff. Ouch. Some people might find this a little strange, but my first thought while I was floundering around in the whirling ocean was not "Oh holy hell I am screwed," but rather, "Oh holy hell, my camera gear is screwed." I'm sure you flickrites understand fully. :)
But a wave can only go so high, thank goodness, so eventually I emerged at the top of the beach, soaked and sputtering. But hell, I still had to get through the arch! Luckily my second attempt was much more fortuitous, though I still had a number of close calls where I was clinging onto the rocks with all my might so as not to get swept off. At one point I was standing on some rocks four feet above the floor of the arch, and a wave came swirling up around my knees. That meant the water was a good 5 and a half feet above the floor of the arch. And I had to go through that!
"F#ck you, ocean!" I think were my exact words at this point. I waited a few more minutes and luckily a smaller cycle of waves came through and I was able to leap down and sprint through the arch without getting mauled by another tiger of a wave.
Phew! Then I just squished back to my jeep to assess the damage.
Final score: Ocean - 1. ipod - 0. Phone - 0. Me - bloody knees, but at least a few keeper shots. Not sure who won that round . . . camera survived intact though, so I'm thinking I win by TKO?
~Josh
------------------------------------------------
View more of my work at my website: www.joshuacripps.com
More stories, tips, tricks, and how-to's on my blog: www.joshuacripps.com/blog
Get the latest updates via Facebook: Joshua Cripps Photography
Big Boy 4018 has just arrived in Rawlins Yard with UP Train PCYRW1 04. UP originally planned to call these locomotives the Wasatch type, for the mountains they were built to traverse. Scrawled on the smokebox is the nickname they were affectionately given before the first one was completed, by an ALCO worker at the factory in Schenectady, NY in 1941. Part of the graffiti included a "V" for victory, foreshadowing the United States' imminent entry into World War II; a war these 25 engines helped win.
Locomotive: UP 4014
5-4-19
Rawlins, WY
Location: Cursed Marches - Temple of Decay, World of Ruin
The Mana Beast of Decay awaits in the Forsaken Isle, buried deep beneath the Temple of Decay. When the Calamity fell from the sky, the four types of Mana (Lightning, Fire, Ice, Decay) were each sealed away inside an ancient Guardian, to prevent The World Eater from absorbing them into it's being. The existence of Mana and the Guardians has been lost to time.
This is not a numbered episode in the series, just a deeper look into the lore of the story, and foreshadowing what is to come.
Faves, comments, and feedback are appreciated, thank you!
As a morning thunderstorm rumbles off in the distance, an inbound RVL commuter slowly heads east through the Weequahic section of Newark. The fog and dark clouds ahead foreshadow the signal trouble they'll encounter once they hit the Northeast Corridor.
Creation
By the third day it was so
organized, so nearly
differentiated that it was
beautiful. On the fourth
the light became specific
to sources and could be
turned away from. Unlike
Heaven with its omnidirectional
brilliance, its unceasing
labour of song,
so that the angels,
to grasp the word 'ending', could only
fondle the boundaries of
their own bodies-and wonder
what that foreshadowed.
Cooper Esteban
Moscú - Moscow - Москва
La catedral de la Intercesión de la Virgen junto al foso (en ruso Собор Покрова Пресвятой Богородицы, что на Рву, Sobor Pokrová Presvyatoy Bogoróditsy, chto na Rvu), más conocida como Catedral de San Basilio, es un templo ortodoxo localizado en la Plaza Roja de la ciudad de Moscú, Rusia. Es mundialmente famosa por sus cúpulas en forma de bulbo. A pesar de lo que se suele pensar popularmente, la Catedral de San Basilio no es ni la sede del Patriarca Ortodoxo de Moscú, ni la catedral principal de la capital rusa, pues en ambos casos es la Catedral de Cristo Salvador. Como parte de la Plaza Roja, la catedral de San Basilio fue incluida desde 1990, junto con el conjunto del Kremlin, en la lista de Patrimonio de la Humanidad de Unesco.
La construcción de la catedral fue ordenada por el zar Iván el Terrible para conmemorar la conquista del Kanato de Kazán, y se realizó entre 1555 y 1561. En 1588, el zar Teodoro I de Rusia mandó que se agregara una nueva capilla en el lado este de la construcción, sobre la tumba de San Basilio el Bendito, santo por el cual se empezó a llamar popularmente la catedral.
San Basilio se encuentra en el extremo sureste de la Plaza Roja, justo frente a la Torre Spásskaya (la Torre del Salvador) del Kremlin y la iglesia de San Juan Bautista en Dyákovo.
El concepto inicial era construir un grupo de capillas, dedicadas a cada uno de los santos en cuyo día el zar ganó una batalla, pero la construcción de una torre central unifica estos espacios en una sola catedral.
La leyenda dice que el zar Iván dejó ciego al arquitecto Póstnik Yákovlev para evitar que proyectara una construcción que pudiera superar a esta, aunque parece claro que no se trata más que de una fabulación, ya que Yákovlev participó, pasados unos años, en la construcción del Kremlin de Kazán.
