View allAll Photos Tagged harmonize
This is a teaspoon filled with flavored green tea blend with a ceramic tea cup on the background. Fresh cranberries, sweet raspberries, beautiful rose buds harmonize wonderfully with Sencha( Japanese green tea) base.
More information about green tea and its history can be found on my blog blog.espemporium.com/
Musically, they had kind of an Ike and Tina going. Some of my favorite music has that male-female harmonizing or call-and-response thing going. A set of pipes on both of them, for sure.
I wonder why they decided for these yellow light posts. Maybe bercause grey skies are pretty prevalent around here and yellow harmonizes with grey.
[Sankt-Peter-Ording_20211014_1328_e-m10_10145543]
Musically, they had kind of an Ike and Tina going. Some of my favorite music has that male-female harmonizing or call-and-response thing going. A set of pipes on both of them, for sure
Step into a serene seaside escape where rustic charm meets breezy coastal elegance. This beautifully curated living space captures the soothing essence of beachside living with its soft neutrals, weathered wood textures, and ocean-inspired accents. A woven bench layered with nautical-themed pillows invites you to sink into comfort, while the cozy boat-style sofa adds a whimsical touch that anchors the room’s maritime personality.
The striking whale tapestry above sets a tranquil tone, harmonizing perfectly with the vibrant ocean-blue agate table below—its rich swirls echoing the depth and movement of the sea. Gentle decorative touches, from coastal art to warm ambient lighting, tie the entire look together with understated sophistication.
This photo captures more than just décor—it captures a feeling. A quiet moment where waves meet worn wood, where comfort meets style, and where you can almost hear the distant call of the tide. Welcome to your coastal calm.
Bench: *Amelia's Tybee Hall Bench
* Bring effortless coastal charm into your home with Amelia’s Tybee Hall Bench—a beautifully crafted 13-prim piece that blends comfort, style, and functionality. This c/m bench features smooth, scripted single and cuddle fluid animations, making it not just décor, but an inviting place to relax. The built-in shelf adds extra character and utility, though its décor is sold separately for full styling freedom.
Enhance the look with Amelia’s Decorative Ship Weights (2 prim, c/m), perfect for adding a touch of nautical authenticity. Pair them with the soft, serene beauty of Amelia’s Framed Tybee Pampas Art (2 prim, c/m) to bring a sense of calm coastal breeze into any room. Complete the ambiance with Amelia’s Nantucket Candle Box (4 prim, c/m), offering a warm, welcoming glow that ties the entire scene together.
Whether you're creating a cozy beach cottage or an elegant coastal retreat, these pieces work harmoniously to elevate your space with timeless seaside sophistication.
Swing: *Amelia's Tybee Boat Swing
* Add a touch of coastal magic to your space with this charming Boat Swing, designed to bring both relaxation and style to any setting. Available in three chain lengths, it’s easy to customize the perfect fit for your décor—whether you're hanging it indoors, on a porch, or in a beachside retreat.
Beautifully crafted at only 5 prims and fully copy/mod, this swing is as efficient as it is enchanting. Enjoy the comfort of scripted single and cuddle fluid animations, making it an inviting spot to unwind alone or share a peaceful moment with someone special.
Lightweight in prims but rich in charm, this Boat Swing is the perfect piece to elevate your coastal-inspired space.
Amelia's Coastal Treasures
Flickr: www.flickr.com/groups/ameliascoastaltreasures/
Primfeed- www.primfeed.com/amelia-s-coastal-treasures
Facebook Page: www.facebook.com/groups/1207602533788392
Instagram- www.instagram.com/ameliascoastaltreasures/
LM: maps.secondlife.com/secondlife/Fernandina%20Beach/139/4/3973
Color harmony begins in nature. This Lotus leaf with golden droplets of water under the luminous red and orange rays of dusk, is tinged by the warm glow of the setting Sun, the colors harmonizing under its golden palette.
Bold color, playful geometry, and the rhythmic pulse of light define this unforgettable space—the locker room at Sea Ranch’s Moonraker Athletic Center, designed by architect Charles Moore and his firm Moore Lyndon Turnbull Whitaker (MLTW) in the early 1970s. While The Sea Ranch is most often celebrated for its restrained, wood-clad houses that harmonize with the Northern California landscape, this interior offers a joyful counterpoint: an exuberant burst of color and composition that captures the postmodern imagination at its most spirited.
Moore, whose architectural philosophy combined intellectual rigor with childlike wonder, envisioned The Sea Ranch not as a fixed aesthetic but as a living community where design could range from serene to celebratory. Here, in this small yet iconic locker room, his belief in the emotional power of architecture comes vividly to life. The red, blue, black, and white murals—painted in bold geometric patterns—transform a utilitarian passageway into a sensory experience. Walls, ceilings, and stair risers become a dynamic canvas of circles, stripes, and diagonals that shift with one’s movement through space.
The artwork, executed in collaboration with graphic designer Barbara Stauffacher Solomon, represents one of the earliest examples of what would become known as Supergraphics—a movement that redefined how color and scale could activate architecture. Solomon’s designs, using oversized, high-contrast forms, were a radical departure from the natural tones of Sea Ranch’s exteriors. Yet inside, her work perfectly complements Moore’s architectural rhythm, turning the simple act of moving through a locker room into a theatrical encounter with form and light.
This stairway embodies the dialogue between architecture and art that made The Sea Ranch so influential. The sharp yellow line marking the edge of the step, the bold red curve slicing through a white wall, the clean black handrail—all converge to express the precision and playfulness that Moore and Solomon championed. Even the sunlight itself participates, casting shadows that animate the geometry in real time.
Seen today, the space feels remarkably contemporary—its saturated hues and graphic clarity anticipating decades of modern design trends. Yet its power lies in its humanity. Charles Moore once said that architecture should “make room for joy,” and this interior does exactly that. It’s both functional and poetic, modest in scale yet monumental in impact. The locker room at Sea Ranch remains a testament to collaboration, creativity, and the enduring belief that good design can make the everyday sublime.
ceremony for making new footpath and water canal feeding rice fields, ( if I understand right to pacify, harmonize those who had their rice fields cut resp. the rice fields themselves for giving space ) Mas, Bali
Then I zoomed in even closer. They do a lot of Renaissance Faires, mostly in the western states, and they also do Christmas performances and the like. I guess I like coming back to them whenever I've gone to the Faire because of their familiarity. So many acts don't have that effect on me.
Of all the places we've visited, Laos probably wins the award for Friendliest Country. Despite Laos poverty and isolation, its people were some of the kindest and most outgoing we've ever met. We visited a Kieng Than Lei village along the Sexet river. A number of kids played along the beach and greeted us. Walking is by far the best way to get around this small village. And during our strolls we'd often bump into the same kids over and over. A small village next to the Tad Lo waterfall. We enjoy the natural surroundings exploring by foot or elephant. Tad Lo spreads over a beautiful forest in the Bolaven Plateau. At this elevated area you can soak up the fresh climate and the friendly atmosphere.
Photo of this lovely smiling lady taken in Kieng Than Lei. A little village located on the Bolaven Plateau. A great place to explore some of the lesser-known areas of the southern region of Laos. A village to meet the friendly Lao people despite their poverty and isolation.
Laos has remained virtually unchanged for half a century. Rich in history and culture, Laos and its peoples, more than 47 ethnic groups, harmonize life to ancient rhythms and traditions that evoke timeless Asia. Although the trappings of the modern world are becoming increasingly visible, Laos remains the least developed country in Southeast Asia. A country where experienced travelers will appreciate breathtaking scenery and ofcourse the friendly people.
In 2013, the National Museum of Modern and Contemporary Art, Korea opened a new branch in Sogyeok-dong, Jongno-gu at the former site of the Defense Security Command. The announcement for the construction of the National Museum of Modern and Contemporary Art, Seoul (MMCA Seoul) came out in 2009, and the architecture for the museum was selected through idea proposals and an architectural design competition in 2010. What makes the Seoul branch different from the others is that it introduced Korea’s traditional architectural concept of ‘madang’, which is a spacious courtyard where people can come in and gather together to socialize. MMCA Seoul's building is also designed to harmonize with the surrounding nature around the city.
Equipped with facilities including a reference center, a project gallery theater and a multipurpose hall, MMCA Seoul strives to accommodate every mode of new artistic endeavor and to communicate with the public. The site is where Korea’s historical and political developments were achieved. Most of the old buildings are gone but a few still remains to remind people of its significant role.
The beginning of the 1930’s marks the democratization of aerodynamics in the car lines. Each manufacturer tries to harmonize its range with more contemporary offerings, including Peugeot with its 301 Profilée version. The model we present is in an advanced state of preservation, but is very healthy. Its paint is not the original one, and shows an old quality restoration. The interior is complete, but the upholstery is in a rather used state. From a mechanical point of view, a restoration will be necessary, but the package seems to be in good condition. Here is the opportunity to acquire one of the rare survivors of the 301 Profilée versions!
l'Aventure Peugeot Citroën DS, la Vente Officielle
Aguttes
Estimated : € 5.000 - 10.000
Sold for € 8.580
Citroen Heritage
93600 Aulnay-sous-Bois
France
September 2021
New forearms, extra padding around the waist, complete new lower legs, harmonized the color blocking. Let me know how I can make it better, I welcome your thoughts.
