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Located on the grounds of the New York Hall of Science, this distinctive sculpture, dating to 1964, is by the modernist sculptor Theodore Roszak (1907–1981). It was commissioned as part of the permanent sculptural program of the New York World’s Fair of 1964-65.
Forms in Transit is a 43-foot long sculpture of aluminum and steel tubes and sheet metal. It suggests an aircraft, with fuselage and wings, but it is also meant to embody the concept of motion and change. The work is in keeping with one of the central themes of the fair, space exploration, and complemented several other significant features in the park, such as The Rocket Thrower statue, Court of Astronauts, Fountain of the Planets, Space Park and The Unisphere.
Portions of a damaged wing were removed in 1970. Though environmental corrosion is evident, some of the patchy, blistered surface of the sculpture appears to be original to the piece, and intended to suggest the incendiary voyage of the vessel as it passes at rapid speed through the atmosphere.
This is not the statues original location, although it is close to it. It was originally in the vicinity of the Chrysler and Transportation & Travel Pavilions, about 1/10 mile to the south.
Geometric Forms, Alexandra Wejchert. Polished stainless steel and consists of six identical elements connected at the centre. Each of the semi-crescent elements is cut from a 6mm flat plate with the edges stiffened by 200 x 100mm plates welded to it. 7.0m x 4.5m - Located in front of the Robert Schuman Building
This Polishing Disc is glued to a wooden Spindle (sawn off broom handle) which is mounted off centre. Used at slow speeds for final polishing.
All photos in this gallery are all rights reserved. If you want to use any of them, please send an email before. Thanks for collaboration.
There is a sound of thunder afar,
Storm in the South that darkens the day!
Storm of battle and thunder of war!
Well if it do not roll our way.
Storm, Storm, Riflemen form!
Ready, be ready against the storm!
Riflemen, Riflemen, Riflemen form!
Be not deaf to the sound that warns,
Be not gull’d by a despot’s plea!
Are figs of thistles? or grapes of thorns?
How can a despot feel with the Free?
Form, Form, Riflemen Form!
Ready, be ready to meet the storm!
Riflemen, Riflemen, Riflemen form!
Let your reforms for a moment go!
Look to your butts, and take good aims!
Better a rotten borough or so
Than a rotten fleet and a city in flames!
Storm, Storm, Riflemen form!
Ready, be ready against the storm!
Riflemen, Riflemen, Riflemen form!
Form, be ready to do or die!
Form in Freedom’s name and the Queen’s
True we have got—such a faithful ally
That only the Devil can tell what he means.
Form, Form, Riflemen Form
Ready, be ready to meet the storm!
Riflemen, Riflemen, Riflemen form!
They want this fast and they want a photo that looks like the location they're going. Is this horrible? Obviously, the title just a place holder. Have to print this tomorrow. Thanks.
Form 5 Confirmation Mass 2021
English session 1
16 Confirmants
Celebrated by Father Andrew Wong
Universal Prayer
© All Rights Reserved - No Usage Allowed in Any Form Without the Written Consent of Connie Lemperle/ lemperleconnie or the Cincinnati Zoo & Botanical Garden
Link to Cincinnati Zoo..............
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Bonobo Male youngster named VJ
Also called the pygmy chimp, the bonobo is slightly smaller than the common chimpanzee. Sharing more than 98% of its DNA with humans, the bonobo is our closest living relative. Like humans, bonobos live in family groups and are highly intelligent. They often stand upright on two feet as we do. Bonobos are capable of making and using tools, a characteristic that once distinguished humans from other animals.
•Like other non-human apes, bonobos have longer arms than legs to make traveling in the trees easier.
•Bonobos create and maintain social bonds through sexual behavior.
•Breaking and folding branches, bonobos make nests in the trees to sleep in at night.
•Bonobos suffer from the bushmeat trade, the poaching and selling of wildlife as meat.
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Fact File
Pronunciation: buh-NOH-boh
Height: 2.3 to 2.8 ft
Weight: 68 to 86 lbs
Lifespan: Up to 40 yrs
Habitat: Tropical rainforest
Diet: Fruit, seeds, leaves, flowers, fungi, eggs, and small animals
Status: Species at Risk (IUCN—Endangered )
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Note
Well it's another week! I have some things to do this morning so I'm hoping I can visit with you all later today. I'm having a lot of trouble with pain from the RSD that I aquired from my hip replacement surgery so it has become hard to sit too long at my computer. I was doing a bit better but now it's acting up for some reason. Maybe it's going to rain. Anyway thanks everyone for stopping by to see my photos. I really appreciate your friendship and support. Have a nice Monday everyone. Hugs ♥♥
P.S.
I couldn't think of a good title so this is it! Lousy isn't it! LOL!
