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Routing 30,000 randomly-chosen trips through the paths suggested by 10,000 randomly-chosen geotags. These are perhaps the most interesting routes between the endpoints of the trips, even if not necessarily the most likely.
Data from the Twitter streaming API, August, 2011. Base map from OpenStreetMap, CC-BY-SA.
Former Ampsin quarry, in the commune of Amay.
Ruins of industrial installations for the treatment of lime.
Ancienne carrière d'Ampsin, commune d'Amay. Ruines d'installations industrielles pour le traitement de la chaux.
Une vieille caisse pourrie abandonnée sur le sol, rappelant un peu un cercueil.
Ilford HP5+ 800iso Adonal 1+25 8'
Linocut impressed into Raku clay - slab built into a free form canister ... size of a cereal packet. (Handy !) - Yes, as with description, being a linocut impression, the back pretty well matches the front .... Linocut was freely cut of the wonderful village of Upnor in Kent: Scene includes The Bench overlooking the Medway, Upnor Castle, the Top House ('Kings Arms'), & the Bottom House ('Tudor Rose'). All set in the lovely cobbled street in rural Kent, looking across to the gates of Chatham marina. - Upnor Studo Pottery - SKB001.
forma de letras leticia suarez del cerro
efeito de almofada.
tamanho: pequeno
É lindo!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!
numeros
R$ 20,00 + frete
msn: diorevuitton@hotmail.com
contato@vivianne.com.br
skype: vivihuhn (belém_Pará)
Les agents Pompiers13 ont formé une haie d'honneur pour le départ du contrôleur général Grégory Allione.
Thin layer chromatogrphy (TLC) in glass jar of 70% isopropanol, 20% water, 10% formic acid on Kodak #13255 10x10cm cellulose plates.
7 lanes (L to R):
1) Histidine
2) Methionine
3) Leucine
4) Unknown mixture
5) Casein + Protease
6) Casein + phosphate buffer
7) Protease + KOH
Manufacturer: Hamelner Töpferei GmbH, Hameln, Germany
Form: 98
Design: Hildegard or Peter Delius
Height: 13,5 cm
Diameter (max): 14 cm
Colours: Matte orange coloured glaze
Basemark: Manufacturer's mark (stylised rat-symbol plus H.T.) and number 98
1950s.
Further Information: H. Makus, Keramik der 50er Jahre, S. 402f
Aunt Rebekah holding her new nephew, Hendrix, while Haidyn plays with his hair. I have some better ones of aunt and nephew that I probably post later, but I love the bonds being formed here.
Former Rouen (France) and "Rapides de Touraine" n°92, Renault SC10 U.
Renault SC10 U ex-Rouen et ex-"Rapides de Touraine" n°92.
Directions scanned from General Printing, by Cleeton & Pitkin, 1953, McKnight & McKnight Publishing Company, Bloomington, IL, in which are described the steps one would take toward tying a standing form of lead type used in letterpress printing.
Artist: Henry Moore
Title: Large Interior Form
Materials: bronze
Snape Maltings
Snape, Suffolk, England, UK
Alessandra Ambrosio Form Sırları
Kusursuz vücudu ile Victoria’s Secret meleği Alessandra Ambrosio, yoğun spor programı uygulayarak ve sağlıklı beslenerek formda kalıyor.
Ünlü manken uzun ve sıkı kaşlar sahip. İnce vücut yapısını haftanın üç günü yaptığı pilatese borçlu. Aynı zamanda da her...
Nel caseificio con le forme di parmigiano danneggiate dal terremoto in Emilia bit.ly/ricostruireEmilia
Navaratri celebrates the nine forms of Goddess Durga.
On the second night, Goddess Brahmacharini Devi is venerated. She shows us the importance of our spiritual practice and how the discipline of doing it every day is an expression of devotion to the Divine. She is depicted as standing on Her on own two feet, which symbolises Her grounded nature despite Her constant meditation. She also reminds us that our practices do take time, so Brahmacharini Devi is also considered the Goddess of patience.
Every night of Navaratri we perform a Guru-puja, Kalash-puja, yajna, abhishekam, and arati, as well as satsangs from different speakers and Gurudev Himself. This night, however, is always a special reminder and acknowledgement for the Brahmacharis and Brahmacharinis of Bhakti Marga around the world who have dedicated their lives to serving Gurudev and His mission.
Tonight featured a satsang on the Divya Prabandham, a traditional Indian dance performance by four young girls of our Bhakti Marga community here in Springen, and Gurudev continued His commentary on the Mukunda Mala Stotram.
paramahamsavishwananda.com
bhaktimarga.org
LUNA LLENA CON ALTO CONTRASTE DESDE HUANCAYO PERÚ 14/10/19
Mosaico formada por 2 imagenes de 1500 cuadros cada una.