VIDEO: (Coming soon!)
••• SCRIPT/LYRICS: •••
MOLEMAN'S EPIC RAP BATTLES!!!!!!
GARNET…
…VS…
…FIRESTORM!!!
BEGIN!
Firestorm:
We could think about what gimmicks convolute our history:
Mixups with Russians, nature-forces and Yoruba witchery,
And we could think of crises wrought on our identity…
Yes, surely…
…But today, let's only think of flaming enemies with fury!
Hey, here comes a question most alarming; not to be dismissed,
And one whose comprehension won't take an atomic physicist:
Why let a contest measure merger-might to choose from we and you
When the answer is plainer than combining two plus freaking two?!
Don't get too cocky, Ronald; let's see this done as it ought to be:
Transmute lit lyrics from raw beats, and lecture blockheads properly!
It's gonna be a far cry from your Brightest Day; I'm going dark,
With aims to end this in a Flash just like my debut story arc!
Complete transparency, now; tip: skip on a kicked-in butt tonight.
Called on and dared to speak out? Quit, not even picking up the mic!
You see your worth as apt for some Gem-world princess, or even goddess,
Yet I wouldn't appraise your value at one-half Nicki Minaj's!
It's a lock, and un-jail-breakable, at that: you're getting blasted;
Your cut's unfit for this face-off, falling flat in every facet.
Why, it's evident: our foe lacks proper grasp of her position,
Just as suits the fruit of reckless, raw romance at first collision!
Molecules are being rewritten, spelling death for sucker golems;
Souring your Sugar sweetness!
That reminds me of a poem… how's it go?
A Ruby's red, and a Sapphire's colored blue;
When they're together, all the better to set fire onto you!
Garnet:
It seems your touted tangibility-tweaking tricks are getting screwy:
Though plainly made with fazing aims, your statements phase directly through me!
Fisticuffs raised to the max, I'll put it heavy-handedly:
This space-borne stone immortal's here to Vandalize you Savagely!
Don't think the balanced bond behind a harmonizing master humbled
By the body-bunking counterpart of Simon and Garfunkel;
You're the one Nuclear waste it's best to keep left in the ashcan:
That brute in Supes' ill-fated Quest for Peace was less a hack, man!
Your own saw Lanterns, Squads, the Reds and A-bombs quell your mission;
That's as jacked up as your black successor's break on television!
You'd do well to fission: squishies risk affliction, sticking to that kind of nexus;
It's as if you're mixing in black clouds in morning-time for breakfast.
Hawking off your power-set as something there's no reproducing?
Your old flame Lorraine objects, and check that shared New 52 scene!
Take me on? You're tripping; I could go all Summer Day,
Mad-laughing as you're curse-slapped, your collapse one stone's throw-down away!
Firestorm:
I'd hardly call that verse a gem, but do see you're impassioned;
Now, brace for an opposite, unequal nuclear reaction!
I'd advise you set about disarming; keep at trying to battle,
And you'll only fall apart, so turn around, three-eyes: skedaddle!
Put a bubble on your gushing pride, and hear just what I'm made of:
Nobel Prize-commemorated brains and brawn prime for the playoffs…
Oh, and right: the atoms' might, infused not in a tiny me,
But through a union whose inducement gets them splitting violently!
The irony…
These elements comprising me like father, son and holy ghost,
Your cotton candy composition couldn't come remotely close;
These bogglers are built to leave your flipping mind
As broken as that gay love metaphor between two different kinds!
Pursuing this is straight-up suicidal; heed some good advice:
Lest you be undone swiftly as a Slipknot, fleeing would be wise!
Hmm… knots, you say?
Tying yours sure garnered fandom's queerness-touting cheers.
What an accomplishment; it merely took damn-near six thousand years!
Our souls, conjoining, form an epic entelechy, knowing which,
Forgo all hopefulness of cloning this, as shown amiss with Soviets,
You cloying, kitschy clod! As for the riffs you spit haphazardly,
Those bare-bones bars have less meat than the prick who nicked your anthem, G!
Ours? Fine-tuned to the quantum level; spliced into arrangements
Set to shake your union to the brink of thrice-induced estrangement,
And don't count on pulling back together, damaged faith restored,
'Cause just the two of us are stronger than your whole volcanic Megazord!
Garnet:
Yeah, I'd imagine you'd know all about that, Orange Ranger,
But your floating mentor-head ought to have warned you to the danger;
What if I told you you'll be blindsided, both blacking-out in quick turn,
When I yank you from the Matrix like my name was Laurence Fishburne?
Known to wreck hard-headed haters, your hot one'll prove no different,
As part-timing casuals get taught the sum of true commitment!
Wanna see a giant of a power couple? I'm your girl; espouse its meaning:
Steady-rocking since mankind, they say, was still fresh out of Eden!
Plus, your Time Squad of a secret team can bite me;
Your whole future's at an end, and naught will tweak it, even slightly!
I mean, blimey: screw false pretense for some cackling magician bull;
That mind-entrapping weeks-long bender? Flatly unforgivable!
I'm dropping bombs; the biggest Ron, his mommy or his pops have seen,
For overkill to match the namesake of a poor man's Constantine:
Destabilizing deconstruction, it'll make them draw a blank.
I'd call your deal a nature-crime; rechristen Raymond: "Ronnie Frank"!
Firestorm:
You say your bodyguard-love schtick will never come to dissolution,
Like a pair of mutant, midget technicolor Whitney Houstons!
Think we'll have a problem here?
Now, that's bananas! We'll be home by daylight,
NASA asked that she's seen, fee-free, to her own, one-way flight!
Girl, your jointly self-absorbed felicity's an utter joke;
Make threats of dropping bombs, and watch your dignity go up in smoke!
You're unprepared for prime time, Gemmy! How can you expect to win this
When your origin got upstaged by a Robot Chicken Christmas?
From N.Y.C. streets to Justice Leagues, we've made ourselves a name;
You've kept ones shared with countless drones, all bred and trained to be the same!
I live up to and past the heights of my Star-Spangled heritage;
You aren't worth your own weight at the ideal price per carat, bitch:
You're meritless! You call those palette-swapped foam Hulk props on you gauntlets?
Come at me with them, and catch a flaming knuckle through the faceplate!
Your lame cheeto P.S.A. coach couldn't top this all-new hotness,
So if you can't stand the heat, beam back on up into your safe space.
See all notions that it's nearly so severely hard to beat her
Shattered like the trust invested in her dear, departed leader!
You perceive self-value more-than-constituting both your parts' sum,
But the math says otherwise; check any jewelry broker's charts, hon!
Half of you served in a royal court as its official seer;
You've gone some kind of third-eye-blind, though, if this isn't crystal-clear:
You don't look awesome, and it's time you went to bed!
Now close the deal!
I'll let your godson know that what you did today was choke, for real!
Garnet:
Oh, you'll find no exhaustion here; I'm far from prone to break a sweat:
When I wipe the floor with phony-hot shits, it's liable to wind up painted red!
It's viable to say I've wholly got this: child's play, though only for Garnet;
Joining in on it? You're gonna get rolled and left cold, all your folks going: "Oh no, they are dead."
Try on a total toxin-taste: raw space-rock rhymes, created ground-up,
Like your Ogaden oasis, the fate of which I wouldn't take it you're too proud of.
A tenth-level belter, I rep rebel melders:
Test against my mettle? Best inject some Nth; augment your cells, or get to shelter!
It's a song of ice and fire; when you're packing just the latter,
Your whole rhythm-ride's implosion-bound, and plasma's gonna splatter.
As for your nuclear family values? I'm beyond such rigid norms,
With Multiplex strengths, all rolled up inside one monolithic form!
Ever-flowering, love letter-showered, empowering, towering gay-romantic titan,
Shade thrown my way's, with a hand-flick, reflected, and BAM: it's the source who sees dishonor.
Dominant during debates, dissent-drainingly as any achromatic tyrant,
Try shouting this down, and watch me unshakenly pluck out your core; ensure you'll be a goner!
………
(*SOLO ROUND!*)
………
Martin Stein:
How's Stein's schooling session's starting something Sapph's supposed to handle?
Kindergarten rooms have brought her whole proud pairing to a standstill!
Singlehandedly one-upping that accursed menagerie,
Observe: in verse, a worse-disturbing blasphemy!
Your present-perspicacity has faltered from foresight-fixation; your taste in soulmates shows, for starters:
Even Jason never sunk to such low standards with his partners!
When this atomic architect takes to the floor,
The only overhyped-up ship that's headed for a wreck is yours!
Sapphire:
I see a glorified Jiminy Cricket with a nonexistent sex life.
He will find less clemency afforded here than with his ex-wife!
You've not met a Crystal cold to you as this; you'd better hide:
No psycho on any of infinite Earths could hope to sway me to your side.