The design of the Merewether Memorial employs the form of an Eleanor Cross and is in the English Medieval style. There are spires which could have served as a basis for the design of this memorial; for example, St. Mary at Bloxham, St. Peter at Kettering, St. Peter at Raunds and Meven St. Mary at Oxford. In fact, each one may have provided an ingredient or two for the design of this fine memorial tower.
Building designers of the time had become increasingly aware of the capabilities of Indian craftsmen, thus the skill and craftsmanship which has been available to medieval builders was also at Strachan's disposal. Strachan was no doubt aware of the intricate carving executed by native craftsmen for the baserellets designed by Kipling for the Crawford Markets and the then under construction Victoria Terminus. The Memorial shows a heightened sensitivity to detailing and an emphasis on carving and decoration, more then my other building designed by Strachan. Whereas the Empress Market's tower is a little squat, the Merewether Tower is elegant and tall, evoking memories of medieval England.
It was named for Merewether, who served as 'Commissioner-in-Sindh' from 1868 to 1877. Richard Burton, on his last visit to Karachi, paid a tribute to his friend while describing the Government House: " It is at present occupied by General Sir William L. Merewether, K.C.S.I. etc.etc.etc. an officer who, by entire devotion to the interests of his province, the scene of his distinguished career during the last thirty-three years, has made epoch' and history" (Burton 1877:1.76) Burton's opinion of Merewether's services were no doubt shared by others. Initially, a pier had been named in memory of the former 'Commissioner-in-Sindh'. Constructed by the Karachi Harbour Board, which had been formed in 1880, the Merewether Pier had cost three lakh rupees (1882). However, it was later decided that a worthy and visible memorial was in order - a memorial tower of such "prominence as to dominate the skyline of the city" to be built by public subscription. The Tower was placed at the confluence of McLeod and Bunder Road, at the extreme western end of the Serai Quarter, an area which was developed into a thriving commercial center concurrently with the rising fortunes of the city. The Memorial took eight years to complete, and was handed over to the Municipality in 1892 by 'Commissioner-in-Sindh' Evan James. The total cost of the structure and its clock was merely Rs. 37,178 compared to the Rs. 180,000 lavished on the much bigger memorial to Bartle Frere, Frere Hall.
The Memorial Tower stands on a platform 44 feet square and rises to a height of 102 feet. It prominently displays the clock placed at the base of the spire, 70 feet from the ground. Each of the clock's four faces is seven feet in diameter. The large bell installed at the time weighed three hundred weight and struck at every hour, while the smaller bells weighed one hundred weight each and marked every quarter of an hour.
Klais guimeti
Colibrí Cabeciazul
La Union de Guapiles
Historia Natural
Reproducción
Los machos forman asambleas de cortejo (leks) alrededor de las quebradas dentro del bosque, o a lo largo de los bordes de bosques secundarios. Cada macho canta durante todo el día y entre 1 y 3 machos defienden el lugar donde se posan en las ramas altas y delgadas.
El nido es construído por la hembra en 4-5 días, es pequeño, con paredes densas y hecho principalmente de musgo verde. Está revestido por debajo con semillas y casi siempre se encuentra pendiendo de una rama o de un bejuco, sobre una corriente de agua sombreada y es menos frecuente encontrarlo en el interior del bosque, lejos de corrientes de agua. Se encuentra a una altura de 1-4.5 m. de altura. Usualmente ponen 2 huevos de color blanco. Se reproduce de enero a abril o mayo .
Alimentación
Visitan flores pequeñas de especies como pastora (Warszewiczia sp.), Stachytarpheta sp., Taetsia sp. y majagua (Hampea sp.).
Comportamiento
Los machos establecen su territorio alrededor de las plantas con las que se alimentan.
Habitat y Distribución
Habitat
Viven en el dosel y los bordes de bosques, bosques secundarios viejos, áreas de cultivos con árboles y arbustos aislados en floración.
Distribución
Es una especie residente relativamente común en las laderas de la vertiente del Caribe y las bajuras adyacentes, principalmente entre los 50 y 1000 m.s.n.m.. Al sur de la vertiente del Pacífico se localiza por arriba de los 300 m.
Distribución fuera de Costa Rica
Se distribuye del norte de Honduras hasta el noroeste de Bolivia y el extremo oeste de Brasil.
Distribución de Area de conservación
Amistad CaribeArenalCordillera Volcanica CentralGuanacasteOsaPacifico CentralAmistad PacificoHuetar NorteTortuguero
Descripción científica
7.5 cm.; 2.8 grs. Es pequeño, con la mancha postocular prominente cuadrada y blanca, y la punta de la cola es clara.
