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Another shot form last month's trip with Steve.
I had the idea that the sun setting behind the Cuillin Hills taken from the Bealach na Bà on the Applecross peninsula would be a good way to end our day out in the west. Unfortunately the bank of cloud over Skye stopped that happening but I still fired off a few shots as the sun slipped out of view.
"Pombagira, Bombogira, Exú Mulher ou ainda Bomobonjira, são todas formas de a denominar. Em especial, é mais utilizada a denominação Pombagira que nos chega pela influência Banta (Angola). A Entidade Banta Aluvaiá-Pombagira que foi trazida de África durante o fluxo de escravos para o Brasil e então submetida à entidade Iorubana Exú, durante todo o processo de miscigenação que se desenvolveu no Brasil, sendo colocada e entendida como a sua vertente feminina.
O facto de esta ser uma entidade que é entendida e cultuada de diferentes formas por diversas nações do Candomblé, pela Umbanda e pela Kimbanda, prova desde logo que se tratou de um processo de adaptação não consensual que ainda hoje perdura.
No Candomblé mais tradicional, como o Ketu, estas entidades não são cultuadas. No Candomblé tradicional, cultua-se exclusivamente o Orixá Exú que é uma entidade masculina, cuja simbologia é unicamente fálica, e portanto nada tem de feminino. No entanto, as Pombagiras existem de facto, não são Orixás, mas assim mesmo, são cultuadas também no Candomblé, embora nas nações menos tradicionais.
Como membro do Candomblé Ketu, o conceito que formei sobre quem são as Pombagiras é simples: são seres do mundo astral, guerreiras tanto quanto Exú, que estão bem próximas da nossa esfera humana, algumas já reencarnaram e outras não. Convivi de perto com Maria Padilha. Tive oportunidade durante os anos de vê-la, assim como às outras que pertenciam a várias médiuns do terreiro, realizarem inúmeros trabalhos: ajudar a vencer obstáculos, a ser feliz no amor, vencer problemas de saúde de desarmonia conjugal, e muitas outros problemas que as pessoas tinham e sobre os quais lhe pediam auxílio.
Pombagira subdivide-se numa enorme legião onde cada qual tem o seu nome próprio, conforme a sua área de actividade. Temos a linha das que pertencem às encruzilhadas como Pomba Gira Rainha das 7 Encruzilhadas; a linha do cemitério liderada pela Pombagira da Calunga; a linha das ciganas, lideradas pela Pombagira Cigana; e a linha ligada aos locais ermos, liderada pela Pombagira, Maria Mulambo. Com relação às suas manifestações nos médiuns, normalmente como mulheres, as suas legiões podem adoptar nomes como Pombagira Rosa, mas pertencendo a esta ou àquela linha, liderada pela chefe correspondente.
Uma coisa é muito certa, todo e qualquer problema que colocamos nas mãos de qualquer uma delas tem solução. A sua força é guerreira, a sua vibração magnética é carregada de sensualidade e alegria, tanto que a sua chegada aos médiuns é sempre alegre, solta e sensual.
Exú tem ligação com a força sexual criativa, e a Pombagira por sua vez com a circulação dessa energia criativa existente na vida e no Universo. Lamentavelmente a sua reputação tornou-se péssima devido a erros de incorporação dos próprios médiuns, que por deturpações pessoais as transformaram em seres com fama de depravadas, libidinosas e cruéis.
O importante ao invocá-las é lembrar sempre que, são entidades complexas de personalidade forte, e que nunca perdoam uma falta de palavra dada. O importante também é não invocá-las para trazer prejuízo a outrem, porque elas o farão com certeza, mas a dívida kármica adquirida ficará por conta de quem pediu.
Quanto ao seu aspecto sensual, faz parte de sua polaridade, não querendo significar com isso depravação ou perversão. Até hoje não conheci nenhuma mulher que tenha deixado de ser honesta por culpa de qualquer uma delas."
Un piccolo ponte di materia si forma dallo scioglimento dei ghiacci millenari e meraviglia lo spettatore con la sua effimera fragilità
Ghiacciaio Forni, parco nazionale dello Stelvio
#stelvio #natural #park #glacier #ghiacciaio #ponte #bridge #water #cold #acqua #fiume #disgelo
POURSUIVRE LA BEAUTÉ EN AUVERGNE.
BrÖk et Plume.
Parce que à cette OEUVRE grandiose qui ose, il s'est passé une chose (...).
