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Il fait toujours fort beau, et la chaleur demeure supportable . Ça ne durera pas, plus de 25° pour un Breton, même Chti d'origine, c'est un supplice ! Ou pas loin .
J'aime beaucoup Douarnenez, pour sa lumière, son port, malheureusement bien moins actif que dans les années 70, sa vieille ville .
Le nouveau port .
Finistère, Bretagne, France .
Photographie J-P Leroy, tous droits réservés .
Seguendo il "Gruppo Storico Romano" durante l'evento "Le Notti di Cicerone" presso Formia il 14 Settembre 2012
Artist: Elizabeth Aubury
Title: From Form to Formless (to Form)
Material: plaster and fabric
You are invited to become a destructive collaborator within this work. Paradoxically made to be destroyed, feel free to crush these plaster forms underfoot. In transition, the rich and satisfying sound of breaking plaster will resonate down the stairwell. The fragments shall be swept away and added to the fabric paunch in the adjacent room.
What might the on-looking Discus Thrower make of this?
These hollow shells, originally moulded from the body’s negative space, hint at the ghost of a process. The effigies appear genderless; their delicate bodies are balanced upon plaster-worked clothes. As a multitude, these corporeal off-cuts acknowledge their fleshy simulation. This piece is concerned with bodies, destruction as a tool and an accumulative sculptural process.
NUA Degree Shows 2014
Wednesday 2 July to Tuesday 8 July 2014
Norwich University of the Arts (NUA)
Norwich, Norfolk, England, UK
The hiddenfruit bladderwort (Utricularia geminiscapa) has both chasmogamous and cleistogamous forms of flowers. It is uncommon to see the chasmogamous form.
The initial phase of landscape associated with the UCD Charles Institute and the Systems Biology Ireland Building includes a new bronze sculptural piece titled “Rotating Form” by artist Mark Ryan. Mark has been working full-time as a sculptor for the last 10 years, following a career as a designer. He works in a variety of materials including wood, clay, plaster, steel, stainless steel and bronze. He welds, cuts, casts and shapes. The scale of his work varies from small scale intimate works to very large scale sculptures in public spaces.
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El monasterio de San Jerónimo de Granada es un conjunto arquitectónico del Renacimiento formada por iglesia y monasterio situada en la ciudad española de Granada, comunidad autónoma de Andalucía.
Actualmente, está considerado como BIC (Bien de Interés Cultural) (la «iglesia basílica de San Gerónimo» (sic.) fue declarada monumento histórico artístisco digno de ser conservado por la Nación por R.O. de 24 de mayo de 1874 y posteriormente el monasterio fue declarado monumento histórico-artístico perteneciente al Tesoro Artístico Nacional mediante decreto de 3 de junio de 1931
Su fundación, anterior a la toma de la ciudad, se debe a los Reyes Católicos. En seguida se desplazó desde Santa Fe a Granada, y fue en 1504 cuando se empezó a construir el conjunto actual. La obra se debe en su mayoría a Diego de Siloé, aunque participaron en su construcción otros arquitectos y artistas, como Jacobo Florentino, Juan de Aragón, Juan Bautista Vázquez el Mozo, Pedro de Orea y Pablo de Rojas, los tres últimos de la escuela granadina.
La iglesia, de planta de cruz latina, responde a los condicionantes de las iglesias de la orden jerónima, con coro elevado en los pies y altar tras una amplia escalinata. Es destacable el retablo manierista de la capilla mayor, que supone el punto de partida de la escultura andaluza con entidad propia, y en donde es capital la intervención del maestro Pablo de Rojas. La rica decoración renacentista que presenta, con casetones, veneras y grupos escultóricos, es un canto de cisne del humanismo en España. El programa iconográfico fue pensado con el fin de resaltar las grandezas militares y la heroicidad del Gran Capitán, que se halla enterrado en el crucero junto a su esposa, María de Manrique.
El monasterio cuenta con dos claustros ajardinados, siendo el primero de ellos el que concentra la más genuina decoración del Renacimiento. Siete arcosolios a modo de capillas, de trazas clásicas, decoradas con todo el repertorio formal de este estilo, configuran un espacio fúnebre para cuando los restos de don Gonzalo llegaron al monasterio. En el segundo claustro, hoy clausura de la comunidad de monjas jerónimas que lo habitan, residió la emperatriz Isabel de Portugal en su viaje de bodas, tras la celebración de su matrimonio con el emperador Carlos I.
En la iglesia se trabajaba ya en 1513 bajo las órdenes de Jacobo Florentino. Muerto éste, las siguió Diego de Siloé. Cuando en 1522 se acabó la capilla mayor fueron trasladados los cuerpos del Gran Capitán y su esposa desde la Casa Grande del Convento de San Francisco.
Tras pasar por diversas vicisitudes adversas, como la invasión francesa y la exclaustración por expulsión de la Orden Jerónima, que casi llevaron a la ruina, el Estado decidió su restauración, que se llevó a cabo entre 1916 y 1920 por el arquitecto Fernando Wilhelmi.