Your Doomsday Clock is ticking; precognition needn't spell what's gonna happen,
When the baddest blue boss bombshells 'bout you break since Doc Manhattan's!
This alleged Legend won't see tomorrow: it's apparent you'll be slaughtered;
Deploring the oracle was a mistake just as aberrant as your daughter!
Martin Stein:
Hey, h- …Oh, why should I fall back onto dumb distraction-tunes,
When you're as prone to cause your own strikeout, all while we shoot the moon?
Cut with the C.R.A.P.; let this theory of mine be self-fulfilled: you'll cease to diss me,
Lest I cut your lifeline like your Greek ancestors three from Disney!
Sapphire:
If that Titanic travesty of trite trash-talk's all you've got,
Then it's no inner-fascist speaking when I say you should be shot!
Though I'd have warned you, that would be to squander breath for me; I know this:
You'd be heedless even with a quarter-century of notice!
Ruby:
Hit the streets, relapsed to homelessness: you'll want to keep anonymous;
A fuming-to-the-brim stone's bent on bringing your Apokalips!
The CW can have Ms. Kane informed on termination:
There was no room for her once this Ruby rose to the occasion!
Ronnie Raymond:
It was plain why you would be a cowboy: shit got polarizing.
Now, take one more comic page to heart: ride into the horizon;
No horsebacking, though! Try force-propelled ascension through the sky;
Yo, when you get to space's vacuum, tell your brethren I said "Hi",
And like the Happy of those five red dwarves reneged on standing with you,
Just back down from whence you've stepped up. Better yet, abandon ship, too!
Gangster-rapping worthily of some Dakotaversal bang-baby,
Watch this meta-S.T.A.R. extinguish your eternal flame, baby!
Ruby:
Funny you'd mention horizons: the events that I discern
Are painting you abyss-inbound, and past the point of no return!
Your jerkhole gripes and talking smack? I wouldn't fly to such judgments, were I to be you;
Full-circled like a Tokamak, your lapped back attacks will bite you something entirely new!
Ronnie Raymond:
A tempered temper lends to endless energy attained to blow through;
Rage has got you burning out, and that's my okay to K.O. you,
So let's leave the hero business to myself and the professor,
Making sure they'll see the written notice of your surrend
er!
Ruby:
Have you turned your own brains to jelly?! You're intoxicated; face it:
Flying off the rails, you'll plummet to rock bottom, getting wasted!
I'm out to bring hurt beyond mere heartbreak, and thus, your wounds yet need more salting,
Like your record's blackest mark, which Rusch won't soon let be forgotten!
Sapphire: That was rotten, alright; biting to look back upon as Sodom's burning.
White light this night, too, will end your torment, though with no returning!
Ruby: Or, in more straightforward wording: DIE. You must be nuts,
'Cause if the wedding stage didn't clue you in…
R+S: Today belongs to us!
Martin Stein:
I'll gladly rain on your reunion, jerks; it's time to face the truth:
You're plainly out of it as any circus sideshow saber-tooth!
Ronnie Raymond: If the professor is the passenger beside my pilot, punks,
That puts you as the ones blindfolded, bound and gagged inside our trunk!
Firestorm: You've walked Earth since prehistory?
Well, let's address the elephant…
A flung-back Furby's apt to outpace your epochal relevance!
You'll soon return to purpose-lacking, playing parent off the table,
Once our 'verses clash, and Steven takes an arrow in the navel!
Ruby:
Dude; leukemia is one thing, but those bars of your creation?
Sapphire: Cancerous beyond the help of your most cosmic incarnation!
R+S: Striking with a shadow's subtle grace, yet shining steel's lethality,
You may think it's Injustice, but we're winning by fatality! (Frosty!)
(*♪, ♪-♪-♪, ♪-♪*)
Garnet: You're getting throttled,
Harder than you dropped the ball with Brainiac's whole ship of bottles!
Take a moment to think, now, of just how very wrong you were, disputing me:
A clear-cut polymerized paragon; let no-con-fusion be.
?????????:
The trigger word's been stated! Now, my trap is activated;
Thus, the trump card's played in my fair maiden's name, so sayeth I!
The coming game's experience? You bums should take to fearing it,
Because it's time to D-D-D-D-D-D-D-D-D-DIE!
Blue-Eyes Ultimate Dragon:
I'm the overkill O.G. of owning old O.C.G. scenes; don't test me:
M.C. B.E.U.D. on the track? Best bet that it's your Death-T!
I inflict direct attacks; take life points down to zero, no doubt,
For this joke of a Gem-Knight and Elemental HERO dropout!
I drop right on in, without a brutal cost; sans Cyber-Stein:
Bring triple threats, converging onto Ruby, Ron, Sapphire and Stein!
You're all exhausted; left defenseless as a goblin-force one-shotter:
Losing hands dealt to you all played-out, and now I strike like Yata
Garasu, to lock you pussy Fusionists in strangleholds!
You'd never bend my will in shining armor forged of rarest gold.
In terms of targets fixed upon you, you'll have no chance to Scapegoat it:
One fell burst-stream's zapping your whole sheepish quartet of components!
Weighing you against me, the Millennium Scales will tip so hard,
You'll catapult, with robo-turtles wishing they could flick as far.
You're standing on the edge; ensuing shock is sure to wreck your balance,
Come the baddest dragon's dark discharge from his Zorc Necrophallus!
Need I spell it out? Your destiny is FINAL; undisputed!
As for changing fate, moreover, that's my job, with gods tributed!
Crushing you, why would I spring some virus? That ain't worth my time,
When all your values at their highest couldn't match a third of mine!
The legend that began it all: oft-mimicked, never replicated.
My pot runneth over; it's not necessary to explain it!
You'll beg for some shadow penalty, such twistedness you'll face;
For those who come in behind Blue-Eyes, a Limp Bizkit's what they taste!
Firestorm:
Self-special-summoning into our double-duel? Screw that whole deal;
If I had wanted a royale, I'd just be playing Battlefield!
Blue-Eyes Ultimate Dragon: Don't drag this out with dialogue, delaying; I haven't got all day,
And when this card is heartless to you, how can you so much as pray?
Garnet: Well, I'd say you've let your defenses down, and I ain't talking misprints:
Your effect on me's, put simply as your text box, nonexistent!
Blue-Eyes Ultimate Dragon:
It's the rapper-kingdom finals, whelp; that isn't gonna fly:
Those one-star-studded gauntlets plainly tell that you're unqualified!
I've got you insects flipping out, but doing so won't serve to bite me,
For your lot's too basic!
Lusterless!
Dull!
…Let alone worthy to ride me,
While I shine on ever brightly, even scaled down for the big screen;
Steal the thunder of Gate-Guards: my lyrics' layout's labyrinthine!
This collective looks combustion-bound, face flared up; in a frenzy,
But I've felled far more infernal red-eyed monsters full of envy.
Cards here stacked against you steeper still than Reshef of Destruction,
White light's sealing your demise, so though you guessed correct on one thing,
Know my arsenal's evolved to make for new alternatives;
With chaos rituals to maximize the pain, I'll burn you, bitch!
Watch me send this three-eyed sucker straight to the grave; negate a compensating deck search:
End malformed mashups' miseries, like the doggy saying "Edward"!
Garnet:
Oh, you can banish that shit; try, instead, Fullmetal Jacket,
'Cause I have to ask it: what is your mammoth malfunction, maggot?!
Firestorm: I have had it with these Muto-fighting dragons, coalesced as one,
But for us coming back from this hijacking, hopes look next to none…
Our best's yet unexhausted…
Garnet: The sole option left to take here…
Firestorm: …Should we all agree we want it.
Garnet: …Would be nuclear in nature.
Firestorm: Are you thinking what I am?
Garnet: I don't think that's how fusion works.
Firestorm: Well, screw the rules; we have fan fiction logic!
Garnet: Let's just do this, jerk…
………
Garnetstorm:
Know your last-minute winning plays; details: I take no pleasure in this
As I bust loose from our tightest spot and get direct to business,
No less vocal for it, mind you, while I counter-steal the show,
And finish what your master started, with one down, and three to go!
These blows will knock you sideways, keeping up the damage all the same,
With meteoric impacts fit to fuel your blackest rival's flames!
I'm breaking your sustaining chains; those of my components' restraint, too:
But four pieces here need come together to obliterate you!
Brightly-blazing stone conglomerate, far from some shadow puppet:
Mega-mixture; this vanilla triple-dipper can go shove it!
If you're triple-A, call me the alphabet's whole backmost leg;
No Toonish trickery required, I'll deflect attacks all day!
My fighting spirit's too intense to stay; my presence here is fleeting,
But the Last Turn is upon us, and you're set for searing beating!
Wanna end this with a draw? I'll go Berserker, then: get violent,
And remake Destroy All Monsters; stomp out this tri-headed tyrant.
WHO WON?
WHO'S NEXT?
I DECIDE!
MOLE…
…MAN'S…
HA!
…EPIC RAP BATTLES!!!!!!!
