View allAll Photos Tagged forms
Popcorn weathering forms in smectite clay-rich deposits. This material is a weathered bentonite horizon (= volcanic ash deposit). Some of the silicate minerals in the bentonite have been altered to smectite clay (also known as montmorillonite). Smectite is famous for being a "swelling clay" - a significant volume expansion occurs when wet. After drying out, the clay shrinks. Surficial, popcorn-shaped structures form with repeated wetting & drying of some smectitic stratigraphic horizons.
----------------------------
From a park service trail guide:
Bentonite
Fifty-five million years ago, volcanoes in the Rockies spewed out ash that blew east. At that time, this area was a vast, tropical swamp. The ash settled in wet areas and became bentonite clay. Bentonite looks like popcorn when dry, but becomes sticky, slick mud when wet. It can absorb up to five times its weight in water. Known as the mineral of one thousand uses, it is used to seal landfills and ponds, to make cat litter, and much more.
----------------------------
Stratigraphy: Big Blue Bentonite (Big Blue Bed), Sentinel Butte Formation, upper Fort Union Group, Upper Paleocene
Locality: Coal Vein Trail, South Unit of Roosevelt National Park, Little Missouri Badlands, western North Dakota, USA
Port Phillip Bay was formed 7,000 to 10,000 years ago at the end of the last Ice Age, when the sea-level rose to drown what was then the lower reaches of the Yarra River, vast river plains, wetlands and lakes. The Yarra and other tributaries flowed down what is now the middle of the bay, (and what is today the main shipping channel to the Port of Melbourne ), formed a lake in the southern reaches of the bay, dammed by The Heads, subsequently pouring out into Bass Strait through a breakthrough in the sand dunes fronting Bass Strait (known today as "The Heads" )
The Aboriginal people were in occupation of the area long before the bay was formed, having arrived at least 20,000 years ago and possibly 40,000 years ago. Large piles of semi-fossilised sea-shells known as middens, can still be seen in places around the shoreline, marking the spots where Aboriginal people held feasts. They made a good living from the abundant sea-life, which included penguins and seals.
(Acknowledgements to Wikipedia)
These photos show that parts of the sunken land that formed Port Phillip Bay subsequently rose, creating an area of swamps and wetlands known as the Carrum-Carrum swamp. These photos are about 200 metres from residential areas of the Southern Melbourne suburb of Edithvale, and about 2 kms from the current shoreline of Port Phillip Bay.
dead daddy
av•a•tar/ˈavəˌtär/
Noun:
A manifestation of a deity in bodily form on earth
An incarnation, embodiment, or manifestation of a person
In computing, an avatar is the graphical representation of the user
In exploring digital identity and desire, I began thinking about Second Life and the people who utilise the technology as being in some kind of perpetual movement away from death: a denial as such. In Second Life, there is no ageing, no rotting of the flesh. Secondarily there exists an eternal life in these new technologies – from forever live Facebook memorials frozen in time, the gravesites and dead celebrity avatars that still walk this virtual land and the pun of the program name itself. Despite this, every time I log out of Second Life my avatar dies – dissolution of pixels disappearing into the black – only to be reborn, unchanged, at the click of a button. When I die, or kill my Second Life, she will remain a cyber-ghost, forever condemned to the black. Thirdly, when using digital identities we are somehow detached, separated by the false sense of security the safety of the screen gives us.
After working with a number of deceased doppelganger avatars roaming Second Life, dead daddy brings the idea of resurrecting the dead into a more personal space. Commencing with an intimate 3D rebuild of my own dead father, I used my self-portrait avatar to recreate lived or dreamed experiences from my childhood alongside him. Like the avatars themselves though, these experiences were hollow – it was always me operating my father’s avatar, making him speak and move like some sad puppet. Humorous and horrific at once.
Merging rephotographed real life images and Second Life footage of my father’s avatar in a 21st Century ‘exquisite corpse’, this work plays on death, desire, memory, loss and the materiality of the body.
Ariano Suassuna estudou a fundo as formas dos ferros sertanejos a partir do registro de vários ferros familiares feito por um antepassado seu, um fazendeiro da região do Cariri paraibano no século XIX.