En los años anteriores a 1989 fue vuelta a erigir la esbelta torre de la iglesia tras haber sido derruida por los franceses durante la invasión napoleónica para construir con sus piedras el Puente Verde que une el Paseo de la Bomba con la Avenida de Cervantes, sobre el río Genil.
La portada que separa el compás del Monasterio de la Calle Rector López Argueta, aunque originariamente pertenecía al monasterio, se repuso en la década de 1960, después de que en el siglo XIX desapareciera y se encontrara posteriormente abandonada en un cortijo de la Vega.
En la actualidad preside dicha portada una bella imagen de la Virgen de las Angustias que no es la que originariamente estaba en dicha portada.
A principios del año 2004 comenzaron unas obras de restauración del retablo mayor por el Ministerio de Cultura, que duraron hasta el año siguiente.
El templo fue el primero en todo el mundo en consagrarse a la Inmaculada Concepción de María.
Es un patio de forma rectangular que presenta en la planta baja una serie de arcos lobulados sobre dobles columnas de mármol y en la planta superior, una arcada de medio punto sobre columnillas jónicas de mármol con balaustrada, que fue añadida hacia 1540, bajo el reinado del rey Carlos V por el arquitecto real Luis de Vega.
En 1572, en época del rey Felipe II, se cambió la fisonomía del patio, procediéndose a enlosar el mismo y colocándose una fuente en el centro. En los primeros años del siglo XXI, el patio ha recuperado la primitiva estructura que tenía en los tiempos del rey Pedro I, configuración que ha supuesto la desaparición de las losas del patio y su sustitución por una alberca que corre a lo largo del mismo, rodeada por arriates rehundidos.
En tres de los lados del patio se abren las habitaciones que componen la planta baja del palacio. El cuarto de los lados está adosado al palacio de Alfonso X, por lo que sólo presenta las galerías que cierran el patio.
This newly formed Senior Wrestling League competition was between City of Manchester Wrestling Club and Bolton Olympic Wrestling Club.
It was held at the Wrestling Academy on Saturday 17th December 2022
City of Manchester gained the win!
City of Manchester - 32 Bolton - 13
This is part of the two pilot leagues which were launching in September 22.
This could be a huge step for the development of wrestling in this country. If successful with our pilot season this could lead to the launch of a nationwide league launching in every region of the UK by the end of 2023.
The clubs competing in the inaugural Northern Seniors Wrestling League are:-
Manchester Y-Club Wrestling
@aspullwarriorswrestling
@bowcbears
@manchester_wrestling_club
@empower_wrestling
@bradfordwrestlingacademy
I have many names, numberless forms, endless shapes. Make no mistake, I only achieve simplicity with enormous effort.
As long as I have questions and no answers I’ll keep on writing. I shall argue that we must use generative processes. These are to become conventional metaphors, but at this stage they reflect a world-view which makes no clear distinction between the human body and the world it inhabits; and the transition from one to the other was across frontiers which were fluid and indefinite. This link between man and nature was the key determinant in his consciousness. How do you start at the beginning, if things happen before they happen. Thinking is an act. Feeling is a fact. Put the two together – I am the one writing what I am writing. To you, mind of no mind, in which the timeless way was born. What shape waits in the seed of you, to grow and spread its branches, against a future sky? I was there when numbers, words and thoughts became one, and man figured out how to traverse the distances of space at the speed of thought, finding that all along there was no past, present or future, only one elongated now. Start by remembering the fundamental truth about the parts of any system which is alive. The source of life which you create lies in the power of the language which you have. Is it waiting in the fertile waters,? In the trees beyond the house? In the life you can imagine for yourself? In the open and lovely white page on the waiting desk?
Sisters Academy Staff by Sisters Hope
photo: I diana lindhardt
Photographs are free to use with the credits as formulated above displayed visibly.
This picture shows the rear floor section, with the "Hump" that was beaten in - with the use of the wood form.
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.
Yoichi Ochiai defines "The Form of Digital Nature" as a new perspective on nature, composed of digital media.
Credit: Jürgen Grünwald
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).
El Anfiteatro se encuentra en la Quebrada de las Conchas, Cafayate, provincia de Salta, Argentina.
Es un espacio semicerrado con paredes de más de veinte metros de altura y el piso totalmente llano, al que se entra por una estrecha abertura. Se formó por la erosión del agua de unas cataratas que existieron hace millones de años.
Su forma le confiere una excelente acústica, gracias a tener muchas reflexiones y las paredes muy rugosas. En el Anfiteatro la Sinfónica de Salta y Mercedes Sosa han realizado conciertos de forma gratuita.
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O anfiteatro está na Quebrada de las Conchas, Cafayate, província de Salta, Argentina.
É um espaço semi-fechado com paredes de mais de vinte metros de altura e piso totalmente plano, que é introduzido através de uma abertura estreita. Ela foi formada pela erosão de água de uma cachoeira que existia há milhões de anos.