Museum of Ethnography Budapest Hungary
Architects: NAPUR Architect
Area : 34000 m²
The new building of the Museum of Ethnography in Budapest City Park (Városliget) was opened 2022. The award-winning new museum building – which is part of Europe’s largest urban-cultural development called Liget Budapest Project has dynamic yet simple lines simultaneously harmonized with the park environment and communicating with the surrounding urban area.
The collection, which comprises 250.000 items from the Carpathian Basin and from every corner of the world, has been hosted by various facilities since its establishment in 1872, but never in its history did it operate in a building designed specifically to cater to its needs. The project was one of over 1700 entries from 115 countries. According to the decision of an international jury, the competition was won by the Hungarian architectural studio, Napur Architect (beating leading world-class architect studios such as Zaha Hadid, BIG), whose building is distinguished by a dynamic yet simple design harmonized with the natural environment of the park while communicating with the urban texture of its surroundings. The gently curving lines enable the building to function as a gateway and a passage linking the city and the park. Sixty percent of the structure is under ground level, and thanks to the landscaped roof and the transparency of the sections over the ground, the new museum is adapted to its environment in its scale too. The grass-covered roof area will be a pleasant community space awaiting visitors to Városliget.
The spectacular trademark of the building is the glass curtain wall surrounding the landscaped roof garden, reminiscent of two intertwined hillsides, with a unique characteristic, consisting of nearly half a million pixels, a raster made by metal grid based on ethnographic motifs selected from the museum's Hungarian and international collections.
The new functions and flexible spaces of the modern and state-of-the-art museum building will facilitate the understanding of the historical heritage embodied by the collection as well as the various aspects of contemporary society. Besides passing down this historical heritage, the realization of more recent professional and research themes and perspectives continues to be among the priority objectives of the museum, as confirmed by its mission. The creatively built spaces will open up new opportunities to communicate with visitors, enabling the presentation of the everyday objects, phenomena, and ideas of the past and the present side by side.
Close your eyes and listen. The rush of water harmonizes with the rustling leaves and the distant calls of birds. It's a symphony composed by nature–a melody that resonates deep within your soul. As you follow the stream, you'll encounter mini waterfalls, their spray catching the sunlight like a thousand diamonds.
Fujigawachi Valley receives water from Mount Natsuki, a 1,386-meter-high mountain situated on the border of Oita and Miyazaki prefectures. The journey begins at Kannon Falls and extends for approximately eight kilometers.
For photographers, Fujigawachi Valley is a dream. Capture the play of light on water, the reflections in still pools, and the interplay of shadows and sunbeams. Whether you wield a professional camera or a humble smartphone, every frame here is a masterpiece waiting to be framed.
Museum of Ethnography Budapest Hungary
Architects: NAPUR Architect
Area : 34000 m²
The new building of the Museum of Ethnography in Budapest City Park (Városliget) was opened 2022. The award-winning new museum building – which is part of Europe’s largest urban-cultural development called Liget Budapest Project has dynamic yet simple lines simultaneously harmonized with the park environment and communicating with the surrounding urban area.
The collection, which comprises 250.000 items from the Carpathian Basin and from every corner of the world, has been hosted by various facilities since its establishment in 1872, but never in its history did it operate in a building designed specifically to cater to its needs. The project was one of over 1700 entries from 115 countries. According to the decision of an international jury, the competition was won by the Hungarian architectural studio, Napur Architect (beating leading world-class architect studios such as Zaha Hadid, BIG), whose building is distinguished by a dynamic yet simple design harmonized with the natural environment of the park while communicating with the urban texture of its surroundings. The gently curving lines enable the building to function as a gateway and a passage linking the city and the park. Sixty percent of the structure is under ground level, and thanks to the landscaped roof and the transparency of the sections over the ground, the new museum is adapted to its environment in its scale too. The grass-covered roof area will be a pleasant community space awaiting visitors to Városliget.
The spectacular trademark of the building is the glass curtain wall surrounding the landscaped roof garden, reminiscent of two intertwined hillsides, with a unique characteristic, consisting of nearly half a million pixels, a raster made by metal grid based on ethnographic motifs selected from the museum's Hungarian and international collections.
The new functions and flexible spaces of the modern and state-of-the-art museum building will facilitate the understanding of the historical heritage embodied by the collection as well as the various aspects of contemporary society. Besides passing down this historical heritage, the realization of more recent professional and research themes and perspectives continues to be among the priority objectives of the museum, as confirmed by its mission. The creatively built spaces will open up new opportunities to communicate with visitors, enabling the presentation of the everyday objects, phenomena, and ideas of the past and the present side by side.
A4 live @ Bayerisches Jazzweekend Regensburg, 15.Juli 2023
Vincent Thiriat (Harmonizer)
Hugo Gardé (Bass)
Tom Couineau (Drums)
Robin Mom (Trumpet)
Johan Thouvenot (Keybord)
"No Hope" -> www.youtube.com/watch?v=ykSpF84U2pE
DSC_6981_80_84-1sw
Art Nouveau it was inspired by natural forms and structures, not only in flowers and plants, but also in curved lines. Architects tried to harmonize with the natural environment.
To visualise this philosophy I took pictures of art nouveau architecture as well as plants and combined them in one picture.
This picture is double exposure done on analogue film. The film is exposed taking architecture pictures and once all pictures are taken the film is wind back to be exposed a second time. This time pictures of natural and floral objects are taken. Since one hardly remembers what picture was taken when in the first round, it is a lot of random process how the objects overlay in the final picture. But surprise is part of the fun.
The rural choir of fauna.. ready to harmonize
breaks into joyful song.. as the sun begins to rise
an orchestra of wild oats performs on center stage
directing the entire field .. pleasing crowds of any age
... those who witness glory.. those who hear the morning song
those that feel the peace within.. those that truly belong
capture the notes each morning ...beauty of dawns rural choir
the climb of the crescendo.. encouraging the sunrise higher
....let the wild oats of dawn..sow a song today..
- Kelly De Witt Schlicht -
Design composed of a symbols set harmonized to each other that blend together for a very personal creation of great visual impact.
In a game of overlap born the unusual idea with an evocative aesthetic from the world of slot machines, roulettes, poker chips and dices of the American casinos green tables.
In this composition stand out, as well as the unmistakable symbol of the ace of spades, playing cards with their rich decorations printed on the back.
Harley-Davidson Softail tank airbrushed and painted with special techniques.
Full of overlapping transparent glazes, metallic and pearlescent colors that blend together with each other.
Nikon D200 with AF Nikkor 24 mm 1:2:8 D
Another test picture that is rather meaningless as such but tells me that camera and lens are good, that they harmonize well and produce a consistently high IQ, though rather subdued, the way I like it.
Darmstadt, Germany
This is the last shot I took at Cabo Raso on a magnificent evening for photography, meaning plenty of clouds with the light shining through and an abundance of color right after the sun had set. I tried to arrange the shot so that the gap in the clouds harmonizes with the swirling water in front of me, unfortunately in the upper right there was no light getting through and nearly no texture in the clouds but I still like it.
I used a lee 0.9 hard grad and a hoya hd polarizer and the postprocessing was mostly contrast adjustments.
have a nice weekend, hopefully I'll find the time to go out shoot again, even if it's only here in germany ;-)
Chengdu, Sichuan province, China - Feb 2, 2025 : Bustling urban landscape of Chengdu's Baoli ShiGuangLi district comes alive at night, as traditional and contemporary aesthetics harmonize. A large red lantern with intricate white and gold patterns hangs prominently, surrounded by smaller white-lit trees, creating a magical ambiance. The photo showcases the city's fusion of cultural heritage and modern progress. Neon-lit skyscrapers and vibrant buildings serve as the backdrop to this picturesque scene
More on my Website
© Philippe LEJEANVRE. All rights reserved.
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Please do not use this photo without my permission.
With custom coachwork and artistic color effects to harmonize with the personal tastes of the owners.
Estes Park, CO, trail outside town. The wind was blowing a fiercely frigid 20mph, and it was a brisk walk!
HFF
As always, a special thanks to all of you who drop by to look, comment and fave!
Teruel (Spain).
ENGLISH
Main door made by Pablo Monguió in 1909, trying to harmonize the main door with the tower of the cathedral. For it he made a triple archivolt with round arch and on its friso of small intercrossed round archs, similar to those of the low part of the tower. Also he conjugated the stone, the brick and the vidriada ceramics, but without obtaining a correct balance.
The cathedral was constructed on top of the Santa Maria de Mediavilla church. It has three stonework and brick naves, as a result of the enlargement of the old Romanesque church in 1171. Juzaff the Moor directed the work that consisted of substituting the Romanesque apses with Gothic-Mudejar apses, which can still be seen in the main chapel. The Mudejar Tower dates back to the thirteenth century with a small passageway covered by a pointed barrel vault that leads on to the street. Another highlight of the Mudejar art inserted in the Cathedral is its ceiling, made around 1300. It is of wood, profusely decorated with streamlined, geometric and epigraphic elements of Islamic tradition and linear gothic decoration. This last one surprises by its wealth and variety, having received diverse interpretations.