©Jose & Hugo Santivañez M.Leslie Quiroz
Observatorio y Planetario Discovery Perú
Celestron CPC 11 F/6.3 + ASI 294Mc Pro
Huancayo, Perú 14/10/19 - 7:17 UT
Firecapture, SIRIL, Registax6, PixInsight 1.8, Photoshop CS6, Fitswork4.
¿De qué color es la Luna?
Desde el suelo terrestre, el color de la luna es de un color pálido, con tonos plateados y grises, sin embargo, estos colores no son exactos, y la verdad es que se pueden encontrar aún más colores muy diferentes a estos. La Luna está compuesta por miles de minerales y todos poseen colores y tonos diferentes.
Colores de la Luna desde la Tierra
El color de la Luna tiende a variar dependiendo desde que parte del planeta Tierra se observe, o incluso si no se observa desde la Tierra. Desde el hemisferio norte la Luna suele obtener un color plateado con tonos blancos y algunas zonas oscuras, en otras zonas puede llegar a tener un color amarillento como el queso e incluso en los océanos puede verse con tonos azulados.
También el color suele variar si se la persona, desde la Tierra, se encuentra más cercano al horizonte, pues torna a colores rojizos, esto causado por el efecto de dispersión de Rayleigh.
Los colores de nuestro satélite varían todo el tiempo, también dependiendo de la altura en que esté, y de la luz que refleje, sin embargo estos colores son tan solo una apariencia, son los que vemos desde la Tierra, pero no nunca son los verdaderos tonos que posee la Luna.
Composición
El color de la Luna tiende a variar también por zonas, dependiendo de la composición y de los minerales que se han de encontrar allí.
El satélite está compuesto por diferentes elementos tales como el oxígeno, el silicio, el magnesio, el hierro, el calcio y el aluminio. Estos poseen diferentes colores, y también tienden a cambiar de color de acuerdo al estado donde se encuentren, por ejemplo, la gran acumulación de hierro puede otorgarle colores rojizos y tonos azulados si se trata de titanio.
La superficie lunar también está compuesta por diferentes tipos de rocas que poseen un color específico y muy diferente al gris. Por ejemplo, las rocas fedespatos plagioclasas, que poseen colores pálidos, o unas mucho más oscuras llamadas piroxeno.
Está plagada de rocas volcánicas, que poseen variedad de colores por sus compuestos que van desde el rosado hasta el verde.
En los mares lunares, como en el de la Serenidad y en el de la Tranquilidad se pueden encontrar colores totalmente diferentes en la frontera de las mismas, pues pasa de un color rojizo a uno azulado de manera drástica, esto debido a la composición de las rocas de la zona.
Verdadero color de la Luna
La Luna no tiene un color específico, tal como lo tiene Marte que es rojizo, o la Tierra que tiene azul y verde. Nuestro satélite está compuesto por miles de colores, todos de diferentes tonalidades y muy diferentes a otros.
Sin embargo, de lo que si se puede hablar es del color predominante, pues el marrón es el color que más se encuentra presente dentro de la superficie lunar, acompañado de diferentes tonos más claros y más oscuros.
Un marrón grisáceo es el mayormente visible en fotos tomadas de la superficie de la Luna, aunque es fácil percibir los variantes de tonos a rojizos, azulados o verdosos en lugares específicos.
Fuentes:
misistemasolar.com/color-de-la-luna/
www.futuro360.com/data/fotografo-logra-captar-los-verdade...
Featured Image from Sonata Series
Sonata concentrates on seeing rather than looking. In our waking-state, we look at things all the time but consciously unless chosen to do we make the effort to see. This on-going series concentrates on the elements of design ; color, line, shape texture form and pattern. Each image composes of a singular point of interest to achieve photographic satisfaction. Here the visible, mundane & overlooked has its moment.
