View allAll Photos Tagged harmonize
I come from a very musical family. When my sister and I were kids, we used to delight in harmonizing with our dad (mom played the piano), especially with rounds. "Row, Row, Row Your Boat" can be sung as a 3-part round by itself but it's especially fun when sung simultaneously with "Three Blind Mice" and "Frère Jacques." Try it some time :-)!
Created for the Artistic Manipulation Group's MIXMASTER CHALLENGE #59.
CHEF PaulO Classic is sending us back to our childhoods!
➤ Build your image around one of the main characters (or objects, as the case may be) of your favorite children’s story or nursery rhyme.
➤ You must use a square format.
➤ Include relevant text in your image. It may be the title and/or any other text that reflects the story.
➤ Use a paper texture prominently in your composition.
➤ NO BIRDS IN FLIGHT.
Credits: background scene via Pixabay; boy, boat, and scroll via PixelSquid; squirrel is mine.
Here's the next interlude between my Scotland Series. Last weekend I've been out shooting again. I went to the Alps with my flickr buddy Andy, an awesome trip. Friday after work we directly hit the autobahn heading to the Karwendel region which I by now know quite well. Next morning we were served this sweet light at lake Gerold, really a great start into the day. This is one of the last shots were I wanted to include those beautiful grasses in a way to harmonize with the rest of the shot. The mist on the lake was great that morning, not to much but enough to create some nice mood.
Later we went into the Stubai valley in austria for some hike into the mountains where we went shooting waterfalls and obviously mountains. We made nearly 3000ft elevation, slept up on the mountain in the Sulzenauf Hütte and rose 4am for a short hike to a mountain lake.. but that's a story I'll tell you together with some photos next time.
I used a lee 0.6 soft GND + My Hoya Polarizer turned for max reflection here. I also used a new sharpening technique which mixes my old one with the Marc Adamus technique in different strengths, all masked together trying to look good
cheers
PS: I just got published in a major german photomagazine, DigitalPHOTO, were my photos and some tips on Landscape photography are spread over full 8 pages. So if you life in Germany you might want to take a look ;-)
Throughout April I've watched the seasonal re-greening of the landscape. It's very subtle and gradual process. But by the end of April the impact is quite dramatic. It starts at ground level and works its way up. Trees remain bare for the most part; leaves generally don't form around her until May. So for these few weeks the upper half of shots such as this look like the dead of winter while the lower half exudes a sense of verdant springtime growth. It's a weird dichotomy for me. The colors appears unnatural, partly because I've become accustomed to the colorless moonscape of winter. But also because the color doesn't;t seem to harmonize with the environment. It's like watching a colorized version of an old film noir. It puts me in mind of food coloring seeping into a bowl of water. Suddenly the clear liquid is replaced with strange color. Don't get me wrong, I love the return of warmer weather. But photographically I struggle with the emergence of vegetation. Lately the problem is green grass. It emerges all soft and playful even in the harshest of locations. Lush green and soft looking, and already filled with bright yellow dandelions. Not the look I'm going for. And weirdly even converting images to BW doesn't fully dampen softness. No matter how I adjust the sliders, new April grass just doesn't seem to blend well with my subjects. If anything, it appears even softer and even out of focus. I'm learning to avoid the inclusion of large patches of grass, or finding other creative ways to exclude it from the frame. Once the trees fill in, its less of a problem because of the overall softening effect of summer growth on photos in general. The harsh winter genre, bare trees, dead weeds will fade away until late in Autumn. Until then, I'm going to keep shooting until the last ounce of dreariness has been sucked out of what remains of winter and early spring.
Sometimes I'm at my most content in nature, especially in a landscape with flowing water, characterful trees and stones.
A young(er) couple sat downstream as I made this and as the smell of cannabis drifted my way, I made a point of not breathing too deeply as I'd already had the munchies earlier that day.
Created for MIXMASTER CHALLENGE #81
CHEF brillianthues wants us to create a surreal garden ...
➤ Your image should feature unrealistic, large scale plants and/or flowers...
➤ Also one or more very small scale people as compared to the plants/flowers ...
➤ And one or more round object(s): circle, orb, globe, mandala, etc. ...
➤ Plus the background must be a pattern or gradient.
➤ NO buildings or other architectural structures.
BEST VIEWED LARGE
The Chinese Garden at The Huntington Library, Art Museum, and Botanical Gardens in San Marino, California, is a stunning representation of classical Suzhou-style gardens. Officially named Liu Fang Yuan (流芳园), the Garden of Flowing Fragrance, it spans over 15 acres and was inspired by the literati gardens of the Ming dynasty. Designed in collaboration with Chinese artisans, the garden opened in 2008 and has since undergone multiple expansions, making it one of the most authentic and largest Chinese gardens outside of China. It embodies the traditional principles of Chinese landscape design—harmonizing water, rocks, plants, and architecture to create a serene and contemplative space.
