View allAll Photos Tagged foreshadowing
Sometime shooting in the middle of the day, especially in the desert, can create some really tough shadows to work with. But I think on this one, as the shadow was out of focus, it actually worked. The only thing I'm not real happy about with this photo is the vignetting on the upper corners, but I couldn't get rid of it and keep the bottom corners looking good.
I couldn't resist putting this next to "A Foreshadowing". It was taken just one week earlier, and while not in exactly the same location, it wasn't very far away.
Ryan let me buy a puppy carrier tonight!! Small, portable, and approved for airline use.... our puppy will love it, as soon as we adopt him. I'm so excited, even if I may have to wait awhile to meet my furry baby.
Landing on the Beach of Tarpon Springs, Florida with Lunch. Notable Foreshadowing at the bottom left: a seagull; the Egret struggled to swallow the fish and the seagulls stole it at some point and flew out to sea before dropping the fish more than a dozen times. (See www.flickr.com/photos/hongming_zheng/31755734741/in/datep...) One seagull flew back to the beach and actually gave the fish back to the Egret. The Egret continued to struggle to devour the fish whole and was unable to do so before a puppy showed up on the beach. The birds (both seagulls and the Egret) were tolerant of me the whole time but as soon as the Puppy came the Egret abandoned and flew away while the seagulls again flew out to sea carrying the fish with them. They eventually dropped it from what I could tell...
www.youtube.com/watch?v=JQqQkZYa7IQ
Georges Bizet’s Carmen Suite No. 1 is a brilliant orchestral distillation of the 1875 opera. Curated posthumously by Ernest Guiraud, it highlights the atmospheric and dramatic instrumental interludes rather than the vocal melodies, showcasing Bizet’s genius for orchestration and Spanish-style rhythms.
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Structure and Movements
The suite typically consists of six movements, rearranged from the opera's chronological order to create a balanced symphonic experience:
•Prélude (Act I): A dark, intense opening featuring the "Fate Motif." It uses a persistent tremolo in the strings and a haunting melody in the brass to foreshadow the tragic ending of the story.
•Aragonaise (Entr'acte to Act IV): A vibrant, fast-paced Spanish dance. It is characterized by its driving rhythm, sharp accents, and the bright colors of the woodwinds and percussion, evoking the festive atmosphere of the bullring.
•Intermezzo (Entr'acte to Act III): A total contrast to the previous energy. This is a serene, pastoral movement featuring a beautiful, lyrical dialogue between the flute and the harp, representing a moment of calm and natural beauty.
•Seguedille (Act I): Based on Carmen’s famous aria where she seduces Don José. The music is flirtatious and swaying, mimicking the rhythm of the Spanish seguidilla dance.
•Les Dragons d'Alcala (Entr'acte to Act II): A jaunty, staccato march. It highlights the bassoons and other woodwinds in a playful, military style, depicting the soldiers' routine.
•Les Toréadors (Introduction to Act I): The grand finale. It combines the triumphant march of the bullfighters with the famous "Toreador Song" melody. It is loud, proud, and brass-heavy, ending the suite on a high, energetic note.
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Why It Stands Out
•Vivid Color: Even without the singers, the music tells a story. Bizet’s use of castanets, tambourines, and specific woodwind voicings creates an instant "Spanish" atmosphere.
•Emotional Range: It transitions seamlessly from the "Fate" tragedy of the Prélude to the pastoral peace of the Intermezzo, and finally to the heroic pomp of Les Toréadors.
•Universal Popularity: Because these themes are so deeply embedded in pop culture (from films to commercials), the suite remains one of the most frequently performed works in the standard orchestral repertoire.
Alexandre César Léopold Bizet (25 October 1838 – 3 June 1875), registered at baptism as Georges Bizet, was a French composer of the Romantic era. Best known for his opera Carmen, he is celebrated for his melodic gift, brilliant orchestration, and his ability to evoke atmosphere and local color.
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Early Life and Education
Born in Paris to a musical family, Bizet was a child prodigy. He entered the Paris Conservatoire at the age of nine, where he studied piano and composition. In 1857, at just 19, he won the prestigious Prix de Rome, which funded three years of study in Italy. During his youth, he composed the Symphony in C major, a work of remarkable maturity that remained unperformed and forgotten until 1935.