More info about Teruel: www.teruel.com/en/historia_en.html, en.wikipedia.org/wiki/Teruel
--------------------------
CASTELLANO
Este portal lo realizó Pablo Monguió en 1909, intentando armonizar el portal con la torre de la catedral. Para ello realizó una triple arquivolta con arco de medio punto y sobre ella un friso de pequeños arcos de medio punto entrecruzados, similares a los de la parte baja de la torre. También conjugó la piedra, el ladrillo y la cerámica vidriada, pero sin conseguir un correcto equilibrio.
La catedral es un conjunto de gran complejidad, fruto de ocho siglos de existencia. Posee la primera torre campanario mudéjar de la ciudad (1257-58), cuya parte baja está abierta mediante arcos apuntados y bóveda de cañón, siendo atravesada por una calle. Está decorada con arcos de medio punto entrecruzados, frisos de esquinillas con fustes de cerámica, ventanas abocinadas en arco de medio punto, platos y azulejos vidriados en verde y morado, etc. Otra de las obras cumbres del arte mudéjar inserto en la Catedral es su techumbre, realizada en torno al 1300. Es de madera, con armadura de par y nudillo, profusamente decorada con elementos vegetales estilizados, geométricos y epigráficos de tradición islámica y decoración figurada gótica lineal. Esta última sorprende por su riqueza y variedad, habiendo recibido diversas interpretaciones: representación sistemática de todo el saber de la época, representación cósmica, presidida por los meses del año (devenir del tiempo) y las diferentes actividades humanas: temática vinculada a la literatura romance.
Más info de Teruel: www.es.teruel.com/historia.html, es.wikipedia.org/wiki/Teruel
A well-harmonized picture of the beautiful local architecture in the background of million billion of birds.
The gentleman is dressed in the costume of the troubadours, often students from the University, who sing their way through the alleys of Guanajuato every night.
Sony DSC-W55. After looking at my previous attempt, I decided the colors weren't right and the apple was too prominent. After fiddling with it in Photoshop Elements 6, I'm not sure this is any better.
Design composed of a symbols set harmonized to each other that blend together for a very personal creation of great visual impact.
In a game of overlap born the unusual idea with an evocative aesthetic from the world of slot machines, roulettes, poker chips and dices of the American casinos green tables.
In this composition stand out, as well as the unmistakable symbol of the ace of spades, playing cards with their rich decorations printed on the back.
Harley-Davidson Softail tank airbrushed and painted with special techniques.
Full of overlapping transparent glazes, metallic and pearlescent colors that blend together with each other.
Photos taken of Jan and Dean taken June 1987 at the Dardanella Bar at Wasaga Beach ,Ontario,Canada
After concert Jan signed autographs for concert goers.In 2004 Jan Berry
died. Today Dean Torrence still tours.
For more information on Jan and Berry check websites below :
www.jananddean-janberry.com/main/
www.surfcityallstars.com/torrence.html
JAN AND DEAN
Jan Berry and Arnie Ginsburg decided they had what it took to be a music act. How hard could it be? Seems Arnie had come
up with a song based on a real person...a stripper named Jennie Lee, "The Bazoom Girl," charter member of the "League of
Exotic Dancers." Arnie, 18 years old and sowing a few wild oats, had caught her act at an L.A. burlesque club. It was
1958; Jan was still in high school and missed out on Arnie's "adult" excursion. The guys got together in the garage at
Jan's home in Westwood with an Ampex reel-to-reel recorder Jan's dad had gotten him and began harmonizing, doo wop
style, while another friend, Donald Altfeld, supplied makeshift percussion (banging on sticks). A primitive, echo-
drenched version of "Jennie Lee" was the result.
It didn't take much effort on the part of Jan and Arnie to get the song released on Arwin Records, owned by Doris Day's
husband Marty Melcher. Joe Lubin, A&R man for the Hollywood-based label, heard the tape and felt strongly enough about
its potential that he got together with the guys do a more polished version, but insisted on duplicating the sound he
heard on the tape. An all night session with Lubin in Jan's garage produced a second take as well as "Gotta Getta Date,"
written on the fly by the three and recorded in the early morning hours for use as the single's B side. Back in the
studio, Lubin hired the best session men in town (guitarist Rene Hall, saxophonist Plas Johnson, pianist Ernie Freeman
and drummer Earl Palmer) and overdubbed the band for the finished product. It was an unconventional way to make a
record...but not all that uncommon in the early rock and roll environment of the late '50s.
The song caught on, hit big (top ten in June '58), and Berry and Ginsburg found themselves appearing onstage doing rock
shows with some of the hottest names of the era in a blur of bright lights and adoring female fans that began to affect
Arnie in a stressful, emotional way. Not everyone, it seems, is cut out for instant stardom. Jan was fine with it. The
follow-up, "Gas Money" (Altfeld shared writer credit with Berry and Ginsburg on this one), hit the charts less
impressively while hinting at a car-and-hot-rod direction the act (or Jan at least) would explore more deeply in the
future. The third Arwin single didn't sell and the duo appeared to be done, which was okay by Arnie, mentally and
physically drained and ready to move into a less manic vocation. He quit to attend the University of Southern Cal,
leaving Jan, wound up and ready for more, with the task of finding another singing partner.
An old football buddy, Dean Torrence, had just returned from six months' initial training with the U.S. Army Reserve and
was game to take over where Ginsburg left off. The two had met at Emerson Junior High in Westwood several years earlier,
playing on the school football team there and at University High School right up through graduation. Locker room
harmonizing had become a regular routine with other school athletes joining in; roughhousing on the gridiron, singing in
the showers. A school club called The Barons, counting Jan, Dean, future actor James Brolin and pounding-drum devotee
Sandy Nelson among its members, did some impromptu singing as well. It was a no-brainer in 1959 for Jan and Dean to
attempt to continue what Jan and Arnie had begun.
Budding record industry everyman Kim Fowley, another classmate of Jan, Arnie and Dean at University High, recommended
the new duo to Lou Adler and Herb Alpert, producers at Los Angeles label Dore (upon meeting them, Adler said they had a
"very California look" in contrast to the Philadelphia breed of teen idols saturating the biz at the time). For "Baby
Talk" (penned by Melvin Schwartz), a recent release by Brooklyn doo wop group The Laurels, Jan and Dean put more
emphasis on the song's nonsense baby syllables; their version hit the national top ten in September 1959. Several
follow-up singles on Dore appeared on the charts in '59 and '60: Alpert and Adler's "There's a Girl," the oldtime
standard "Clementine" (eclipsed by Bobby Darin's rendition, released at about the same time) and two older R&B hits-
turned-teen-tunes, The Moonglows' "We Go Together" and The Crows' "Gee."
With a solid track record, Jan and Dean approached Liberty, one of L.A.'s top record companies, in the hopes of working
with the label's bigtime hitmaking team and securing longer-term success. A demo of Hoagy Carmichael and Frank Loesser's
1938 tune "Heart and Soul" done up J&D style was rejected by the label, though they were interested in signing the duo.
The two instead took the song to Gene Autry's Challenge Records, relying on their gut instinct that it would be a hit
(even though a version by The Cleftones was already scaling the charts). It was; number one in Los Angeles in June '61
and a top 30 hit nationally (the markedly different-sounding Cleftones record did reach the top 20 a few weeks earlier,
winning the overall competition). After one other Challenge 45, "Wanted, One Girl," Jan recorded a solo single,
"Tomorrow's Teardrops," released by Alpert and Adler on a "just for fun" label, Ripple Records. In late 1961, Jan and
Dean signed a long-term contract with Liberty.
Early Liberty efforts were a bit directionless as they stayed with the previously established formula. "A Sunday Kind of
Love" (a Louis Prima standard best known through Jo Stafford's 1947 hit and a 1953 R&B version by New York group The
Harptones) hit the charts briefly in early 1962. "Tennessee," with a doo wop hook not unlike the ones in "Jennie Lee"
and "Baby Talk," had a slightly better run a few months later. "Linda," written in the '40s by Jack Lawrence, showed
promise when adjusted to Jan and Dean mode in spring 1963, a top 40 hit but just the third overall among more than a
dozen releases since '59.
The Beach Boys had been together for two years and were really heating up at about this time, opening for Jan and Dean
in concert and serving as the duo's backing band onstage. Jan began writing songs with the group's leader Brian Wilson
and their composition of "Surf City" opened the world of surf music to J&D and hit number one on the charts in July '63.
Suddenly Jan and Dean and the Beach Boys were competing with one another...and the leader of the latter was consorting
with the enemy! Of course it was a friendly rivalry and Wilson continued to contribute songs, usually in collaboration
with Berry and Roger Christian, a songwriter and well-known Los Angeles disc jockey. "Honolulu Lulu," a Berry-
Christian-Spunky song ("Spunky" being another case of Lou Adler just "having fun"), was a fall '63 hit in the surf-and-
beach vein, then Jan and Dean took the next logical step into the drag race craze (as the Beach Boys had done on the B
sides of their last few surf hits) with the first of several hot rod and/or car songs. "Drag City," written by Berry,
Christian and Brian Wilson, went top ten in January 1964.