La catedral de San Basilio no debe confundirse con el Kremlin de Moscú, que está situado a su lado en la Plaza Roja, y por tanto no forma parte de él. Aun así, muchos medios confunden ambas construcciones.
es.wikipedia.org/wiki/Catedral_de_San_Basilio
The Cathedral of Vasily the Blessed (Russian: Собор Василия Блаженного, Sobor Vasiliya Blazhennogo), commonly known as Saint Basil's Cathedral, is a church in Red Square in Moscow, Russia. The building, now a museum, is officially known as the Cathedral of the Intercession of the Most Holy Theotokos on the Moat (Собор Покрова Пресвятой Богородицы, что на Рву, Sobor Pokrova Presvyatoy Bogoroditsy, chto na Rvu) or Pokrovsky Cathedral (Покровский собор). It was built from 1555–1561 on orders from Ivan the Terrible and commemorates the capture of Kazan and Astrakhan. It was the city's tallest building until the completion of the Ivan the Great Bell Tower in 1600.
The building is shaped like the flame of a bonfire rising into the sky, a design that has no parallel in Russian architecture. Dmitry Shvidkovsky, in his book Russian Architecture and the West, states that "it is like no other Russian building. Nothing similar can be found in the entire millennium of Byzantine tradition from the fifth to the fifteenth century ... a strangeness that astonishes by its unexpectedness, complexity and dazzling interleaving of the manifold details of its design." The cathedral foreshadowed the climax of Russian national architecture in the 17th century. The Guardian compared building with "garish chunk of Disneyland architecture" and "a clown's nose on the face of the evil empire".
It's 1979 and there is a visitor at ICG's Bloomington, IL yard on this day. A newer SSW GP40-2 is tied on to a GM&O GP35 -making an unlikely duo.
Who would have guessed on this day that 16 years later this yard would be owned by another subisidiary of Southern Pacific, the SP Chicago Short Line? SP and Cotton Belt power would become the norm here. The ICG, the GM&O, and these shops faded from memory.
Photo by the late Richard Russell.
New York City skyline skyscrapers and the Brooklyn Bridge as seen from Brooklyn
Camera: Sony a99 | Lens: Zeiss Vario-Sonnar T* 24-70mm f/2.8 (Sony SAL-2470Z)
---
It's interesting how long exposure photography makes you even more acutely aware of the environment. This was taken on a cold night recently as a storm was rolling in. I waited patiently in between stubborn sustained wind gusts as the water from the East River lapped at the edges of Brooklyn Bridge Park gushing over the sides every so often as if to foreshadow what the clouds were hoping to do to the city.
As storm clouds moved in and the increasingly darkening sky turned various shades of purple and blue shortly after a relatively subdued sunset, there were a few minutes of calm silence. And as the water played nice and the wind decided to run its own marathon elsewhere, 4 seconds were there for the capturing before the skies unleashed their watery exclamations in the form of rain.
This is one of the more popular vantage points for photography of the Brooklyn Bridge. The skyscrapers belong to the Financial District. Prominent structures and buildings include: the Woolworth Building, New York by Gehry (at 8 Spruce Street), One World Trade Center (also known as 1 WTC and/or the Freedom Tower), Pier 17 and the South Street Seaport.
--
View more of my New York City photography at my website NY Through The Lens.
View my photography profile on Google Plus: New York City photography by Vivienne Gucwa
To purchase any of my work view my site gallery for info here.
To use any of my photos commercially, feel free to contact me via email at photos@nythroughthelens.com
Grand Teton's summit is just barely visible as it spawns clouds on its more northern face. The developing clouds would foreshadow thunderstorms a few hours later. Some 7,000 feet below, the valley of Jackson Hole provides some contrast ing terrain to the spectacular backdrop.
This Halloween my original characters from this picture are coming back! :D This is also an old idea (though not as old as the picture I mentioned), which became less relevant for me while I was waiting for the free time to build it, but I decided I should build and post it anyway, because I felt it was relevant before just recently, and also because I still think it was a good idea as a picture/storytelling.
Yeah, the paintings on the walls are clearly based on something some of the viewers might recognize (I specifically used the same suit for it), because it's trending like right now, but if I name the source of inspiration it will give in a huge key to the plot... and I have reasons to let it be more vague, up to viewer's interpretation. :) Especially because the plot was based not just on that, but on something else which had a different meaning, so there can be a totally different reading of it. ;)
I usually post my pictures for Halloween on the day, but I'm not sure I will be able to do it this Thuesday, so I decided it's better to post it on Sunday, just in case. :)
Happy Halloween! :D
Set-up for my Homer Simpson shot.
For the Homer reflection in the mirror, I used Groundskeeper Willie's body and Homer's half brother Herb's head. I had to do quite a bit of filing to get them fit together.
I used a flash attached to the Polaroid's flashcube slot to force the camera to use the smallest aperture in order to keep everything in focus. The flash was bounced off the "ceiling" and contributed to about half of the lighting. The rest of the light came from fluorescent bulbs overhead.
HAPPY GGT !
Here is an early (2 March) daffodil. The foreshadowing (backshadowing?) of spring is provided by both this daffodil itself, and one not in the picture.
NB1 - My formal knowledge of the visual arts is pretty sparse. However, I finally learned the name for one of the lighting techniques I favor:
Chiaroscuro.
In Renaissance painting techniques, it is "use of strong contrasts between light and dark in order to create the illusion of volume."
NB2 - I like getting a chiaroscuro effect in outdoor photography. It is probably why bright, late-afternoon lighting is one of my lighting preferences (ca. 5:30p here).
Location: Lower Wenkenpark, Riehen BS Switzerland
In my album: Dan's Flower Power.