Musical Career
Bizet’s career was marked by a struggle for recognition in the conservative Parisian operatic world. While he was a brilliant pianist, he chose to focus on composition. His major works prior to his final masterpiece include:
•Les pêcheurs de perles (The Pearl Fishers, 1863): An exotic opera set in Ceylon, famous for its celebrated tenor-baritone duet.
•La Jolie Fille de Perth (1867): Based on a novel by Walter Scott.
•L'Arlésienne (1872): Incidental music for Alphonse Daudet's play, which Bizet later arranged into a highly successful orchestral suite.
Carmen and Death
Bizet’s final work, Carmen (1875), based on a novella by Prosper Mérimée, broke new ground in the opéra comique genre by introducing gritty realism and a tragic ending. Initially, the Parisian audience was shocked by its "immoral" characters and blatant passion, and the premiere was considered a failure.
Exhausted and depressed by the reception, Bizet died of a heart attack at the age of 36, just three months after the premiere. He never lived to see Carmen become one of the most popular and frequently performed works in the entire opera repertoire.
Legacy and Style
Bizet is regarded as a master of the lyric stage. His music is characterized by:
1.Orchestral Brilliance: A clean, vibrant, and economical use of instruments.
2.Exoticism: An uncanny ability to depict foreign locales (Spain, Ceylon, Egypt) through rhythm and harmony.
3.Melodic Clarity: A distinctively French elegance and transparency.
Today, he is recognized as a precursor to the verismo movement in opera, which focused on the lives of common people rather than gods or nobility.
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Note: Despite his short life, Bizet's influence extended to composers like Tchaikovsky and Nietzsche, the latter of whom praised Carmen for its intellectual "Mediterranean" clarity.
The Brazeau County logo accurately depicts the economy of the county as being based on oil and gas, forestry, agriculture and tourism. And it seemed to foreshadow the day when the county would invest in solar power for its buildings. Photo David Dodge GreenEnergyFutures.ca See story and podcast: www.greenenergyfutures.ca/episode/170-brazeau-coun…olar...
Akron Children’s Hospital held its 32nd annual Holiday Tree Festival Nov. 23 to Dec. 1 at the John S. Knight Center. The Holiday Tree Festival Preview Gala foreshadows the festival. The Preview Gala took place on Nov. 22 this year.
1961 Chevrolet Corvette
Chassis No. 10867S103251
By 1961, the Corvette had evolved into a very credible sports car. Styling was carefully updated under GM design chief Bill Mitchell with a subtle new grille design, while the new rear end treatment foreshadowed the upcoming Sting Ray with a neat ducktail design incorporating four cylindrical taillights. In addition, the growing list of standard equipment now included a tachometer, seat belts, sun visors, dual exhaust, carpeting, an electric clock, outside rearview mirror and an aluminum radiator.
This brawny 1961 Corvette displays an older, yet very well presented resto-mod refinish in silver and white side coves over black interior upholstery. A white vinyl top, cowl hood, vintage Firestone Firehawk radials, steel wheels and chrome wheel covers complete the presentation.
Cabin amenities include a tachometer, clock, defroster, AM/FM radio with premium sound system, and Hurst t-handle shifter. The car’s small-block V8 engine mated to a four-speed manual transmission provides more than enough power to get this vette up and going in a hurry!
The older restoration has begun to show its age in areas, but remains well suited for continued use as an attention grabbing weekend cruiser. This Corvette is sure to please its new owner with a great combination of timeless styling, performance and modern upgrades.
Desirable Early Solid-Axle Corvette!
Classic Resto-Mod!
Beautiful Presentation & Well Outfitted!
Summer sunset over the foggy Pacific from Dana Point. Note the blueish flicker over the sun's disc, foreshadowing the flash that was not to be!
Halved mugshot to spatially align it with what seems to appear in the portrait of Kitty Genovese, victim of Bystander Apathy ("I didn't want to get involved")
You deserved to live out your life in joy, or at least the pursuit of it. Instead by the actions of a monster and the inactions of an obscene number of your 'fellow citizens' you became a Psychological phenomenon.
You deserved better.
Rest in peace, Kitty.