PASSAAAAAAAGE
ÉNERGIE
Et tout l'environnement a suivi.
MIRACLE ET NON MIRAGE.
Qui sait, peut-être le tout début d'une sacralité en germe dans le coeur et le labeur, en duo.
Mère et fils.
A Dieu vaille et le fasse.
CHEMIN vraiment.
Dans le cadre des oeuvres HORIZONS SANCY.
A la prochaine image, précisions.
A4 Pacific 60007, 'Sir Nigel Gresley’, passes through Pontrilas working the 1Z49 Saphos 'Welsh Marches Express' tour from Woking to Shrewsbury. 1st September 2023.
Tulips (Tulipa) form a genus of spring-blooming perennial herbaceous bulbiferous geophytes (having bulbs as storage organs). The flowers are usually large, showy and brightly coloured, generally red, pink, yellow, or white (usually in warm colours). They often have a different coloured blotch at the base of the tepals (petals and sepals, collectively), internally. Because of a degree of variability within the populations, and a long history of cultivation, classification has been complex and controversial. The tulip is a member of the Liliaceae (lily) family, along with 14 other genera, where it is most closely related to Amana, Erythronium and Gagea in the tribe Lilieae. There are about 75 species, and these are divided among four subgenera. The name "tulip" is thought to be derived from a Persian word for turban, which it may have been thought to resemble.
Tulips originally were found in a band stretching from Southern Europe to Central Asia, but since the seventeenth century have become widely naturalised and cultivated (see map). In their natural state they are adapted to steppes and mountainous areas with temperate climates. Flowering in the spring, they become dormant in the summer once the flowers and leaves die back, emerging above ground as a shoot from the underground bulb in early spring.
First experiments with a new form in the ever-evolving world of Pano-Sabotage photography that's been dubbed "MonitorPano". It's both a new turn for me and a return to a very old tactic I used in 2012 where I achieved coarse but provoking layers by photographing, with my Canon Rebel XS, my computers screen saver as it faded in and out between images in my photo files. The great thing was that the images didn't just click from one to the next like a slide show, they faded in and out over top of each other. There was always a "crossover" point where the two images would occupy the same amount of "presence" on the screen thereby becoming "fused" or "blended" ... in effect ... layered. A cruder version of Brian Enos Installation piece, "77 Million Paintings", perhaps, but using the same idea.
www.youtube.com/watch?v=h0_4rCfpNzw
By the time Apple brought out the next Operating System, they'd taken out that scrolling slide show feature from what was then "iPhoto" and re-dubbed it "Photos". It always amazes me how the Silicon Valley geeks always "improve" things by taking out unique and wonderful features. Gotta mow it all down to sameness and uniformity, I guess. Unique features are seen as "mistakes".
Liz Mack has asked, "How long will it take for Apple to 'correct' the algorithms that allow for Pano-Sabotage photography ?"
MonitorPano, even though being hotly used right now and to great effect has actually been around quietly for a few years now. Don of the PANO-vision group was actually one of the first Pano-Sabotage artists to start "pano-ing" his desktop screen, and has often produced some very unique work with this method. Recently, Bill Smith, Paul Ewing and Liz Mack have taken it up with a vengeance with striking results.
"Graph ET 1" is the first finished piece that I created using the same technique the Paul, Bill, Liz and Don use. All of us in "PANO-Vision" learn a lot from each other and each of us makes invaluable contributions to the groups knowledge and technique base by that sharing. In PANO, as well call it for short, it's not about competition. We thrive by sharing. Each of us grows by contributing to an ongoing and easy exchange.
"MonitorPano" is achieved by setting one's cell phone camera on "Pano", clicking it on, while focusing on the desktop monitor and using the other hand to tap the arrow right ( or left ) key to quickly jump from photo to photo while the cell phone hand is pano-sabotaging the whole "pass". Tricky, and it takes some co-ordination, but it can be quite surprising what results.
This image was created for the PANO-Vision Groups Summer Contest, "PANO to the Metal".
www.flickr.com/groups/2892788@N23/discuss/72157667684597037/
Image culled from SLR shots done in 2011 and
"MonitorPanoed" and processed June 6, 2018.
___________________________________________________
© Richard S Warner ( Visionheart ) - 2018. All Rights Reserved. This image is not for use in any form without explicit, express, written permission.