(SUASSUNA, 1974).
Boxelder, or Ashleaf Maple - Acer negundo
Distinctive winged seeds starting to form on 7 April 2019 along White Oak Creek Greenway in Chatham County, North Carolina.
This image forms part of the digitised photographs of the Ross and Pat Craig Collection. Ross Craig (1926-2012) was a local historian born in Stockton and dedicated much of his life promoting and conserving the history of Stockton, NSW. He possessed a wealth of knowledge about the suburb and was a founding member of the Stockton Historical Society and co-editor of its magazine. Pat Craig supported her husbandâs passion for history, and together they made a great contribution to the Stockton and Newcastle communities. We thank the Craig Family and Stockton Historical Society who have kindly given Cultural Collections at the University of Newcastle, NSW, Australia, access to the collection and allowed us to publish the images. Thanks also to Vera Deacon for her liaison in attaining this important collection.
Please contact Cultural Collections at the University of Newcastle, NSW, Australia, if you are the subject of the image, or know the subject of the image, and have cultural or other reservations about the image being displayed on this website and would like to discuss this with us.
Some of the images were scanned from original photographs in the collection held at Cultural Collections, other images were already digitised with no provenance recorded.
You are welcome to freely use the images for study and personal research purposes. Please acknowledge as âCourtesy of the Ross and Pat Craig Collection, University of Newcastle (Australia)" For commercial requests please consider making a donation to the Vera Deacon Regional History Fund.
These images are provided free of charge to the global community thanks to the generosity of the Vera Deacon Regional History Fund. If you wish to donate to the Vera Deacon Fund please download a form here: uoncc.wordpress.com/vera-deacon-fund/
If you have any further information on the photographs, please leave a comment
This image forms part of the digitised photographs of the Ross and Pat Craig Collection. Ross Craig (1926-2012) was a local historian born in Stockton and dedicated much of his life promoting and conserving the history of Stockton, NSW. He possessed a wealth of knowledge about the suburb and was a founding member of the Stockton Historical Society and co-editor of its magazine. Pat Craig supported her husbandâs passion for history, and together they made a great contribution to the Stockton and Newcastle communities. We thank the Craig Family and Stockton Historical Society who have kindly given Cultural Collections at the University of Newcastle, NSW, Australia, access to the collection and allowed us to publish the images. Thanks also to Vera Deacon for her liaison in attaining this important collection.
Please contact Cultural Collections at the University of Newcastle, NSW, Australia, if you are the subject of the image, or know the subject of the image, and have cultural or other reservations about the image being displayed on this website and would like to discuss this with us.
Some of the images were scanned from original photographs in the collection held at Cultural Collections, other images were already digitised with no provenance recorded.
You are welcome to freely use the images for study and personal research purposes. Please acknowledge as âCourtesy of the Ross and Pat Craig Collection, University of Newcastle (Australia)" For commercial requests please consider making a donation to the Vera Deacon Regional History Fund.
These images are provided free of charge to the global community thanks to the generosity of the Vera Deacon Regional History Fund. If you wish to donate to the Vera Deacon Fund please download a form here: uoncc.wordpress.com/vera-deacon-fund/
If you have any further information on the photographs, please leave a comment.
Artist: Dame Barbara Hepworth
Title: Single Form (Eikon)
Material: bronze
Tate Liverpool
Albert Dock
Liverpool, Merseyside, England, UK
Positive Runway Global Catwalk African Fashion Show African Ambassadors & Diaspora Interactive Form AAIF United Nations buildings International Maritime Organization HQ IMO London.
The Secondary school at Buttershaw has had a number of name changes since its opening in 1956.
In 1956 it opened as Buttershaw Secondary School , since then it has been Buttershaw Comprehensive, Buttershaw Upper School and Buttershaw High School. Currently it enjoys the name of Buttershaw Business and Enterprise College.
The original 1956 buildings were extended in the early 1960. Further building work continued during the 70’s 80’ and 90’s.
In 2008 the new building was opened and the old building demolished.