This photograph captures a tranquil moment within Liu Fang Yuan, where a still lake mirrors traditional Chinese pavilions adorned with intricate woodwork and gracefully upturned eaves. An elegant arched stone bridge spans the water, symbolizing harmony and transition. Weeping willows drape over the edges, while meticulously placed Taihu rocks lend a sculptural depth to the landscape. In the background, a pavilion stands framed by blooming lotuses and wisteria, evoking a sense of timeless beauty. The soft interplay of light and shadows enhances the meditative atmosphere, inviting visitors into a space where nature and architecture exist in perfect balance.
Through this image, the essence of Liu Fang Yuan is preserved—a place where artistry, philosophy, and tranquility converge, offering a glimpse into the rich heritage of classical Chinese gardens.
Just above the old bridge of Sligachan, an old stone bridge over the Sligachan River from 1820, I encounter these waterfalls. In pristine nature, they are visual delight for the senses and enchant with their beauty.
The surreal flow of the Sligachan Falls creates the illusion of water suspended in mid-air as it gently glides between the dusky rocks. A sharp contrast between soft flowing and dark rocks. The wonderful hues of the autumnal landscape harmonize perfectly with the rainy sky. Isle of Skye, Scotland, UK.
Wishing all Canadians a Happy Canada Day!
July 1st 2010
Also, the Harmonized Sales Tax (HST) kicks in today which has caused gas prices to surge 8%! GRRR!! Stupid Ontario/Canadian Government!
www.cp24.com/servlet/an/local/CTVNews/20100630/100628_hst...
www.cp24.com/servlet/an/local/CTVNews/20100630/100630_can...
New Democratic Party against HST!
GO NDP!!!! A new supporter! Will vote for you Next election!
" Now if I do anything it is
to tune souls instead of instruments.
To harmonize people instead of notes.
If there is anything in my philosophy,
it is the law of harmony:
that one must put oneself in harmony
with oneself ..... and with others."
" The words that enlighten the soul are more precious
than jewels."
- Hazrat Inayat Khan
for the wise and fascinating derAmialtedbloede
The Tao is like an empty bowl.
Which in being used can never be filled up.
Fathomless, it seems to be the origin of all things.
It blunts all sharp edges.
It unties all tangles.
It harmonizes all lights.
It unites the world into one whole.
Hidden in the deeps,
Yet it seems to exist forever.
I don't know whose child it is;
It seems to be the common ancestor of all; the father of things.
Ground Dreamcatchers - Rovingian Hexalakh Seals by Daniel Arrhakis (2026)
Ground Dreamcatchers - Rovingian Hexalakh Seals
Ground dreamcatchers are presented as symbolic protective structures connected to water, earth, and sky. In this interpretation, they function as filters for stagnant forces and as symbols of connection between nature, spirituality, and renewal.
The Legend of the Dreamcatcher
In the Lakota tradition, the dreamcatcher symbolizes the cycle of life and acts as a spiritual filter: it allows beneficial forces to pass through and retains negative influences, which dissipate with the morning light.
The Hexagram and the Hexalakh Structure
The hexagram, formed by two triangles, is presented as a symbol of balance between opposing dimensions, such as the spiritual and the material. This image reinforces the idea of harmony between natural elements and symbolic totality. The hexagram is thus not just a geometric figure, but a visual map of universal harmony and the integration of all dualities.
The Hexalakh is presented as a Rovingian spiritual practice and a symbolic structure that brings together geometry, ancestry, and energetic harmonization. Its construction expresses a close connection with natural elements and reinforces the idea of ritual protection.
Structure and Composition
The structure takes a hexagonal shape, built with branches brought by the current and stones collected directly from the site. The interior interlacing functions as a protective web, while its placement over a small body of water reinforces its symbolic and ritual value.
Cultural and Spiritual Syncretism
The ritual articulates symbolic references from different indigenous traditions of North America, combining the ideas of shelter, anchoring, and spiritual protection. In this context, the construction refers both to a logic of symbolic fixation and to the filtering function associated with the dreamcatcher.
Energetic Function and Symbolism
The energetic function of the Hexalakh is presented as the ability to deflect, retain, and neutralize stagnant forces until their dissipation. In this context, glacial lakes function as a metaphor for immobility and stillness, while the reflection in the water creates a visual and symbolic bridge between heaven and earth.
The spring equinox emerges, finally, as an image of balance, renewal, and the return of light, leading to the dissipation of stagnant and unbalanced forces that were trapped within the seal.