(Please use the enlarge option {use "All sizes" or "Detail", above} -- am working on getting new editing software loaded but for now this will have to do.)
All photos taken off the web. Unless specified, no retouching.
The Cathedral of Vasily the Blessed (Russian: Собор Василия Блаженного, romanized: Sobor Vasiliya Blazhennogo), known in English as Saint Basil's Cathedral, is an Orthodox church in Red Square of Moscow, and is one of the most popular cultural symbols of Russia. The building, now a museum, is officially known as the Cathedral of the Intercession of the Most Holy Theotokos on the Moat, or Pokrovsky Cathedral. It was built from 1555 to 1561 on orders from Ivan the Terrible and commemorates the capture of Kazan and Astrakhan. Its completion, with its colors, was made in 1683. It was the city's tallest building until the completion of the Ivan the Great Bell Tower in 1600.
The original building, known as Trinity Church and later Trinity Cathedral, contained eight chapels arranged around a ninth, central chapel dedicated to the Intercession; a tenth chapel was erected in 1588 over the grave of the venerated local saint Vasily (Basil). In the 16th and 17th centuries, it was perceived as the earthly symbol of the Heavenly City. Like all churches in Byzantine Christianity, the church was popularly known as the "Jerusalem" and served as an allegory of the Jerusalem Temple in the annual Palm Sunday parade attended by the Patriarch of Moscow and the Tsar.
The cathedral has nine domes (each one corresponding to a different church) and is shaped like the flame of a bonfire rising into the sky. 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, and it is considered as a prime example of Russian Renaissance architecture.
As part of the program of state atheism, the church was confiscated from the Russian Orthodox community as part of the Soviet Union's antireligious campaigns and has operated as a division of the State Historical Museum since 1928. It was completely secularized in 1929, and remains a federal property of the Russian Federation. The church has been part of the Moscow Kremlin and Red Square UNESCO World Heritage Site since 1990. With the dissolution of the Soviet Union in 1991, weekly Orthodox Christian services with prayer to St. Basil have been restored since 1997.
Checkmate
With hindsight’s faultless clarity
the foreshadowing was evident
Engagement’s endgame
preordained by differences
we tried in vain to cover
with flawed love
Simply, in being me,
I maneuvered myself
into the perfect paradox
a position purely untenable
Yet your words still cut me
like the queen’s knight’s rapier
The things you most
love about me
are the things you also
hate about me
I believe I’m in checkmate
My Love
* (I penned this poem quite some time ago and finally got around to creating an image to go with it.)
Yesterday I decided it would be a good time to clean out the drain that sits in a stairwell that leads to my studio. I spend a few hours with a snake, a power washer and a wetvac but even then it seemed like I was making little to no progress in flushing it out. Finally I reached my arm down the drain and found that the cake is a lie.
The "Drain" just leads to a small, rock filled drainage hole - it doesn't connect to the clear water sewer (only a few feet away). Because it's the rainy season I wanted to make sure the drain was clear to accept any rain water that might wash down the stairwell. That turned out to be a premonition of sorts. While we were out to dinner a storm moved in it really started to come down heavily. When we got home I ran to the back where the stairwell is only to find that water was standing nearly 4 feet deep against it.
I ran back inside and down to the studio where I found the water shooting into the room like a submarine after taking a direct hit. We sprung into ninja mode and quickly moved equipment to safety and started the process of routing the water to a drain in another room some distance away.
After some further investigation I realized the water was being funneled into the stairwell from a gutter that had gotten clogged with spring seed bundles. It’ll be a few days before everything dries out down there but it certainly made me think of the people in the south who are dealing with far worse flooding than me. I may lose another day or two in my studio but they’ve lost a whole lot more.
Adj.1.ominousominous - threatening or foreshadowing evil or tragic developments; "a baleful look"; "forbidding thunderclouds"; "his tone became menacing"; "ominous rumblings of discontent"; "sinister storm clouds"; "a sinister smile"; "his threatening behavior"; "ugly black clouds"; "the situation became ugly"
menacing, minacious, minatory, sinister, threatening, baleful, forbidding
alarming - frightening because of an awareness of danger
Check my blog @ llymlrs.blogspot.com
“I am particularly interested in Detroit because it is a place that has experienced an active form of extreme erasure, of transience and of loss that has embedded itself on the psyche of those that live there and those that pass through. Decadence and erasure evokes a very specific pathos and Detroit’s has reverberated around the globe as a kind of symbolic foreshadowing of the imminent end of American Empire.” Wandering in Place: Detroit by Jennifer Garza-Cuen (¾)
One sticker of a gorilla on a sign. I've always liked this shot for some reason. Hopefully, it's not a foreshadow of when there is only one gorilla.