Nkosi.artiste@gmail.com
ABOUT THE ARTIST
Chance Nkosi Gomez known initiated by H.H Swami Jyotirmayanda as Sri Govinda walks an integral yogic path in which photography is the primary creative field of expression. The medium was introduced during sophomore year of high school by educator Dr. Devin Marsh of Robert Morgan Educational Center. Coming into alignment with light, its nature and articulating the camera was the focus during that time. Thereafter while completing a Photographic Technology Degree, the realization of what made an image “striking” came to the foreground of the inner dialogue. These college years brought forth major absorption and reflection as an apprentice to photographer and educator Tony A. Chirinos of Miami Dade College. The process of working towards a singular idea of interest and thus building a series became the heading from here on while the camera aided in cultivating an adherence to the present moment. The viewfinder resembles a doorway to the unified field of consciousness in which line, shape, form, color, value, texture all dissolve. It is here that the yogi is reminded of sat-chit-ananda (the supreme reality as all-pervading; pure consciousness). As of May 2024 Govinda has completed his 300hr yoga teacher training program at Sattva Yoga Academy studying from Master Yogi Anand Mehrotra in Rishikesh, India, Himalayas. This has strengthened his personal Sadhana and allows one to carry and share ancient Vedic Technology leading others in ultimately directing their intellect to bloom into intuition. As awareness and self-realization grows so does the imagery that is all at once divine in the mastery of capturing and controlling light. Over the last seven years he has self-published six photographic books, Follow me i’ll be right behind you (2017), Sonata - Minimal Study (2018), Birds Singing Lies (2018), Rwanda (2019), Where does the body begin? (2019) & Swayam Jyotis (2023). Currently, Govinda is employed at the Leica Store Miami as a camera specialist and starting his journey as a practitioner of yoga ॐ
from my set: Forms & Colors > www.flickr.com/photos/fsimages/sets/72157616294042748/
All rights reserved - copyright © Frank Smout
100422-2610
Hall of Fame and Bavaria at the Theresienwiese
The Hall of Fame and Bavaria form the most famous landmarks on the edge of the Theresienwiese and are well worth a visit.
The Hall of Fame and Bavaria form on the Theresien height an ensemble in style of the ancient Acropolis in Athens, which was commissioned by King Ludwig I there. Together with his architect Leo von Klenze King Ludwig I shaped the cityscape of Munich like no other. He was a friend of the monasteries and the academic spirit, and he turned his attention to painting and poetry.
As crown prince Ludwig after the death of his father in 1825 took over the throne of Bavaria he was already dreaming of his "Athens on the Isar" with monumental squares and buildings. Whereas his childhood and youth was influenced by the French Revolution and the subsequent Napoleonic wars, as crown prince he longed for a "Bavarian of all tribes" and a "bigger German nation." In this phase, Ludwig was planning a patriotic monument in the capital city of Munich and for this purpose he already in 1809 by historian Lorenz Westenrieder he had made a list of famous Bavarian representatives of all classes and professions. Approximately 20 years later this list was on his behalf by his Interior Minister Eduard von Schenk - in the meantime Ludwig was King of Bavaria - renewed and expanded.
For the tender for a Hall of Fame above the Theresienwiese with space for 200 busts King Ludwig I invited the best and most prestigious builders of those times:
Friedrich von Gärtner,
Leo von Klenze,
Joseph Daniel Ohlmüller and
Georg Friedrich Ziebland.
Hall of Fame after the scetch of Leo von Klenze
Design by Leo von Klenze
As the court master builder of that time of the king, Leo von Klenze had significant advantages because he on the one hand with the wishes of his client was very familiar and on the other hand also could examine the designs of its competitors in detail. Therefore, it is not surprising that the design of Klenze won the tender of the Hall of Fame in March 1834. He planned the Hall of Fame with a Doric portico in the background and a colossal statue in the foreground.
The construction of the Hall of Fame in the years 1843-1853 actually took place according to the planning of Klenze. After completion of the Hall of Fame, in 1853 the busts of 74 especially venerable Bavarians were set up, in 1868 another 10 were added. The bust of King Ludwig I was only in 1888 in the Hall of Fame erected to commemorate his 100th birthday and supplemented with the following inscription:
"To King Ludwig I to celebrate his 100th birthday, the grateful Munich."
The Hall of Fame itself is 68 meters long, 32 meters wide and stands on a 4.3 meter high pedestal. The roof is supported by the back wall and 48 Doric columns that have a height of about 7 meters and a diameter of 1.25 meters.
Since the Hall of Fame and the in it set up busts in 1944 during an air raid in WW2 were severely damaged, it was not until 1966 when the Bavarian Council of Ministers decided the reconstruction of the Hall of Fame and the continuation of honouring of Bavarian personalities by setting up of their busts. The renovation was completed in 1972 and the Hall of Fame on 26 October 1972 with the preserved and renovated busts could be reopened.
For the selection of the personalities the Bavarian Council of Ministers is responsible, which is advised by a committee of experts from the Bavarian Ministry of Culture, the Bavarian Academy of Fine Arts, the Bavarian Academy of Sciences, the Bavarian Palace Department, the House of Bavarian History, the Bavarian Ministry of Finance and the LMU (Ludwig Maximilian University).