Form nhỏ. Hãng này chuyên đồ cưới và evening nên chuẩn lắm (ra tiệm áo cưới Vivian đường 3/2, toàn đồ hãng này). Lót cực đẹp, có đệm ngực. Đen trắng đan xen làm eo ót vô cùng. Size 10 nhỏ nên trầm 55kg trở lên là OK rồi
This image forms part of the digitised photographs of the Ross and Pat Craig Collection. Ross Craig (1926-2012) was a local historian born in Stockton and dedicated much of his life promoting and conserving the history of Stockton, NSW. He possessed a wealth of knowledge about the suburb and was a founding member of the Stockton Historical Society and co-editor of its magazine. Pat Craig supported her husband’s passion for history, and together they made a great contribution to the Stockton and Newcastle communities. We thank the Craig Family and Stockton Historical Society who have kindly given Cultural Collections at the University of Newcastle, NSW, Australia, access to the collection and allowed us to publish the images. Thanks also to Vera Deacon for her liaison in attaining this important collection.
Please contact Cultural Collections at the University of Newcastle, NSW, Australia, if you are the subject of the image, or know the subject of the image, and have cultural or other reservations about the image being displayed on this website and would like to discuss this with us.
Some of the images were scanned from original photographs in the collection held at Cultural Collections, other images were already digitised with no provenance recorded.
You are welcome to freely use the images for study and personal research purposes. Please acknowledge as “Courtesy of the Ross and Pat Craig Collection, University of Newcastle (Australia)" For commercial requests please consider making a donation to the Vera Deacon Regional History Fund.
These images are provided free of charge to the global community thanks to the generosity of the Vera Deacon Regional History Fund. If you wish to donate to the Vera Deacon Fund please download a form here: uoncc.wordpress.com/vera-deacon-fund/
If you have any further information on the photographs, please leave a comment.
The Kamakshi Temple is a famous Hindu temple dedicated to Kamakshi, one of the forms of the goddess Parvati. It is located in the historic city of Kanchipuram, near Chennai, India and is popularly associated with Sankaracharya, one of the greatest Hindu gurus. The Meenakshi Temple in Madurai, the Akilandeswari temple in Thiruvanaikaval near Tiruchirappalli and this Kamakshi are the important centers of worship of Parvati as the mother goddess, in the state of Tamil Nadu. The temple was most probably built by the Pallava kings, whose capital was Kanchipuram, around 6 C.E.
The main deity, Kamakshi, is seated in a majestic Padmasana, an yogic posture signifying peace and prosperity, instead of the traditional standing pose. The goddess holds a sugarcane bow and bunch of flowers in the lower two of her arms and has a pasha (lasso), an ankusha (goad) in her upper two arms. There is also a parrot perched near the flower bunch. There are no other Parvati temples in the city of Kanchipuram, apart from this temple, which is unusual in a traditional city that has hundreds of traditional temples. There are various legends that account for this fact. One of them according to Kamakshivilasa is that the Goddess had to absorb all the other shakthi forms to give a boon to Kama, the Hindu god of love. Another legend attributes it to the Raja Rajeswari pose of the deity that signifies an absolute control over the land under the deity's control. Legend has it that Kamakshi offered worship to a Shivalingam made out of sand, under a mango tree and gained Shiva's hand in marriage.
FESTIVALS
Four worship services are offered each day. The annual festival falls in Spring, in the Tamil month of Masi, which runs from mid-March to mid-April. During this time the chariot festival (Ther) and float festival, (Theppam) are held. Other festivals include Navaratri, Aadi and Aippasi Pooram, Sankara Jayanthi and Vasanta Utsavam in the Tamil month of Vaikasi. All Fridays are considered sacred, though the Fridays in the Tamil months of Adi (mid-July to mid-August) and Thai (mid-January to mid-February) are celebrated.
THE OLD KAMAKSHI DEVI TEMPLE
The original Kamakshi Devi Temple is what is now known as Adi Peeteswari or the Adi Peeta Parameswari. This temple is just adjacent to the Kumarakottam, and is near to the Kamakshi Devi temple.
Adi Shankaracharya, the famous 8th-century CE scholar and saint, established the Sri Chakra at this original Kamakshi Devi temple in the trough-like structure in that shrine. This Sri Chakra soon became the All India famous Kamakoti Peeta. The Acharya's Lalitha Trishati Bhashya comments Kamakoti Peetam as Sri Chakra.