Jan Berry began writing and producing outside acts, among them The Matadors, who backed Jan and Dean on many of their
studio recordings. He and Art Kornfeld composed The Angels' 1963 hit "I Adore Him" and with Christian he contributed
"Three Window Coupe" to The Rip Chords' run of car song smashes in '64. Dean Torrence went in another direction during
what little free time he had, attending USC and studying a number of subjects, including architecture and science. At
the start of 1964, the guys came up with a song that crossed the car craze with the "teen death" movement going strong
since the start of the decade: "Dead Man's Curve" (the nickname of an actual stretch of Sunset Boulevard) was deemed a
bit dark by Liberty Records brass, so they made sure it was backed with a "happy" song, "The New Girl in School,"
promoting the record as a double A side. Both songs were hits, but "Dead Man's Curve" was bigger and landed them back in
the top ten. The song's impact didn't end there, though; in a couple of years it would become a permanent, and tragic,
part of the Jan and Dean story.
Donald Altfeld turned a possible hallucination into a major hit for his longtime pals. One night while driving down
Colorado Boulevard in Pasadena, he swore he saw a little old grandmother-type in a hot, souped-up rod speed past him.
The illusion became reality after that, when he and Roger Christian wrote "The Little Old Lady (From Pasadena)," another
top ten for Jan and Dean during the summer of '64. At the same time, the Dodge Dealers of Southern California came up
with a series of TV commercials with actress Kathryn Minner as a Granny in '...a brand new shiny red Super Stock Dodge,'
as the song described. The spots were popular and Minner became a star, causing a sensation at personal appearances and
even appearing with Jan and Dean on the cover of their album titled after the hit song.
Next up was the theme from the summer film "Ride the Wild Surf" starring Fabian and Shelley Fabares, backed with "The
Anaheim, Azusa and Cucamonga Sewing Circle, Book Review and Timing Association," the logical follow-up to "Little Old
Lady," featuring an entire group of Grannies hipper than yourself. "Sidewalk Surfin'" made sure skateboarders weren't
overlooked; it used the melody of Wilson's Beach Boys tune "Catch a Wave."
The T.A.M.I. Show was a big event for rock music fans, hosted by Jan and Dean during two nights of filming in October
1964 at the Santa Monica Civic Auditorium. Shot on videotape and later transferred to film for a theatrical premiere in
December, the all-star concert featured James Brown, The Rolling Stones, Lesley Gore, The Supremes, J&D partners-in-
crime the Beach Boys and many others. The film's theme, "(Here They Come) From All Over the World," was written by P.F.
Sloan and Steve Barri (of The Fantastic Baggys, another sometimes-backup band for Jan and Dean) and a live performance
by the duo was released as a single, even though the version heard at the beginning of the film was a studio recording.
Following the high of hosting one of the all time great, star-studded music movies, Jan and Dean's singles began showing
sings of weakness. Like Brian Wilson, Berry and Torrence were huge fans of producer Phil Spector; "You Really Know How
to Hurt a Guy" was produced by Jan in a Spectoresque "Wall of Sound" style and hit the top 40 at the start of summer
1965. Sloan and Barri's "I Found a Girl" had more in common with their early recordings and was also a top 40 hit. Jan
released another solo single, his one attempt at a protest song, "The Universal Coward" (a takeoff on "The Universal
Soldier," a fall '65 hit for both Donovan and Glen Campbell), but like the earlier Berry single, it didn't catch on.
Meanwhile, Dean sang on the early 1966 Beach Boys hit "Barbara Ann." When the Batman TV series premiered on ABC-TV in
January and immediately dominated in the ratings, the duo released their own "Batman" single (with no similarities to
the show's theme by Neal Hefti), a cartoonish take on Gotham City's dependancy on the Caped Crusader.
If the best days were behind them, any chance of a resurgence was extinguished in April 1966 when Jan Berry ran into a
parked truck while driving his Corvette Stingray not far from the location detailed so morbidly in "Dead Man's Curve."
He suffered brain damage and paralysis resulting in limited use of his limbs, including his legs (doctors diagnosed that
he would never be able to walk again). The likelihood of his making records or performing in the future was slim, but
Dean Torrence continued solo, releasing several singles under the name of the duo. Their contract with Liberty had
expired and the label released a few older recordings as singles, including the act's last top 40 hit that summer,
"Popsicle" (a remix of a 1963 recording, "Popsicle Truck"). Dean formed the J&D label and licensed one track, "Yellow
Balloon," to Columbia Records (competing in the spring of '67 with a version by a band named The Yellow Balloon, which
became the hit). He also started his own company, Kittyhawk Graphics, geared specifically toward creating logos and
cover art for music acts and, with artist Gene Brownell, won a Grammy Award in the category of Best Album Cover for
designing the cover art for the 1971 release by the band Pollution.
There were no further chart appearances for the duo after 1967. Berry rehabbed successfully enough over the next few
years to return to studio recording and the two worked together off and on. Live appearances were trickier, as Jan's
struggles were all too obvious to concertgoers, but they kept at it and made regular appearances in the '70s and '80s as
headliners (with a new backup band, Papa Doo Run Run, named after a variation on the lyrical intro of "The New Girl in
School") and as an opening act for longtime colleagues The Beach Boys. Jan Berry passed away in 2004 at the age of 62.
Dean Torrence still performs occasionally under the name The Jan and Dean Show in memory of his close friend and musical
other half. Music fans will always keep that image of two guys with a "very California look" in their minds and hearts.
- Michael Jack Kirby
NOTABLE SINGLES:
Jennie Lee - 1958
by Jan and Arnie
Gas Money - 1958
by Jan and Arnie
Baby Talk - 1959
There's a Girl - 1959
Clementine - 1960
We Go Together - 1960
Gee - 1960
Heart and Soul - 1961
Wanted, One Girl - 1961
Tomorrow's Teardrops - 1961
by Jan Berry
A Sunday Kind of Love - 1962
Tennessee - 1962
Linda - 1963
Surf City - 1963
Honolulu Lulu - 1963
Drag City - 1963
Dead Man's Curve /
The New Girl in School - 1964
The Little Old Lady (From Pasadena) - 1964
Ride the Wild Surf /
The Anaheim, Azusa and Cucamonga Sewing Circle, Book Review
and Timing Association - 1964
Sidewalk Surfin' - 1964
(Here They Come) From All Over the World - 1965
You Really Know How to Hurt a Guy - 1965
I Found a Girl - 1965
The Universal Coward - 1965
by Jan Berry
A Beginning From an End - 1966
Batman - 1966
Popsicle - 1966
Fiddle Around - 1966
Yellow Balloon - 1967
Text from the Cleveland Memory Project: "It is significant that, generally speaking, pains have been taken to make bridges in the parks esthetically satisfying, to harmonize with their environment. It seems that natural environment demands that man-made structures be beautiful. Surely, every effort should be made to design structures, no matter how significant or utilitarian, to be as beautiful as possible."
Links:
www.clevelandmemory.org/ebooks/bmc/index.html “Bridges of Metropolitan Cleveland” by Sara Ruth Watson and John R. Wolfs 1981”
Chapter 5: Ornamental and Park Bridges www.clevelandmemory.org/ebooks/bmc/Bmcchap5.html
More from Cleveland Memory:
"The present Lorain Road Bridge spans the Rocky River Valley in the heart of the Metropolitan Park System. Special care was taken to make the structure fit its natural environment. The bridge consists of four parabolic, two-hinged steel arches: two have a span of 256 feet center-to-center of piers, and the two unsymmetrical end-spans are about 237 feet in length. Height above the valley is about 130 feet; the roadway width is 40 feet, flanked by two five-foot walks. The plate-girder arch ribs of uniform depth are carried on vertical posts without diagonal bracing-a feature that enhances the architectural beauty of the structure. Also, the use of a minimum number of members and the tapering of the piers add to its beauty. Considerable welding was done in order to eliminate rivet heads where they were deemed objectionable; and for the same reason a great amount of counter-sinking of rivet heads was resorted to. The railing design of welded shapes and of open malleable iron panels is unique. The colors of the bridge complement those in the natural setting: a warm grey for the masonry and a pale green for the steel. The bride was designed by the engineers of the Ohio State Highway Department, with J.R. Burkey, Chief Engineer, and W.H. Rabe, Chief Designer. It received an award from the American Institute of Steel Construction for being the most beautiful steel bridge in its class erected 1935."
The older bridge was built in 1894.
See how well her outfit harmonizes with the backdrop? /is shot
Sorry, I'm going to catch up with real stories soon! Work has sucked and then I dislocated my shoulder soooo less dolly funtime than I'd like.