This is an experimental clip of a new mini series being filmed " Foreshadows of things to come" ( post apocalypse )
still need to make a few corrections .
#Christianfilms Entertainment #endtimes #repent #endtimesprophecy #newworldorder #bibleprophecy #lastdays #apocalypse #zombie #zombies #fallout #zombieapocalypse #postapocalyptic #madmax #Christianfilms #Entertainment #thewalkingdead #wasteland #pandemic #horror #Christianfilms
A star in the making with the well known touring outfit called Bubble Theatre who set up their inflatable circus-like tent in parks around London and beyond for many years. This was John's first professional work.
One of two main productions that autumn, They Shoot Horses, Don't They? John foreshadows the detective role he's become so well known for on TV in series such as Prime Suspect.
24th September 2020 at Horniman Museum, London SE23.
The use of Spoons as a musical instrument was probably foreshadowed by the similar use of two animal bones.
This instrument was made in Quebec, Canada in 1992. It is an example of Spoons which were spccifically produced to be used as a musical instrument rather than using the regular household utensils. It is carved from a single piece of Canadian hardwood, with the one handle for both spoons.
Spoons are assigned the number 111.14 in the Hornbostel-Sachs classification of musical instruments ( http://en.wikipedia.org/wiki/Hornbostel-Sachs ), indicating:
1 = Idiophones. Sound is primarily produced by the actual body of the instrument vibrating, rather than a string, membrane, or column of air.
11 = Struck Idiophones. These idiophones are set in vibration by being struck.
111 = Directly Struck Idiophones. The player himself executes the movement of striking; whether by mechanical intermediate devices, beaters, keyboards, or by pulling ropes, etc.
111.1 = Concussion Idiophones or clappers. Two or more complementary sonorous parts are struck against each other.
111.14 = Concussion vessels or vessel clappers.
Noa's face painted at the Vashon Island Strawberry Festival. Taken by her Mom, Erica using her cell phone. I only applied Topaz "Clean".
15th June 2012 at Royal Festival Hall (Bar level 2), London SE1 (Malambo gig).
The use of Spoons as a musical instrument was probably foreshadowed by the similar use of two animal bones.
The Spoons are in the middle of the photo between the Cajita and the Quijada.
Spoons are assigned the number 111.14 in the Hornbostel-Sachs classification of musical instruments ( en.wikipedia.org/wiki/Hornbostel-Sachs ), indicating:
1 = Idiophones. Sound is primarily produced by the actual body of the instrument vibrating, rather than a string, membrane, or column of air.
11 = Struck Idiophones. These idiophones are set in vibration by being struck.
111 = Directly Struck Idiophones. The player himself executes the movement of striking; whether by mechanical intermediate devices, beaters, keyboards, or by pulling ropes, etc.
111.1 = Concussion Idiophones or clappers. Two or more complementary sonorous parts are struck against each other.
111.14 = Concussion vessels or vessel clappers.
What do moving dark clouds in the sky tell us? Is it the beginning of something wonderful, the calm before the storm, or an ominous sign of things to come?
A simple picture of the cloudy afternoon sky, taken with a group of tall buildings.
Taken using an Apple iPhone 8 Plus.
Edited with VSCO Film preset from RAW file in Adobe Lightroom. Further editing and watermark placement to JPG file done in Adobe Photoshop CC.
Constructive feedback is welcome and appreciated.
Well whaddaya know?
He does look like that.
(Please use the enlarge option {use "All sizes" or "Detail", above} -- am working on getting new editing software loaded but for now this will have to do.)
To be fair, Kitty's 'Green Man' s' photo effects
--don't want to call it paranormal in the eerie kind of way just yet--
seemingly does not show any type of hairstyle, along with the forehead appearing to be strangely misshapen.