Bavaria © 2009 Bavaria
The colossal statue of Bavaria forms an artistic unity with the Hall of Fame in the background. The first sketches of Bavaria von Klenze already in his design of the whole ensemble on the model of ancient colossal statues of antiquity had produced. It was modeled after the Colossus of Rhodes, the statue of Zeus of Phidias and especially the Athena Parthenos. Theoretically, it is even possible that a part of the bronze for the Bavaria was once part of the Colossus of Rhodes. After Klenze was awarded the contract for the construction of the ensemble consisting of Hall of Fame and Bavaria, he made more sketches on the Greek model.
Since the statue should be cast according to both of Klenze`s ideas and Ludwig`s wishes in bronze, he included the sculptor Ludwig Schwanthaler, the ore caster Johann Baptist Stiglmaier as well as whose nephew Ferdinand von Miller in the further design and manufacture of the Bavaria statue. While Schwanthaler with his first sketches still held to the classical model in the sense of Klenze, he gave the statue in the further course of his designs increasingly a "Germanic" appearance with typical "German" character. The head and the raised hand he adorned with a wreath of oak and at her side appeared the drawn sword as a sign of her ability to defend herself. At her feet placed Schwanthaler a lion, that always have served as heraldic animal of the Wittelsbach.
The manufacturing of the final designs for the Bavaria statue followed in the years 1839 to 1843. Schwanthaler however the beginning of the foundry did not live because he shortly before that died in April 1844. As first thing, the head of Bavaria was cast in September 1844, in January and March 1845 followed the arms, on 11 October 1845, the breast piece. The last major casting for the bottom part took place on 1 December 1849. The erection and unveiling of Bavaria occurred during Oktoberfest (Munich Beer Festival) 1850. The cost for the production of the statue Ludwig after his abdication as king of Bavaria on 20 March 1848 largely paid from private sources. A special feature of Bavaria is the spiral staircase in its interior, where you can climb up into her head to enjoy from there an incomparable view of the Oktoberfest.
bavarianspaces.de/veranstaltungen/oktoberfest/ruhmeshalle code ...
Forming one of 20 services running as a short-form on the AGA network this evening, Abellio Greater Anglia Class 379 EMU 379015 is seen standing at Stansted Mountfitchet during the working of 1B90 15:55 London Liverpool Street to Stansted Airport 16/04/15
© Catedrales e Iglesias
MUSEO VIRREINAL
1892 Ex Convento Franciscano y Parroquia de San Miguel Arcángel (Zinacantepec) Estado de México
Museos
El museo cuenta con una valiosa colección de libros y misales, con los que se ha integrado una biblioteca.
De esta forma el ex-convento franciscano de Zinacantepec, que se supone se inició su edificación, antes de 1550 y su consagración por 1560 o 1570 aproximadamente, representa un valor histórico religioso que los habitantes del municipio mucho valoran como parte de su patrimonio y que el gobierno federal con fecha 6 de septiembre de 1933 lo declaró monumento nacional.
Museo de Arte Virreinal. Ubicado en pleno zócalo del municipio de Zinacantepec, al que se puede llegar por vía terrestre, partiendo de la ciudad. de Toluca, o de las vías terrestres de los pueblos circunvecinos, ideal para conocer la actividad evangelizadora de los franciscanos a los grupos indígenas.
Museo Virreinal de Zinacantepec
Zinancatepec, palabra de origen náhuatl que significa en este lugar se encuentra el ex-convento de la orden franciscana, establecido en la Nueva España en el siglo XVl, cuya construcción fue solicitada al virrey y por el encomendero Juan Sámano, quien estaba a cargo del gobierno de esta población.