El macho adulto tiene la cabeza azul violeta brillante, incluyendo la garganta; el resto de la región superior es verde bronceado; la cola es más azulada pasando a negro en la región subterninal; la punta de las timoneras laterales son gris claro; el resto de la región inferior es gris ceniza, con manchas verde en los lados. El pico es negro; las patas son fuscas.
La hembra es parecida al macho pero con azul verdoso brillante sólo en la coronilla; la garganta es gris claro; las timoneras laterales tienen la punta blanca opaca más gruesa.
Los juveniles son como la hembra pero con muy poco o nada de azul en la coronilla.
Información taxonómica
Reino: Animalia
Filo: Chordata
Clase: Aves
Orden: Apodiformes
Familia: Trochilidae
Género: Klais
Forming extensive sheets on the trunks of Beech trees in Drumlanrig Castle Estate, Dumfries and Galloway.
Taken inside Harpa, a new concert hall and conference center in Reykjavík. The house opens officially tomorrow with an opening concert. Iceland Symphony Orchestra along with a big choir (which I am part of) will perform Beethoven's Ninth Symphony under Vladimir Ashkenazy's direction.
This is our current design request form. This is revision four or so. I'm looking to redesign it so it includes the right questiions
14th century tower and spire, the rest rebuilt in new forms by Wilson & Willcox of Bath, 1866-8.
Materials: Local limestone tower. 19th century work of Bisley Common stone with Bath stone dressings. Roofs of Broseley tiles in blue and red bands.
Plan: Unusual cruciform plan with equal aisles and generously deep transepts; north and south chapels almost as long as the chancel. South porch, west tower, small SE vestry.
Exterior: The three-stage west tower is 14th century, with diagonal buttresses and fairly small two-light bell openings, part hidden by clock faces. All the openings are unmoulded, with plain chamfers. The stone spire is tall and slim, with a splayed foot; the upper part of the original spire is now in the churchyard. The rest of the church is in a rich if slightly mechanical Geometric Decorated style. The windows have bar tracery and are framed by slim nook shafts with a ring moulding. The south doorway has heavy arch mouldings and triple shafts of contrasting grey stone. From the east, the three windows of the chancel and its chapels, with rich tracery of foiled circles, make a striking contribution to the streetscape.
Interior: The interior is `the best of any High Victorian town church on the Cotswolds' (Verey and Brooks). Five-bay nave with heavily moulded arcades on circular piers of blue Pennant sandstone. The nave has a clerestorey and an open wagon roof. A ribbed panelled roof over the chancel has painted Gothic decoration in green and red on a cream ground.
The foliate capitals are richly treated, with crockets and beading, almost Byzantine in their effect. The carver for all the sculptural work was Joshua Wall, who also designed the roundels in the chancel.
Principal Fixtures: St Laurence has lavish Victorian and early 20th century fittings. By George Gilbert Scott Junior, a reredos of 1872, carved by Morris Geflowski, with high relief panels (Gethsemane, Crucifixion and Deposition) by Edward Geflowski. It was coloured and gilded in 1970. The font and pulpit, both contemporary with the church, are of coloured marbles and alabaster. Chancel floor tiles by Godwin of Lugwardine. Rood screen by W.S. Weatherley, 1910-14; quite light and open, with elaborate cusping in the head of each main light. It has a rib-vaulted cove with brattished cresting, and a built-in tester to the pulpit. Very big rood group. Filling the tower arch, an Arts and Crafts oak screen by Thomas Falconer, 1927, maker Peter Waals, with painting of St George by E.R. Payne, 1929. There is much good stained glass. The good east window is by Heaton, Butler & Bayne, 1866; their windows in the transepts and south aisle south-west have faded badly. Also theirs; the north chapel east, c. 1885 and one in the north aisle, 1914. The south chapel east is by Lavers & Barraud, 1868. The south aisle and tower windows are by Ward & Hughes, 1873-7. An unusual gold and blue window at the west end of the north aisle is by J. Bewsey, 1922. The best monument is that in the south transept to Thomas Stephens, d. 1613. Attributed to Samuel Baldwin of Stroud, Pevsner describes it as a `good provincial imitation of Southwark work': alabaster kneeling effigy at a prayer desk, beneath an arch with Composite columns. Obelisks, strapwork etc. in the surround, with colour and gilding. Around the tower arch, high up, a group of fine Baroque and later tablets. Attached to the outside walls (north side), c. 80 good quality brass inscription plates from 18th century tombstones, many with good lettering, Rococo ornament, etc.