The Acharya changed the fierce form of worship into a sowmya form. The Devi in this original Kamakshi temple is called by various names like Kirtimati, Devagarbha in extant Tantric works like Tantrachudamani. She has four hands containing in each of them respectively, Ankusa, PAsa, Abhaya and a Kapala. This description corresponds to those extant old tantric works. Further, Girvanendra Saraswathi describes precisely this swaroopa as Kameswari.
Sundaramurthi Nayanar, the Saiva saint of the 12th century is aware of the Kamakottam. He in fact mentions that the Kamakottam has come in existence just at that time.
THE MODERN KAMAKSHI DEVI TEMPLE AT KANCHI
The Siruthondar Puranam of Sekkilar Peruman, written during this time, is aware of both the temples and mentions the original temple as the Yoga Peeta and the present Kamakshi devi temple as Bhoga peetam. The reference to the present Kamakshi Devi as Aram Purappaval (bestower of boons)by Sekilar Peruman is noteworthy, as the present name of the street in which this new temple is located in Kanchipuram is called Arapanak Ara Theru.
The present Kamakshi temple too, has a Sri Chakra which was established during the 16th Century by NrusimhAdvari, of the famous dathamAnji family. There is a stone inscription inside the new temple, near this Sri Chakra, which states this fact. It is noteworthy that Arunagirinathar a 15th Century Tamil Saint, sings in praise of the Goddess as devi of dark emarald complexion and the mother of Muruga of Kumarakottam. The Original Kamakshi Devi temple i.e. Adi PeeteswariKamakshi Devi temple is just adjucant to the Kumarakottam. Arunagirinathar mentions the Sri Yantra in the Kamakshi Devi temple, which can apply, during the 15th century, only to the original Adi Peeteswari Kamakshi Devi, which contained the Sri Chakra installed by Adi Shankara. Arunagirinathar does not make any reference to the new temple.
Also noteworthy is the fact that this new temple's legend considers the Bangaru Kamakshi at Thanjavur as Dharmadevi This is the metallic counterpart of the stone image of Dharmadevi, which is at present at Thiruparuthikunram (Jina Kanchi) to where it was removed from this present Kamakshi (Tara Devi) temple after the conversion of the Jain Tara Devi temple into Hindu Sakta tradition has become stronger. There is a stone inscription at the Jina Kanchi temple which explains this fact. There are strong evidences that Dharadevi was worshipped in the present day main shrine.
THE KANCHI KAMAKSHI AMMAN TEMPLE AS A
SHAKTI PEETH
The mythology of Daksha yaga and Sati's self immolation is the main theme in the origin of Shakti Peethas.
Shakti Peethas are divine temples of Adiparashakti. The cause of the presence of Devi's presence is due to the falling of body parts of the corpse of Sati Devi. The eyes/back of Sati Devi is believed to have fallen here. There are 51 Shakti Peeth linking to the 51 alphabets in Sanskrit. There are also arguments that the old Kanchi temple is the Shakti peetha, where Sankaracharya has installed the Shri Chakra. It is reverred world wide as Kanchi Kamakoti Peetham.
TIRUKKALAVANUR
In the shrine of Kamakshi Amman close the sanctum, the Tirukalavanur Divya Desam, the temples dedicated to Lord Vishnu glorified by the 7th-10th century alwars (Tamil saint poets) is present. The temple faced west went to ruins and the deity is now placed inside the Kamakshi Amman temple. There are shrines over the vimana.
WIKIPEDIA
Water & Form: clay, fiber and encaustic by Emily Miller
Oct. 6 - Nov. 17, 2017
510 Museum & ARTspace, Lake Oswego, Oregon
General Ignacio Zaragoza
El panteón formaba parte de un convento franciscano, fundado en el siglo XVIII destinado a sepultar exclusivamente a los franciscanos. En 1835 fue declarado por la ciudad como cementerio público,lo cual explica que se encuentren ahí sepultados personajes de la vida política, cultural y social de la época.