Sua forma dá uma excelente acústica, graças a ter muitas reflexões e paredes muito ásperas. No Salta Symphony Amphitheatre e Mercedes Sosa eles têm realizado concertos gratuitamente.
Oooooooooooooooooooooooooooooooooooooooooooooooooooo
The Anfiteatro is located in the Quebrada de las Conchas, Cafayate, province of Salta, Argentina.
It is a semi-enclosed space with walls of more than twenty meters in height and the flat floor, which is entered by a narrow opening. It was formed by the erosion of water from a cataract that existed millions of years ago.
Its shape gives it an excellent acoustics, thanks to having many reflections and very rough walls. In the Amphitheater Salta Symphony and Mercedes Sosa have performed concerts for free.
Artist: Dame Barbara Hepworth
Title: Single Form (Eikon)
Material: bronze
Tate Liverpool
Albert Dock
Liverpool, Merseyside, England, UK
L’exposition L’Usage des formes explore l’ingéniosité humaine et la relation passionnée que les créateurs entretiennent avec leurs outils, en abordant l’instrument comme un élément fondamental du rapport de l’homme au monde. Faisant dialoguer artisans d’art et artistes, l’exposition rassemble les métiers d’art, le design, les arts plastiques et l’architecture dans une scénographie conçue par le designer Robert Stadler et réalisée en collaboration avec des artisans d’art.
Le début du parcours invite à plonger dans l’univers de l’atelier. Au sein de cette fabrique, l’outil se donne à voir comme une incarnation de l’Histoire, en ce qu’il correspond fondamentalement à la transmission ou réécriture de la pratique qui lui est associée. L’exposition aborde ensuite la notion de prise en main de l’outil. L’objet technique est l’instrument de cette préhension qui permet de mettre l’homme en contact avec le monde. Telle une prothèse, l’outil est précisément cette extension du corps qui permet à l’homme d’interagir avec son environnement et de passer ainsi de l’état de nature à l’état de culture. Apprendre à manipuler un outil révèle les propriétés cachées de la matière. L’outil, par conséquent, est un objet qui permet d’extraire de l’information, de mesurer et de quantifier le réel et d’opérer des croisements fructueux entre la science, la technologie et l’artisanat. L’exposition se clôt sur la double dimension symbolique - voire magique - et utilitaire de l’outil : à l’instar du compas des Compagnons du Devoir, devenu symbole philosophique de la Franc-maçonnerie, ou encore du dodécaèdre gallo-romain, mystérieux objet de divination, présentés dans cette section. Par leur préciosité ou par le sens dont ils ont été investis, ces objets, à l’origine simples instruments, deviennent de puissants symboles de l’humanité et des vecteurs de contemplation. (Source : www.palaisdetokyo.com/fr/exposition/lusage-des-formes)
Water & Form: clay, fiber and encaustic by Emily Miller
Oct. 6 - Nov. 17, 2017
510 Museum & ARTspace, Lake Oswego, Oregon
There are purists in all forms of expression. There are photographers who maintain that their medium has no relation to painting. There are painters who despise photography, although many in the last century have been inspired by it and used it. There are architects who refuse to hang a painting in their buildings maintaining that their own work is a complete expression. - Man Ray
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.
The newly formed Senior Wrestling League competition between Aspull Warriors and City of Manchester Wrestling Club, was held at the Aspull on Saturday Saturday 21 Jan 2023.
Following 10 exciting and tough matches City of Manchester gained the win.
Aspull Warriors 19 City of Manchester 26
This event is part of the two pilot leagues which were launching in September 22.
This could be a huge step for the development of wrestling in this country. If successful with our pilot season this could lead to the launch of a nationwide league launching in every region of the UK by the end of 2023.
The clubs competing in the inaugural Northern Seniors Wrestling League are:-
Manchester Y-Club Wrestling
@aspullwarriorswrestling
@bowcbears
@manchester_wrestling_club
@empower_wrestling
@bradfordwrestlingacademy
FASCINATURE
Forme organiche, colori espressivi, dettagli che catturano lo sguardo...
L'espressione della Biomimetica: la ricreazione e l‟interpretazione di traordinari elementi naturali per produrre un design innovativo di stili stravaganti.
Tutto questo è FasciNature.
Tutto questo è ColorZoom
TUTTO QUESTO E' GOLDWELL!
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...
Formed of a Pressed Steel driving trailer (W54287) and Met Cam DMBS (53155), unit no L206 passes Aynho with an Oxford - Banbury local.
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
During summer, small streams form on the surface of glaciers from the melting of ice. These streams sometimes find a way to subside under the surface and, day by day, they form wells like that shown above.
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Alla fine dell'estate, dopo che le miti temperature estive, nei ghiacciai ci si può imbattere nei "mulini". Si tratta di pozzi verticali scavati dalle bedieres, ruscelli effimeri che scorrono sulla superficie del ghiaccio finchè non trovano un punto adatto per scomparire in profondità.
Le grotte glaciali sono sistemi instabili e dinamici, dalle quali le persone normali si tengono a debita distanza.
Gli speleologi, che certo non rientrano nella categoria, vi si avventurano.
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