History: The medieval parish church of St Laurence was founded as a chapel-of-ease to Bisley before 1279. A photograph of 1865 just before demolition shows a rather plain aisleless structure with early 19th century alterations. Only the tower and spire survived rebuilding in 1866-8, to a plan which seems to have taken little account of the old building. The new church was consecrated on August 4, 1868. Wilson & Willcox provided a quite urban-looking church in Geometrical Gothic with a slightly French flavour, a recipe they favoured for many of their Bath churches and chapels. A fire in 2005 required the altar to be renewed.
birth Registration for Nationality
Conservatória dos Registos Centrais
‘Declaração para atribuição da Nacionalidade = ‘Statement for attribution of Nationality’ (Machine Translation MT)
La iglesia de Saint Pierre forma parte del Patrimonio de la Humanidad de la UNESCO al ser parte de las iglesias del Camino de Santiago francés. Fue construida en el siglo XII en estilo románico del que destacan sus portadas y su capillas absidiales, posteriormente se construyo la torre en el siglo XIII, ya en estilo gótico.
La portada sur esta construida por cuatro arquivoltas ricamente decoradas que carecen de tímpano. La representación de las figuras obedece a un patrón repetitivo de las mismas figuras donde se presentan las imágenes: humano-animal. La primera, esta decorada con seis animales entre filigranas que representan los viñedos; la segunda, esta esculpida con 24 figuras en distintas posiciones que representan a los Apóstoles y los Profetas, estos, se identifican por los halos sobre las cabezas; la tercera, tiene 31 figuras de frente que representan los Ancianos de la Apocalipsis, aunque eran 24 pero para completar la estética se llena con 7 más que completan la escena; la cuarta, se representan las figuras míticas de la época compuesta de bestias y criatura híbridas. Entre las imágenes que podemos contemplar: un búho, un burro tocando un arpa, una sirena, una esfinge.
El portal oeste es de estilo románico pero de la magnifica decoración con que estuvo decorada no ha sobrevivido a la historia y en el siglo XV fue eliminado.
La fachada principal, los dos portales laterales sufrieron un estrechamiento y se integraron tres arquivoltas apuntadas. El tímpano del portal izquierdo se representa la crucifixión de San Pedro. En el derecho, se interpreta a Cristo entre dos santos, donde aún se puede contemplar parte de la antigua policromía. El portal central tiene cuatro arquivoltas y tres grandes capiteles, carece de tímpano. La primera, se presenta un medallón del Cordero de Dios con ángeles; la segunda, se interpretan las figuras de las virtudes (damas elegantes) y los vicios (demonios vencidos); la tercera, se representan las figuras del zodiaco y los trabajos durante el año en la zona.
El interior es puramente románico, la planta de tres naves desembocan en los ábsides, los enormes pilares destacan sus magníficos capiteles donde se personifican figuras que nada tiene que ver con escenas bíblicas usuales, se representan una colección de mascaras humanas, criaturas medievales, elefantes y follaje.
Exposition
Du 14/06/2017 au 10/09/2017
L’exposition Le Rêve des formes, présentée à l’occasion du vingtième anniversaire du Fresnoy – Studio national des arts contemporains, est conçue comme un paysage imaginaire, un jardin monstrueux où se cultivent des formes périssables et des surfaces en germination, des organismes protubérants et de plates silhouettes.
Les artistes et chercheurs rassemblés dans Le Rêve des formes témoignent de leur rencontre avec de nouvelles possibilités de représentation, issues de découvertes scientifiques et techniques récentes, qui bouleversent notre façon de voir et de montrer. En renouvelant grâce à cela le champ du perceptible – nanotechnologies, imagerie de synthèse, scan 3D, stéréolithographie… –, ces nouvelles visualisations nous laissent présumer de géométries encore inconnues.
Des images, des transcriptions, des modélisations, des formes spéculatives produites par les inventeurs et savants des sciences prospectives, issues des mathématiques, de la physique, de la biologie, de l’optique ou de la chimie par exemple, rejoignent ou inspirent des œuvres qui résultent des greffes opérées entre art et science, entre spéculation et invention, par une vingtaine d’artistes contemporains.
Avec : Francis Alÿs, Hicham Berrada & Sylvain Courrech du Pont & Simon de Dreuille, Michel Blazy, Juliette Bonneviot, Dora Budor, Damien Cadio, Julian Charrière, Sylvie Chartrand, Clément Cogitore, Hugo Deverchère, Bertrand Dezoteux, Mimosa Echard, Alain Fleischer, Fabien Giraud & Raphaël Siboni, Bruno Gironcoli, Spiros Hadjidjanos, Patrick Jouin, Ryoichi Kurokawa, Annick Lesne & Julien Mozziconacci, Adrien Missika, Jean-Luc Moulène, Marie-Jeanne Musiol, Katja Novitskova, Jonathan Pêpe & Thibaut Rostagnat & David Chavalarias, Olivier Perriquet & Jean-Paul Delahaye, Arnaud Petit, Jean-François Peyret & Alain Prochiantz, Gaëtan Robillard, Gwendal Sartre, SMITH & Antonin-Tri Hoang, Anicka Yi