Con las Leyes de Reforma de 1860, una parte del antiguo convento fue derribado, se conservaron la iglesia y el panteón donde descansan los restos de los hombres ilustres como Benito Juárez que fue el último personaje inhumado ahí.
En 2006 el gobierno de la ciudad publicó un acuerdo para crear el Museo Panteón de San Fernando que quedó adscrito a la Secretaría de Cultura encargada de su administración y del impulso
de su programa cultural.
Ubicación:
Plaza de San Fernando 17, entre Guerrero y Héroes
Col. Guerrero
CP 06300, Cuauhtémoc, Distrito Federal
Tels. (55) 5518 4736
Forming the 15.54 empty stock run from York's Siemens traincare depot to Leeds station, First Trans Pennine-liveried three-car Class 185 'Desiro' DMU 185 101 speeds past Askham Bar during the early stages of its journey. The booked route is via Castleford. @16.11
Elaphoglossum paleaceum (Hooker and Greville) Sledge
Hawaiian names: māku`e
Family: Dryopteridaceae
The native range of E. paleaceum includes the Hawaiian Islands, where it has been recorded from Kaua`i, O`ahu, East Moloka`i, Lāna`i, Maui (West Maui and East Maui), and the island of Hawai`i.
Elaphoglossum paleaceum in the Hawaiian Islands may consist of more than one taxon.
Formed in 1916:
trove.nla.gov.au/work/233918737?keyword=%22gallipoli%20st...
Newspaper article about this visit to Warrnambool:
trove.nla.gov.au/newspaper/article/74027578?searchTerm=%2...
Agnontas ist Fischerhafenidylle in seiner reinsten Form.
Die bunten Boote im Fischerhafen von Agnontas wiegen sich sanft in den Wellen und laden zum Träumen ein. Direkt am Wasser gibt es einige Tavernen mit hervorragendem fangfrischen Fisch. Gelegenlich kann man sogar zusehen wie die Fischer mit Harpune und Schorchelausrüstung auf die Jagd gehen.
Die bunten Boote im Fischerhafen von Agnondas wiegen sich sanft in den Wellen und laden zum Träumen ein. Direkt am Wasser gibt es einige Tavernen mit hervorragendem fangfrischen Fisch. Gelegendlich kann man sogar zusehen wie die Fischer mit Harpune und Schorchelausrüstung auf die Jagd gehen.
Agnondas zählt sicherlich zu einem der ursprünglisten und schönsten Orte Griechenlands.
Die Pflasterstrasse vom Stafilos - Strand führt zu der hübschen Bucht, wo sich der wunderbare Kieselsteinstrand Agnondas befindet. Der Name Agnondas wurde der Bucht in der Antike von den Einwohnern gegeben, um Agnondas zu ehren, der einen Lauf in den Olympischen Spielen im Jahre 569 v. Chr. gewann. In dieser Bucht ist der dritte Hafen von Skopelos beheimatet, an dem Schiffe und Fähren ankern, falls sie der Wind hindert, die anderen Häfen der Insel zu erreichen. Regelmäßige Fährverbindungen gibt es jedoch nicht. Das kleine Dorf oberhalb des Strandes hat Hotels, Zimmervermietungen und Tavernen.
Das ruhige und malerisch gelegene griechische Fischerdorf Agnontas welches im Süden der Insel Skopelos liegt bietet die perfekten Vorraussetzungen für ihren Urlaub auf Skopelos und zählt zu den schönsten Plätzen auf Skopelos bzw. ist einer der schönsten Orte Griechenlands.
Agnontas verfügt über einen kleinen eigenen Naturhafen und wird bei schlechtem Wetter auch von den Fähren und Flying Cats angelaufen.
Agnontas liegt nur 9 km entfernt von der Stadt Skopelos und 19 km von Glossa. Agnontas ist der perfekte Startpunkt um die Insel Skopelos per Boot zu erkunden. Von Agnontas aus können sie ganz leicht per Boot den Strand von Limonari besuchen welcher von vielen als bester Strand Skopelos bezeichnet wird. Klicken sie hier für mehr Informationen zum Thema Skopelos Bootsverleih.