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I am VERY proud to announce that I was chosen to be the feature artist of the "Kreative People" Group's Spring Gallery - Running until the end of June. I really must thank both abstractartangel77 and Xandram for bestowing me with this great honour. The link to the gallery appears below:
Please visit my Kreative People Highlight Gallery HERE
Des toiles aux formes courbes contrastent avec l'architecture prismatique du centre commercial. J'ai trouvé cette composition agréable à l'œil et originale. J'ai souhaité mettre en avant les volumes et formes avec le N&B et finalement mis un peu de couleur avec un virage sepia assez soutenu.
The 7th December saw the introduction of the 278 between Heathrow & Ruislip. A very useful route indeed. Also nice to have a bit of a mixed allocation however the majority is formed of 69 plate USB fitted MMCs.
Table Mountain is a flat-topped mountain forming a prominent landmark overlooking the city of Cape Town in South Africa. It is a significant tourist attraction, with many visitors using the cableway or hiking to the top. Table Mountain National Park is the most visited national park in South Africa, attracting 4.2 million people every year for various activities. The mountain has 8,200 plant species, of which around 80% are fynbos, meaning fine bush. It forms part of the Table Mountain National Park, and part of the lands formerly ranged by Khoe-speaking clans, such as the !Uriǁʼaes (the "High Clan"). It is home to a large array of mostly endemic fauna and flora. Its top elevates about 1.000 m above the surrounding city, making the popular hike upwards on a large variety of different, often steep and rocky pathways a serious mountain tour which requires fitness, preparation and hiking equipment.
Imagen creativa. Photosoph. Gracias de antemano por vuestros comentarios, awards, favoritos, invitaciones a grupo y la elección para galerías; perdonad que quizás no pueda responder individualmente . Todos los derechos reservados
Nach zwei Jahren Pause gab es Gestern anlässlich des Marktes am Karfreitag in Bouzonville, nahe der deutsch-französischen Grenze einen Sonderverkehr, der wie auch zuvor mit Triebwagen der Baureihe 628 bestritten wird. Planmäßig wird die sogenannte Niedtalbahn, über die die Triebwagen zahlreiche Touristen von deutscher Seite aus in die französische Provinzstadt brachten, nur auf deutscher Seite zwischen Dillingen und Niedaltdorf in Form der RB 77 mit Triebwagen der Baureihe 642 (auch ab und zu stattdessen 628) betrieben. Der Abschnitt zwischen Niedaltdorf und Bouzonville ist außer den Karfreitagszügen vom Bahnverkehr befreit. Gestern konnte man dort jedoch nach angesprochener Corona-Zwangspause endlich wieder Zugverkehr antreffen, wobei die beiden Kaiserslauterner 628 mit den Nummern 473 und 475 eingesetzt waren. Hier sieht man das Pärchen im sonst Personenzug-losen Bahnhof von Bouzonville (zu deutsch Busendorff).
Fujinon 50/1.4
Sand of Plum Island contains deep purple and dark grey patches. It is due to high abundance of almandine-pyrope garnet, pyroxene augite, and magnetic minerals such as ilmenite and hematite. Epidote adds some greenish hue. The source of the minerals is a terminal moraine that contains huge boulders of igneous and metamorphic rocks and products of their decomposition.
View Large. Boat-billed Heron. Tárcoles River. Costa Rica. Central America..
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If you are interested in any of the photos shown please contact me.
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La basílica de San Apolinar el Nuevo (en italiano: Basilica di Sant'Apollinare Nuovo) es un templo cristiano de la ciudad italiana de Rávena. Inicialmente, se consagró para el culto arriano, al ser construido por orden del rey ostrogodo Teodorico el Grande en 505; tras la conquista bizantina (540) fue habilitada para el culto católico (en la época no se había producido aún la separación de las iglesias oriental y occidental). Forma parte del conjunto monumental de ocho estructuras de Rávena inscritas en la lista del Patrimonio de la Humanidad en 1996.
Como todas las iglesias de Rávena segundo del periodo imperial (hasta 476), ostrogodo (hasta 540) y bizantino (después de esa fecha), también San Apolinar el Nuevo cuenta con unos singulares mosaicos. Sin embargo, no pertenecen a la misma época: los hay del periodo de Teodorico y otros pertenecientes a la reestructuración ordenada por el obispo Agnello, cuando se consagró el edificio al culto cristiano católico.