El Museo virreinal fue inaugurado el 5 de Julio de 1980, por el entonces Presidente de la República mexicana, Lic. José López Portillo, con el objeto de difundir entre la población el ambiente y la vida conventual de los franciscanos durante la época virreinal, asimismo mostrar las características del arte religioso de los siglos XVI al XIX. El Museo cuenta con 18 salas, entre ellas el Bautisterio, en este espacio se encuentra la pila bautismal, la cual es monolítica, del siglo XVI y pone de manifiesto la mano de obra índigena, arte tequitqui, la pila presenta en su borde superior un cordón franciscano, más abajo una leyenda en lengua náhuatl qué explica: esta pila fue hecha en el año de 1581. Tiene cuatro medallones con temas bíblicos "La lucha del arcángel San Miguel con Luzbel", el "Bautismo de Jesús". La capilla abierta surge para contrarrestar la renuencia de los índigenas a celebrar sus cultos y ceremonias en interiores, los sacerdotes oficiaban las actividades religiosas en este sitio. El altar, consta de pinturas al fresco realizadas en el siglo XVI con imágenes de San Francisco de Asís. Las pinturas son de estilo renacentista. Anteportería, en la parte superior, encontramos el fresco del árbol geneológico de "San Francisco de Asís". La portería, da acceso al claustro bajo, conserva frescos de estilo mudejar (Arte Arabé). El Anterrefectorio, se aprecia un lavabo empotrado, de piedra, donde se aseaban antes de tomar sus alimentos en el refectorio. En la cocina, se encuentra una chimenea de estilo medieval y junto a ella tenemos la Alacena, donde guardaban semillas. Claustro Alto, aquí se ubican celdas dos de ellas eran para visitas importantes, pues son las más amplias, en ellas existen pinturas de los siglos XVI al XIX, casi todas ellas anónimas, excepto la pintura del artista Andrés de la Concha, en estos espacios también se conservan frescos del siglo XVI.
Sala de Virreyes, hay 60 óleos de los virreyes que gobernaron durante la época de la Nueva España, son copias de los originales que se encuentran actualmente en el Museo de Historia, en Chapultepec, su autor es Horacio. Biblioteca, se resguardan 4,800 volúmenes, todos escritos en latín y español antiguo, sus temas son religiosos, algunos conservan sellos de diversas órdenes religiosas.
El Museo Virreinal de Zinacantepec, fue construido entre 1550 y 1560, alguna vez fue el convento que albergó a los primeros hombres religiosos que iniciaron la evangelización entre el pueblo indígena a través del catecismo.En el interior del convento que desde el 5 de julio de 1980 funciona como Museo se puede apreciar la existencia de lugares especiales para la elaboración de pan, esto porque los franciscanos no sólo impartían la religión mediante los misales, sino que se apoyaban en la comida que compartían con el pueblo para que éstos se sintieran atraídos", dijo Vilchis.La construcción franciscana, de dos plantas terminadas con piedra negra, cal y tezontle, comentó, es uno de los tres centros más importantes de esta orden católica que arribó al Estado de México, los otros dos son Los Portales en Toluca y el que se encuentra en Metepec."Este ex convento y hoy museo, no sólo es importante por su arquitectura, por su capilla abierta, su anteportería, su portería, claustro bajo y sala de 'profundis' donde los franciscanos velaban a sus muertos o su anterefectorio y refectorio, que servían para mantener los alimentos perecederos en buen estado, sino también por la actividad cultural y religiosa que tenían."El acervo en cuanto libros que tiene este Museo, de un periodo de 1500 a 1800 lo hacen uno de las colecciones más importantes de libros franciscanos porque se tienen alrededor de 4 mil 800 títulos, que hablan sobre misales, vidas de santos y colecciones de otras órdenes como la de los carmelitas, dominicos y agustinos", afirmó.Actualmente el Museo Virreinal forma parte de los puntos más interesantes de esta región, junto con la Parroquia de San Miguel Arcángel, donde la gente realiza sus ceremonias religiosas como bodas, bautizos, quince años y presentaciones que forman parte de su vida diaria siempre apegada a la herencia de parte de los franciscanos
© Photo by Tasos Tsoukalas
www.facebook.com/pages/Tasos-Tsoukalas-Photography-/29358...
e-mail : t.tsoukalas1978@yahoo.com
We had to create tension in our form and structure project.
My background is Mennonite, and all my life I have not really understood what that meant. All my friends are from well-known descents, that don't need to be described, for example: British, Irish, German, Spanish, Dutch, etc.
But no one really knows what Mennonite is. And neither did I. Not well enough to explain it, and really I still don't.
So this is my tree, depicting my feelings towards my heritage. I used encyclopedias, cutting out words from the section describing Mennonites, as well as other not well known religions/backgrounds, and hung them precariously from the branches. The base of the tree is pages from well-known religions.
This statue is one of hundreds at Caesars Palace in Las Vegas.
If you would like a print of this photo, go to:
fineartamerica.com/featured/the-male-form-paul-mashburn.html
The beautiful white form of this now nationally rare wet meadow flower. Unusually it is in the majority at this reserve. Other shots below show the extent of them on the reserve. Upper Waterhay, Wiltshire Wildlife Trust Reserve, Nr. Cricklade, Wiltshire, UK. 2017-04-10.
Collaboration with Nadya Prilutskaya
www.flickr.com/people/35165895@N03/
The object is made for Exhibition called "Transformation". Constructed from natural elements it shows transformation states of a tree - grass, timber, paper, ash.