Doesn't seem to have much of a nose either, but then again neither does Moseley.
But it is, still and all, a remarkable (in the literal sense) photograph.
All photos taken off the web. Unless specified, no retouching.
So far I have a couple of these in the "Domestic Bliss" series. It's sort of a 50s or earlier feel, but with a dark foreshadowing, like the way we take something, use it for how it was never intended, and become lazy and something else.
Made in Adobe Illustrator CS2 with a G5.
Financial District, Lower Manhattan
The Temple Court Building and Annex consists of two connected structures on the designated Landmark Site. The nine-story (ten stories in certain portions) Temple Court Building was commissioned by Eugene Kelly, an IrishAmerican multi-millionaire-merchant-banker, and built in 1881-83 to the design of architects Silliman & Farnswonh. Executed in red Philadelphia brick, tan Dorchester stone, and terra cotta above a two-story granite base, the handsome vertically-expressed design employs Queen Anne, neo-Grec, and Renaissance Revival motifs.
Today, Temple Court is the earliest surviving, essentially unaltered, tall "fIreproof' New York office building of the period prior to the full development of the skyscraper. Funhermore, it is an early example of the use of brick and terra cotta for the exterior cladding of tall office buildings in the 1870s and 80s, as well as a rare surviving office building of its era constructed around a fullheight interior skylighted atrium. Its two towers foreshadow the pyramidal form that later became popular for skyscrapers.
The Annex to the building, clad in Irish limestone on its principal, Nassau Street facade, was constructed for Kelly in 1889-90 to the design of James Farnswonh, in an arcaded Romanesque Revival style that complements the original building. Temple Court's signifIcance is enhanced by its visibility as it rises above the low buildings of Park Row facing City Hall Park, its prominent towers, and its articulated facades on three sides.
The nine-story (ten stories in certain portions) building has facades on Beekman Street. Nassau Street. and Theatre Alley. Of fireproofed construction with iron floor bearns, it was built around an interior skylighted atrium (now enclosed), with an additional exterior light well on the south side. It is clad in granite on the two-story base, and red Philadelphia brick (originally laid with red mortar), tan Dorchester stone trim. and terra-cotta panels on the upper stories. Much of the building, other than parts of the Theatre Alley facade, has been painted. Articulation on the facades on Beekman and Nassau Streets. as well as part of that on Theatre Alley, is similar, employing Queen Anne, neo-Grec. and Renaissance Revival motifi; and ornamental details.
The design is arranged horizontally into a base, midsectiou, and upper section (with mansard roof and towers). and in addition. it has a tripartite arrangement with end pavilions on each facade. The building is vertically expressed with continuous piers. Windows originally had one-{)verone double-hung wood sash (some were double windows with a central mullion); most have been replaced by anodized aluminum windows with a variety of configurations. Base The two-story base is clad in granite. that on the piers rockfaced. Each story is capped by a cornice. Second-story windows in the center of the facades on Beekman and Nassau Streets are segmentally arched. All of the ground-story bays of the facades on Beekman and Nassau Streets (except the main entrance) have been converted to shopfronts over the years, and have been altered so that little historic fabric survives. Shopfronts are currently framed in metal, with rolldown gates.
Base: Beekman StreEt The main entrance, located in the central bay, originally had polished red granite colunms supporting an entablature bearing the name of the building, capped by an iron balustrade flanked by pinnacles; in 1949-50 the main entrance was altered with a polished marble surround, metal and glass doors, a transom, and the letters " Beekman." The bays flanking the entrance were originally windows; surviving below the cornice in each bay are a paneled band and decorative metal band. The end pavilions were originally tripartite, having a central door flanked by colunms and windows with bulkheads and transoms; they were later altered to single bays with a bulkhead, display window. door, and broad sign band (since altered).
The easternmost storefront is still framed by original fluted stone pilasters with stylized floral capitals. Base: Nassau Street End pavilion bays were originally tripartite, divided by piers. These bays. as well as those of the central section. had paired windows with bulkheads and transoms (the south end undoubtedly had an entrance door to the elevator hall); these bays were later altered in a manner similar to the pavilion bays of the Beekman Street facade (since altered). Surviving below the cornice in the south pavilion bay are a paneled band and decorative metal band.