Der kleine aber wunderschöne Strand von Agnontas ist während der Hochsaison sehr populär und wird gerne von Besuchern aus allen Ecken der Insel Skopelos angefahren. Der Strand von Agnontas glänzt mit kristallklarem türkisfarbenen Wasser und weißem feinen Kieselstrand.
In der unmittelbaren Nachbarschaft finden sich auch die Strände von Stafylos, Panormos und Milia Beach welche sie auf jeden Fall auch besuchen sollten.
Agnontas ist ein sehr schönes Dorf und wenn sie ein ursprüngliches, unverfälschtes und ruhiges Fischerdorf mit einmaligen Momenten suchen sind sie in Agnontas auf Skopelos genau richtig!
Vergessen sie auf keinen Fall auch den malerisch gelegenen Ort Glossa zu besuchen!
Mehr Informationen über Agnontas und Skopelos finden Sie hier www.skopelosholidays.de/a-z/skopelos-orte/agnondas/
Skopelos Holidays ist Ihr Partner für Ihren Skopelos Urlaub und mehr...
Fully formed ideas,
Pop in my head at random;
Hens and Chickens sigh.
1 - pavement - hangin' on...
2 - a shadow (non-human) - won't let go...
3 - title from a Dylan song - Solid Rock.
Side note: Whew! These Iron Photographer pieces really push you. I hope the shadow is shadowy enough to pass the muster.
A big warm "thank you!" to CherylHarrison for helping me choose the title. It's rockin' - and she really is a good idea!
Arbustos parasitarios, dioicos, formando masas globosas, de hasta 2 m de diámetro. Hojas de verde a verde amarillento; hoja oblanceolada u obovada-oblonga, 3–8 cm, coriácea, atenuada de la base, ápice redondeada, superficies glabras; Venación paralela, venas 3–7. Inflorescencias estaminadas, dichasia simple, que consiste en 3 flores subtendidas por 2 brácteas fusionadas en cúpula. Inflorescencias pistiladas compuestas por dichasis, generalmente de 3 flores; pedúnculo primario 4–6 mm; Flores laterales cada una subtendida por 1 bráctea; Flor terminal subtendida por 2 brácteas en el ápice del pedúnculo secundario de 2 mm. Flores estaminadas sésiles, 5 mm; pétalos amarillos; Anteras blancas, cubriendo la mayor parte de la superficie adaxial de pétalos. Flores pistiladas sésiles, algo aplanadas, 2 mm; Estigma en forma de cojín. Bayas blancas, globosas, 6–10 mm, ápice con marcas oscuras que representan un estigma rodeado de cicatrices de pétalos. Huertos, bosques urbanos; 60–1600 m; Europa; W Asia, África del Norte. Planta nativa en Iturraran.
Parasitic shrubs, dioecious, forming globose infections, to 2 m diam. Leaves green to yellowish green; blade oblanceolate or obovate-oblong, 3–8 cm, leathery, base attenuate, apex rounded, surfaces glabrous; venation parallel, veins 3–7. Staminate inflorescences simple dichasia, consisting of 3 flowers subtended by 2 bracts fused into cupule. Pistillate inflorescences compound dichasia, usually 3-flowered; primary peduncle 4–6 mm; lateral flowers each subtended by 1 bract; terminal flower subtended by 2 bracts at apex of 2 mm secondary peduncle. Staminate flowers sessile, 5 mm; petals yellow; anthers white, covering most of petal adaxial surface. Pistillate flowers sessile, somewhat flattened, 2 mm; stigma cushion-shaped. Berries white, globose, 6–10 mm, apex with dark markings representing stigma surrounded by petal scars.
Orchards, forests, urban forests; 60–1600 m; Europe; W Asia, N Africa. Native plant in Iturraran.
Concierto del Berteau Ensemble, formado por Pablo Pérez, violoncello, Martín Egidi, violoncello, y Louise Acabo, clave, titulado "En Bologna y en París", dentro del ciclo Juventudes Musicales de España, que tuvo lugar el 26 de abril´23 en el Teatro El Albéitar de la Universidad de León.
Dos vídeos en YouTube del concierto: canon a dos violoncellos, y último movimiento de la sonata V en la mayor de Jean-Pierre Duport.