"If you wish to find the secrets of the Universe, think in terms of energy, frequency and vibration. »
Nicholas Tesla
In this picture in Rosheim we see on the pillar a pattern with designing the magnetic waves and a vortex formed by the faces, probably it is necessary to put oneself in a circle around this column at the crossroads of fields of gold, nickel, mercury and silver. With a snapping sound the machine broke loose from the six quarter inch bolts that connected it to the ground, and then, with a soft wining sound, it took off with a blue glowing fog emerging from the machine . Dowsing is not a gift reserved for an elite. Everyone has the innate ability to do so. This ability is amplified when the individual is listening to his body and environment. This feeling can be practiced, worked on and refined by everyone. Ask and you will receive! Moreover, the perception of radiation by the body is a phenomenon that everyone has already experienced. We have all felt physically comfortable or uncomfortable entering certain places before. Any visible or invisible form emits form waves that have a positive or negative impact on our body. The world and the elements that make it up exist only through the interactions of these present waves. A good geobiologist will know how to interpret these shape waves and vibrations to define and harmonize them in a given place. Two forms of radiesthesia are available to the geobiologist. The first is resonance radiesthesia, which is based on the response of tools to the radiation of the geobiological phenomena sought, such as a metal network, a fault, an underground watercourse, a vortex, etc. These radiesthesia tools can be a Lecher antenna, a pendulum, an antenna lobe, metal rods, etc. The second method is mental radiesthesia: following the formulation of a clear and precise question, the energetic bodies dilate in a perceptible way by a physical feeling specific to each geobiologist. These two methods of dowsing can also be accompanied by biometric tables or figures to qualify and quantify the phenomenon observed.
Imagine that we could control that force ....
The radiesthesists of the Middle Ages and Antiquity were the precursors of modern geobiologists with their knowledge and feelings of the time. These dowsers and scientists used sticks, rods, clocks and other divinatory tools to demonstrate and amplify their feelings, in order to determine the presence of visible or invisible phenomena. They did this by observing the reactions of their instruments to the radiation emitted by the bodies they were looking for. The radiesthesist could look for the presence of groundwater (dowser), minerals or any other material. Many engravings describe the use of the divining rod, such as Major Re Metallica (1556) by Georgius Agricola, grandfather founder of mineralogy and metallurgy. Today, the contemporary geobiologist will of course have highly sophisticated and expensive devices such as the high and low frequency electromagnetic wave detector, in order to measure and determine the source of electromagnetic disturbances that affect electro-sensitive or non-sensitive occupants.
The universal power law for the spectrum of one-dimensional breaking Riemann waves is justified for the simple wave equation. The spectrum of spatial amplitudes at the breaking time $t = t_b$ has an asymptotic decay of $k^{-4/3}$, with corresponding energy spectrum decaying as $k^{-8/3}$. This spectrum is formed by the singularity of the form $(x-x_b)^{1/3}$ in the wave shape at the breaking time. This result remains valid for arbitrary nonlinear wave speed. In addition, we demonstrate numerically that the universal power law is observed for long time in the range of small wave numbers if small dissipation or dispersion is accounted in the viscous Burgers or Korteweg-de Vries equations.
Sengupta's lower bound for the Yang-Mills action on smooth connections on a bundle over a Riemann surface generalizes to the space of connections whose action is finite. In this larger space the inequality can always be saturated. The Yang-Mills critical sets correspond to critical sets of the energy action on a space of paths. This may shed light on Atiyah and Bott's conjecture concerning Morse theory for the space of connections modulo gauge transformations.Among Viktor Schaubergers machines there is no one like the Repulsin or the flying saucer that has created such myths and stories. The basic designs are from the mid thirties when he tried to finish the Climator. Often mysterious material acting as catalysts are used in the devices. Different light and sound phenomena are also reported from people that claim that they had been eye witnesses to these flying devices. A most peculiar thing is that they seem to be very difficult to control, as they have a habit of smashing into the ceiling, and after that, being irreparable. Viktor himself claimed that powerful diamagnetic forces were responsible for the enormous effect. However, in the literature and in Viktor's own notebooks there is no evidence, if and if so how these devices worked. The question is, are all these rumours true ? Do these devices really work ?
Well, what we can see from the few pictures that exist is that there seems to be some kind of turbine, shaped as a double flat membrane with concentric rills on it. If you compare to the wave pattern you get when you throw a stone into a small pond you will comprehend better what I mean. However, the wave pattern on the upper membrane had a small difference in the phase compared to the lower membrane. On the edge rim, turbine vanes are mounted, probably acting as a source of power for both self rotation and even for the generation of power. The double membrane was probably co-rotating as four bolts that fix them together, can be observed. As modern quantum physics shows us with the experiment of the double groove, the trajectory of photonic particles reacts to the observer's gaze and intention. It is therefore demonstrable that the condition of your geobiologist allows him to resonate or not with the forces present on the site and to define them well, or even to influence and harmonize them if necessary. There was a time when invisible electrons were only a theory, then came the advent of CERN's electron microscopes and particle accelerator, which validated the 1964 theory of the Higgs Boson (God's particle) in 2012. From that moment on, everything became possible according to science! As this event taught us, even today, human intuition and feelings often exceed the capabilities of the most advanced machines. Several geobiological discoveries also apply here.
In the pictures we can also see that there is some kind of body, a bowl shaped plate that is bend over the membrane whose outlet can be found inside the rim foil. Together, the rim foil (the metal band around the lower rim) and the outlet form a Venturi "tube". An air intake can be seen on the top of the device. Unfortunately, one important component is missing on the top. This component should "pre-form" the air so it starts to twist before it enters the double membrane. This component had a similar shape as a sea shell. Viktor said that this device was never built as it is very difficult to produce a thing with such a complex geometry. In the book Living Water (by Olof Alexandersson) a colloid solution of very fine grained quartz crystal and water is mentioned as a catalyst for the process.
So, if we start to think for a while. Let's say that this device really worked, it really did take off! How would it work ?
Consider what probably happens in the machine:
- The air is sucked through the intake where it is pre-formed into a vortice containing vortices within vortices shaped as long threads rotating around their axis.In my opinion the double membrane was not co-rotating. If they where not counter rotating, one of the was fixed, probably the upper membrane and the lower rotating on the driving axis. A description on what happens is given on the wind mill page.
- Briefly the air threads start to spin faster and faster around their axis driven by the difference in speed between the membranes. As the air reaches longer out on the membrane, the peripherical speed increases along with the radius and so does the angular speed of the air threads.
- During the passage between the double membrane the air has to pass cavities where the volume sometimes is bigger and sometimes is smaller due to the difference in phase between the upper and the lower membrane. When the air passes a narrow cavity it gets extra energy input and when it passes a larger cavity it is allowed to expand.
- The "air threads" are twisted along their axis in a smaller and smaller radius leading to an increase of the angular speed. As the air reaches further out, closer to the rim, the threads start to bend due to the increasing peripherical speed. When the air passes the different cavities it starts to pulsate in a rhythm that is depending on the angular speed of the disc. Huge forces are generated when all these degrees of freedom are harmonised into a symphony.
However, it is not necessary to use unknown theories as the diamagnetic forces to explain how the powerful lift is generated. Of course this can be the explanation, the future will show us if this is the case. As for the colloid solution of fine grained quartz and water, one can imagine that huge amounts of piezo electricity is produced between the membranes, where the pulsating and twisting air containing small amounts of the solution is passing. At a certain rotation speed we have reached the level where we have "harmony" and the air is "self pulsating" and generating electricity that "pumps" up the energy level. What actually happens in this process in certainly unknown! But, high levels of static electricity have been reported in similar devices connected to the ZPE-area. ZPE stands for zero point energy or vacuum energy which is the idea of an unknown field of energy existing in vacuum. Read more about this phenomena! In several proposals of propulsion devices, for flying saucers high electric energy levels are also used. As an example we have David Hamels flying disk. You can read about it here. It could be that the diamagnetism that Viktor Schauberger mentioned, is the same phenomena or physical principle that is proposed in these propulsion devices. In Viktor's lessons he always talked about two important things:
"You shall always remember two things. First, remember how the rivers are meandering. Second, remember the electrophorus (or Kelvin's thunderstorm ) experiments!"
As I mentioned before there is one (at least…) more explanation on why Viktor Schaubergers machine took off with such power. It might be explained by "normal" aerodynamics and a phenomena named ‘the Coanda effect'. Very brief the Coanda effect is the phenomena when a flowing media tends to "stick" to a curved surface, You can read a biography of Henri Coanda here . If we take a closer look on the bowl shaped plate, we realise that it is a circular wing. When the air is rushing out inside the foil or the metal band that can be seen on the lower rim of the device it creates a sub pressure just over the foil.
The surrounding air is sucked inside the foil and with the air from the membranes. This generates a sub pressure over the device and the device is "hanging" in it. You could say that it is an inverted hovercraft. But instead of creating a pressure under the craft You create a sub pressure over it. Basically it is the same, it is only a matter of pressure differences. The sub pressure is modest but as we have a large area we also get a huge lifting force. There is one more way to create the sub pressure over the craft. You can let the air blow out on the top instead.
When the twisted air follows the Coanda surface it sweeps down the surrounding air and we get the sub pressure this way. If You want to read more about the Coanda effect follow this link . On this page You can read a lot about different applications and a very interesting new type of fan, the Jet Fan.