Base: Theatre Alley The northern section has articulation similar to that on Beekman Street. The ground and second stories of the center and southern sections are capped by stone bandcourses. The ground-story bays of these sections are divided by cast -iron piers and have transoms and ornamental iron bulkhead bands. All bays have been filled with cinderblock. The second-story bays of the center and southern sections are divided by cast-iron piers. Midsection The brick midsection consists of the third through the sixth stories. Articulation on the principal facades (and north pavilion of Theatre Alley) is similar, with terra-cotta spandrel panels above the third, fourth. and fifth stories; bandcourses, and stone capitals with a stylized floral design on the piers. on the thittl. fourth. and fifth stories; windows capped by round arches (with decorative tympana) in the center sections of the fifth story; and a stone cornice capping the sixth story.
Most of the Theatre Alley facade is unadorned "Croton-faced" brick. with simple bluestone lintels and sills.
Upper Section The upper section consists of the seveoth through the tenth stories. The north section of the Theatre Alley facade has articulation similar to that on Beekman and Nassau Streets. The center portion of the two principal facades has paired windows with entablatures on the seventh story (the Theatre Alley facade is capped by a corbelled cornice on the seventh story). surmounted by. on each of the three facades. a two-story slate mansard roof with pedimented dormers (the upper dormers on Nassau Street. all dormers on Theatre Alley, and the flanking dormers on Beekman Street, are iron). The sections of roof on Beekman and Nassau Streets appear covered with asphalt.
The end pavilions have bandcourses and terra-cotta spandrel panels above the seventh and eighth stories; round-arched windows, a subcornice, and cornice on the ninth story; a central pedimented window, and cornice with flared corner projections, on the tenth story of the northern pavilions; and a pediment on the tenth story of the southern pavilions (with a rondel on Nassau Street and corbelling on Theatre Alley). Roof Surviving decorative iron railings cap the mansard roof of the center section of each facade. Two prominent corner towers above the Beekman Street pavilions have octagonal pinnacled roofs, covered with slate and capped by metal finials. The corners of the pavilions are ornamented with pinnacles, and the inner side of each pavilion (except Theatre Alley) is flanked by a chimney. The southern pavilions have gable roofs. The center portion of the building is covered by a large pyramidal skylight with a monitor.
TEMPLE COURT ANNEX (119-121 Nassau Street)
The ten-story annex is adjacent to the original building on its south side, extending from Nassau Street to Theatre Alley. Framed with iron, it is Cshaped in plan, with an exterior light well that joins that of the original building. Windows originally had one-{)ver-{)ne double-hung wood sash (some were double windows with a central mullion); most have been replaced by anodized aluminum windows. The Annex has a flat roof, which holds a water tower and four sheds on the south side.
Nassau Street
The principal facade in the Romanesque Revival style, clad in Irish limestone, is organized into horizontal sections by cornices capping the second, sixth, and ninth stories. The entrance, originally located in the southern ground-story bay, had a round arch with a surround with columns supporting a pointed-arCh; the entrance was convened into a storefront in 1959. All three ground-story bays have been altered a number of times and no historic fabric is visible; most of the ground story is covered with a metal veneer. The southern bay of each upper story (except for the top rwo) has a rectangular window.
The northern two bays of the facade are arranged as superimposed arcades of paired arches (the second story; the third through sixth stories; and seventh through ninth stories). The arches have Romanesque style stone carving and decorative metal spandrel panels and mullions. The southern hay of the ninth story and the entire tenth story have roundarched windows. The facade is terminated on the south end by a pediment with a rondel. In the fire of 1893, "great pieces spalled off"w the stone sills of the top four stories, but these were repaired. Theatre Alley The plain brick facade has rectangular windows with simple stone lintels and sills. The ground story has a round-arched secondary entranceway in the southern bay and rwo rectangular bays capped by an iron beam; these former openings are now filled with cinderblock.
- From the 1998 NYCLPC Landmark Designation Report
Akron Children’s Hospital held its 32nd annual Holiday Tree Festival Nov. 23 to Dec. 1 at the John S. Knight Center. The Holiday Tree Festival Preview Gala foreshadows the festival. The Preview Gala took place on Nov. 22 this year.