Las paredes de la nave central están divididas en tres zonas bien diferenciadas por su decoración. La parte más alta está decorada con una serie de recuadros alternados con el motivo alegórico de un pabellón con dos palomas. Los recuadros presentan escenas de la vida de Cristo con especial cuidado de los detalles, a pesar de que antiguamente estaban aún más elevados, por lo que su visión era bastante limitada. Algunas escenas evidencian la evolución en el arte del mosaico en la época de Teodorico.
La parte inferior, la de mayor tamaño, es también la más conocida. En los muros de la derecha (según se mira al altar), se representa el famoso Palacio de Teodorico, reconocible por la inscripción latina PALATIVM (Palacio) en la parte baja del tímpano. Los edificios interiores representados están mostrados en perspectiva resaltada. Eso significa que lo que se ve corresponde a tres lados del peristilo, dispuestos en un plano único. Entre las columnas hay telas blancas decoradas con oro, que cubren las sombras de antiguas figuras humanas que permanecieron después de que una parte del mosaico fuera condenada a ser destruida: por una especie de damnatio memoriae todas las figuras humanas (casi con toda seguridad el propio Teodorico y miembros de su corte) fueron eliminadas y aún se notan amplias partes de color ligeramente distinto (debidas a una restauración llevada a cabo en otro momento) y las evidentes marcas en las columnas blancas, en las que aparecen por diversos lugares marcas de manos.
Más allá del Palacio se descubren algunos edificios basilicales o de planta central cuya función es representar de modo sintético la ciudad de Rávena.
Las procesiones contrapuestas de los Santos Mártires y las Santas Vírgenes, también en la parte inferior, se realizaron durante el dominio bizantino (cuando Rávena era un Exarcado dependiente de Constantinopla) y evidencian algunos caracteres propios del arte del Imperio de Oriente como la repetición de los gestos, el preciosismo de la indumentaria, la falta de volumen (con el consiguiente aplanamiento o bidimensionalidad de las figuras) y también la absoluta frontalidad, la fijeza de las miradas, la práctica monocromía de los fondos dorados, el uso de elementos vegetales con fines ornamentales y de relleno, la falta de un plano de apoyo para las figuras que, por esa razón, aparecen como suspendidas y flotando en el mundo.
es.wikipedia.org/wiki/Bas%C3%ADlica_de_San_Apolinar_el_Nuevo
The Basilica of Sant'Apollinare Nuovo is a basilica church in Ravenna, Italy. It was erected by the Ostrogothic king Theodoric the Great as his palace chapel during the first quarter of the 6th century (as attested to in the Liber Pontificalis). This Arian church was originally dedicated in 504 AD to "Christ the Redeemer".
It was reconsecrated in 561 AD, under the rule of the Byzantine emperor Justinian I, under the new name "Sanctus Martinus in Coelo Aureo" ("Saint Martin in Golden Heaven"). Suppressing the Arian church, the church was dedicated to Saint Martin of Tours, a foe of Arianism. According to legend, Pope Gregory the Great ordered that the mosaics in the church be blackened, as their golden glory distracted worshipers from their prayers. The basilica was renamed again in 856 AD when relics of Saint Apollinaris were transferred from the Basilica of Sant'Apollinare in Classe because of the threat posed by frequent raids of pirates from the Adriatic Sea.
On the upper band of the left lateral wall are 13 small mosaics, depicting Jesus' miracles and parables; and on the right wall are 13 mosaics depicting the Passion and Resurrection. However, the flagellation and crucifixion are lacking. They describe the parts of the Bible that were read aloud in the church during Lent under the rule of Theodoric the Great. On the left, Jesus is always depicted as young, beardless man, dressed as a Roman Emperor. On the right, Jesus is depicted with a beard. For the Arians, this emphasized that Jesus grew older and became a "man of sorrows", as spoken of by the prophet Isaiah. These mosaics are separated by decorative mosaic panels depicting a shell-shaped niche with a tapestry, cross, and two doves. These mosaics were executed by at least two artists.
Looking upward on the way through to Barangaroo - colour, form and geometry making an ordinary concrete underpass an art form.
formato 20x12, acquerello su carta di stracci indiana, tratto dalla bellissima fotografia di mr Y. Lemeur
I just popped up to the local village churchyard, hoping to see some of these. This one is the only individual where I managed some half-decent shots.