The principle of the "flats and angles" (type 1) is demonstrated in picture 1, where I have built a small (250 mm diameter, 80 mm high) prototype of the Jet Fan type (type1). I have also "rebuilt" my vacuum cleaner so it is blowing instead (my wife demanded a new one … ). The air blows out through a special nozzle so it forms a "disk" of blowing air.
Picture 2: When the nozzle with the "air disk" is placed close to the top, we can simulate what is happening on type 1. As You can see in the picture, the silk threads follow the air flow shoving the path.
Picture 3: Oh Yes, It works !
The Malmögroup will continue their work during 1998 with further testing of these ideas. We proposed a model of the membrane turbine and will continue to shape the moulds so we can multiply the membranes. A section of the body will also be designed as a test rig where it will be possible to test different profiles of the body and different types of nozzles and other things related to the device. We will also present the results on this page, please continue to check the site. I will write in the "what's new section" when there is more info.
Photo of oil droplets from the oil & water macro abstract photography assignment captured via Minolta MD Macro Rokkor-X 100mm F/4 lens. Inside the creative halls of the 494 ∞ Labs. Late January 2021.
Exposure Time: 1/13 sec. * ISO Speed: ISO-100 * Aperture: F/8 * Bracketing: None * Color Temperature: 2724 K * Film Plug-In: Fuji Velvia 50 * Adaptor: 1:1 Extension Tube * Tele-Converter: Deitz 2X MC-4 M/MD
The Episcopal Palace of Astorga, Spain is a building by Catalan architect Antoni Gaudí. It was built between 1889 and 1913. Designed in the Catalan Modernisme style, it is one of only three buildings by Gaudi outside Catalonia.
When the original Episcopal Palace was destroyed by a fire in the 19th century, Bishop Grau decided to assign the design of the new building to his friend Antoni Gaudí. The two had become friends when Grau was general vicar in the archdiocese of Tarragona and had inaugurated a church for which the architect had designed the high altar.
When Gaudí received the commission, he was still working at the Palau Güell in Barcelona, and thus he could not move to Astorga to study the terrain and the area of the new construction. He therefore asked the bishop to send him photographs to begin the new project. Gaudí sent his design, and it was approved in February 1889. The first stone was placed in June the following year.
The edifice, built in gray granite from El Bierzo, is in a neo-medieval style harmonizing with its location, including the cathedral in particular. It does, however, also feature some of the elements typical of the later Gaudí, such as the arches of the entrance with buttresses and the chimneys integrated in the side façades. Gaudí had devised a five-meter tall angel to crown the façade, but it was never mounted. The façade has four cylindrical towers and is surrounded by a ditch.
In 1893, after the death of Bishop Grau, Gaudí resigned over disagreements with the council, halting the construction for several years. The palace was completed between 1907 and 1915 by Ricardo Garcia Guereta. During the Civil War the building served as the local headquarters of the Falange. In 1956 Julià Castelltort, a Catalan, began restoration works to adapt the building as a bishop's residence. Later bishop Marcelo González Martín promoted the conversion to the current role of the palace, a museum of religious art called Museo de los Caminos, dedicated to the Way of Santiago.
While my wife was at the Arizona Bar Association Conference in Coronado, I took a photo trip to the San Diego Japanese Friendship Garden.
Bonsai Collection — Japanese Friendship Garden (niwa.org)
What is Bonsai 盆栽
Bonsai is the Japanese art of growing miniature, or ornamental-shaped trees or shrubs in small, shallow pots. The literal translation of bonsai is “tray planting” (bon – pot; sai – planting). A common misconception is that bonsai specimens are hereditary dwarfs; however, they are in fact, ordinary trees and shrubs. They are ‘dwarfed’ by a system of pruning roots and branches, and training branches by tying them with wire. The art originated in China but has been pursued and developed primarily by the Japanese. The direct inspiration for bonsai is found in nature – in trees that grow in harsh, rocky places that are dwarfed and gnarled throughout their existence. Prized characteristics are an aged-looking trunk and branches, and weathered-looking exposed upper roots. Bonsai may live for a century or more and are handed down from one generation to another as valued family possessions. Bonsai pots, usually earthenware and of variable shape, are carefully chosen to harmonize in color and proportion with the tree. A sizable bonsai industry exists as part of the nursery industry in Japan; California is home to a small-scale bonsai industry.
The mission of the Japanese Friendship Garden Society of San Diego (JFG) is to develop a traditional Japanese garden as a center to educate, engage, and inspire people of diverse backgrounds about Japanese culture and community legacy.
JFG is an accredited museum that offers a variety of educational programs, exhibits, and cultural festivals to enhance appreciation and understanding of Japanese culture. Over 330,000 visitors from the United States and internationally attend the garden annually. JFG opened to the public in 1991 and is an expression of friendship between San Diego and its sister city, Yokohama. The garden is inspired from centuries-old Japanese design and techniques that showcase JFG’s living exhibition comprised of plants and florae native to Japan and San Diego. The second phase opened in 1999 and was designed by renowned landscape architect Takeo Uesugi, which included the addition of the Exhibit Hall, Activity Center, and Upper Koi Pond. The third phase, completed in 2015, incorporated a 200 cherry tree grove, large azalea and camellia garden, a water feature reminiscent of the San Diego watershed, and the state of the art Inamori Pavilion. Today, JFG resides on 12 acres and fosters a relationship between humans and nature, providing a respite attuned to Japanese simplicity, serenity, and aestheticism.
en.wikipedia.org/wiki/Japanese_Friendship_Garden_(Balboa_Park)
DSC01451 acd
Happy Tree-mendous Tuesday, Happy TmT, HTmT,
Tomax (China) No. M100-003, bought in 2015.
1.000 pcs, 29,7 x 42 cm.
2 days.
French artist Jacques-Louis David painted five versions of an oil on canvas equestrian portrait of Napoleon Bonaparte between 1801 and 1805. Initially commissioned by the King of Spain, the composition shows a strongly idealized view of the real crossing that Napoleon and his army made across the Alps through the Great St. Bernard Pass in May 1800.
Jacques-Louis David (30 August 1748 – 29 December 1825) was an influential French painter in the Neoclassical style, considered to be the preeminent painter of the era. In the 1780s his cerebral brand of history painting marked a change in taste away from Rococo frivolity toward a classical austerity and severity, heightened feeling harmonizing with the moral climate of the final years of the Ancien Régime.
David later became an active supporter of the French Revolution and friend of Maximilien Robespierre (1758–1794), and was effectively a dictator of the arts under the French Republic. Imprisoned after Robespierre's fall from power, he aligned himself with yet another political regime upon his release: that of Napoleon, The First Consul of France. At this time he developed his Empire style, notable for its use of warm Venetian colours. After Napoleon's fall from Imperial power and the Bourbon revival, David exiled himself to Brussels, then in the United Kingdom of the Netherlands, where he remained until his death. David had a large number of pupils, making him the strongest influence in French art of the early 19th century, especially academic Salon painting.
Museum of Ethnography Budapest Hungary
Architects: NAPUR Architect
Area : 34000 m²
The new building of the Museum of Ethnography in Budapest City Park (Városliget) was opened 2022. The award-winning new museum building – which is part of Europe’s largest urban-cultural development called Liget Budapest Project has dynamic yet simple lines simultaneously harmonized with the park environment and communicating with the surrounding urban area.
The collection, which comprises 250.000 items from the Carpathian Basin and from every corner of the world, has been hosted by various facilities since its establishment in 1872, but never in its history did it operate in a building designed specifically to cater to its needs. The project was one of over 1700 entries from 115 countries. According to the decision of an international jury, the competition was won by the Hungarian architectural studio, Napur Architect (beating leading world-class architect studios such as Zaha Hadid, BIG), whose building is distinguished by a dynamic yet simple design harmonized with the natural environment of the park while communicating with the urban texture of its surroundings. The gently curving lines enable the building to function as a gateway and a passage linking the city and the park. Sixty percent of the structure is under ground level, and thanks to the landscaped roof and the transparency of the sections over the ground, the new museum is adapted to its environment in its scale too. The grass-covered roof area will be a pleasant community space awaiting visitors to Városliget.
The spectacular trademark of the building is the glass curtain wall surrounding the landscaped roof garden, reminiscent of two intertwined hillsides, with a unique characteristic, consisting of nearly half a million pixels, a raster made by metal grid based on ethnographic motifs selected from the museum's Hungarian and international collections.
The new functions and flexible spaces of the modern and state-of-the-art museum building will facilitate the understanding of the historical heritage embodied by the collection as well as the various aspects of contemporary society. Besides passing down this historical heritage, the realization of more recent professional and research themes and perspectives continues to be among the priority objectives of the museum, as confirmed by its mission. The creatively built spaces will open up new opportunities to communicate with visitors, enabling the presentation of the everyday objects, phenomena, and ideas of the past and the present side by side.
dried mushrooms and chili at a small stall at the 'northern market'.
please note: as flickr is blocked in china - please invite this image to appropriate groups as I am unable to add it to groups myself - thanx
The exterior of the Tea House - Ocha Shitsu - at the Anderson Japanese Gardens in Rockford Illinois. It is designed to harmonize with the natural world that surrounds it.