Sminthurinus aureus has several colour forms. There is an all yellow form and some dark forms. The dark forms like this, often retain the yellow legs and antennae. This individual was 0.6mm in length. They can be quite difficult to find (I use a 5x hand-lens) until you "get your eye in". This one was under a fallen laurel leaf. Whenever I see see fallen laurel leaves, I always check underneath for springtails!
ERMITA DE VERA, siglo XV
Camino de Vera
Intervenciones:
Eugenio Viedma Dutrús (2004)
El pequeño caserío de Vera compone un pintoresco conjunto de arquitectura popular en la huerta de Alboraya formado por la antigua alquería, el molino y la ermita propiamente dicha, definidos por diferentes volúmenes independientes. El acceso a la ermita y al molino contiguo está protegido por un mismo atrio o porche soportado con dos columnas octogonales de factura medieval. Sobre la cubiertas de la ermita sobresalen una sencilla espadaña y una pequeña cúpula de teja sin esmaltar. El interior posee un revestimiento neoclásico de líneas muy sencillas y se cubre con una bóveda de cañón con arcos formeros, contando con varias pequeñas capillas laterales y un coro de madera a los pies. Inicialmente bajo la advocación de la Virgen del Rosario, desde 1854 está dedicada a la Inmaculada. Antigua propiedad de los Marqueses de Malferit, fue adquirida por el Ayuntamiento en 1984, habiéndose realizado entre los años 2003 y 2004 un completo proyecto de restauración desde la Universitat Politècnica, actuación dirigida por el arquitecto Eugenio Viedma Dutrús.
Texto extraido de la "Guia de Arquitectura de Valencia" CTAV 2007.
[You really need to enlarge this one to look at this beautiful complexity.]
When you compare the young Silver Banksia flower to its mature expression, you could almost think they were two separate plants. They are very complex forms and capture the sun beautifully to enhance their growth.
Photo Note: You'll notice the narrow depth of field here was achieved at f/8 with my 120mm zoom. That is quite deliberate. I didn't want use f/4 because of the bright sunlight. But here one can use the foreshortening effect of the zoom lens to achieve the same result and get the correct exposure. Focus is also sharper at f/8 with this lens, so win-win.
Bis Anfang der 1970-er Jahre war Marzahn, das 1920 nach Berlin eingemeindet worden war, ein von Landwirtschaft geprägtes Dorf. Seine Struktur ist die eines typisch märkischen Angerdorfs, d. h. die Häuser des historischen Ortskerns liegen an einer Straße, die sich an beiden Enden gabelt und so den Anger, eine große Grünfläche, umfasst. Auf dem Anger stehen stehen die Kirche, die Schule und die ehemalige kleine Poststelle. Um diesen 1977 unter Denkmalschutz gestellten Ortskern wurde in den 1970-er und 1980-er Jahren die Großsiedlung Marzahn errichtet. 1979 wurde die Großsiedlung Marzahn mit mehreren weiteren Gebieten aus dem damaligen Stadtbezirk Lichtenberg herausgelöst und zu einem eigenen Stadtbezirk. Auch dieser wurde 1986 erneut geteilt in die Stadtbezirke Marzahn und Hellersdorf, die wiederum 2001 wieder unter dem Namen Marzahn-Hellersdorf zu einem einzigen Stadtbezirk mit ca. 269.000 Einwohnern vereinigt wurden. Die Erinnerung an die landwirtschaftliche Tradition Marzahns wird durch den Kleintierhof in einem alten Bauernhof im Dorf und seine Außengehege unterhalb der Bockwindmühle gepflegt.
Until the early 1970s, Marzahn, which had been incorporated into Berlin in 1920, was an agricultural village. Its structure is that of a typical Brandenburg village, i.e. the houses in the historic centre of the village are situated along a road that branches off at both ends, thus enclosing the village green, a large green area. The church, the school and the former small post office stand on the village green. The large housing estate of Marzahn was built in the 1970s and 1980s around this village centre, which was listed in 1977. In 1979 the large housing estate Marzahn and several other areas were separated from the borough of Lichtenberg and became a separate borough under the name of Marzahn. In 1986 this was again divided into the boroughs of Marzahn and Hellersdorf, which in turn were reunited in 2001 under the name of Marzahn-Hellersdorf to form a single borough with approx. 269,000 inhabitants.
The memory of Marzahn's agricultural tradition is cherished by the Small Animal Farm in a former farmstead in village and its outdoor enclosures below the windmill.