That is why this ritual is performed at the end of winter, near the spring equinox in the Northern Hemisphere.
_______________________________________________________________________________________________________
Os Apanhadores de Sonhos de Chão - Os Selos Hexalakh Rovingianos
Os apanhadores de sonhos de chão são apresentados como estruturas simbólicas de proteção ligadas à água, à terra e ao céu. Nesta interpretação, funcionam como filtros de forças estagnadas e como símbolos de ligação entre natureza, espiritualidade e renovação.
A Lenda do Apanhador de Sonhos
Na tradição lakota, o apanhador de sonhos simboliza o ciclo da vida e atua como filtro espiritual: deixa passar as forças benéficas e retém as influências negativas, que se dissipam com a luz da manhã.
O Hexagrama e a Estrutura Hexalakh
O hexagrama, formado por dois triângulos, é apresentado como símbolo de equilíbrio entre dimensões opostas, como o espiritual e o material. Essa imagem reforça a ideia de harmonia entre os elementos naturais e de totalidade simbólica. O hexagrama não é assim apenas uma figura geométrica, mas um mapa visual da harmonia universal e da integração de todas as dualidades.
O Hexalakh é apresentado como uma prática espiritual rovingiana e uma estrutura simbólica que reúne geometria, ancestralidade e harmonização energética. A sua construção exprime uma ligação estreita com os elementos naturais e reforça a ideia de proteção ritual.
Estrutura e Composição
A estrutura assume uma forma hexagonal, construída com ramos trazidos pela corrente e pedras recolhidas diretamente no local. O entrelaçamento interior funciona como uma teia de proteção, enquanto a colocação sobre uma pequena massa de água reforça o seu valor simbólico e ritual.
Sincretismo Cultural e Espiritual
O ritual articula referências simbólicas de diferentes tradições indígenas da América do Norte, combinando as ideias de abrigo, ancoragem e proteção espiritual. Nesse enquadramento, a construção remete tanto para uma lógica de fixação simbólica como para a função de filtragem associada ao apanhador de sonhos.
Função Energética e Simbolismo
A função energética do Hexalakh é apresentada como a capacidade de desviar, reter e neutralizar forças estagnadas até à sua dissipação. Neste contexto, os lagos glaciares funcionam como metáfora de imobilidade e retenção, enquanto o reflexo na água cria uma ponte visual e simbólica entre o céu e a terra.
O equinócio da primavera surge, por fim, como imagem de equilíbrio, renovação e regresso da luz, levando à dissipação das forças estagnadas e em desequilíbrio que estavam retidas no selo.
Por isso é que este ritual se faz no final do Inverno, perto do equinócio da Primavera no Hemisfério Norte.
If you are interested in Victorian homes and architecture, you owe it to yourself to look at the photos of the home's pristine interior that are part of the current real estate listing; www.zillow.com/homedetails/1103-37th-Pl-Seaview-WA-98644/...?
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From the application for National Register of Historic Places Status, granted in the late 1980s:
The Peter Schulderman House is a well preserved Victorian cottage characterized by a picturesque roofline, projecting bays, a broad veranda, and an octagonal corner turret. The two story frame house is located on a small lot (measuring 150 feet by 90 feet) in the ocean front community of Seaview, about one-half block west of the beach. The house is bordered by large bushes and rests on a lawn with tall fir trees and shrubs; a deteriorated carriage house sits in the southwest corner of the lot. A wooden picket fence, with two entry gates, encircles the property. Since its construction as a summer home in the 1890s, the house has retained nearly complete interior and exterior integrity.
The frame cottage rests on a post and pier foundation and is composed of a central cube with hipped roof and two-story gabled bays which project on the front (south) and west side elevations. The projecting bays are rectangular on the upper storys and are chamfered on the first story. An octagonal turret rises at the southwest corner of the house between the gabled bays and above the front entry. A veranda wraps round the front facade from the west gabled bay to the south bay; its rooftop forms the deck of the second story balcony. One story porches project from the east side and the rear of the house. A shallow one story rear addition was built about 1912 to accommodate a bathroom, the only known exterior alteration to the house.
The exterior walls of the cottage are clad with rustic cedar siding on the first story and variegated shingle siding on the second story (in fish scale and diamond patterns). The roof surfaces are covered with cedar shingles (decoratively patterned on the turret). The front veranda is composed of square posts with fan-shaped brackets supporting a flat roof with a shingled skirt. Above the roof is a balustrade which serves as a railing for the second story balcony. A lattice-work skirting hides the foundation and a brick chimney with arched cap rises from the center of the hipped roof.
The cottage is amply lighted by windows, all of which are double-hung, one-over-one wood sash units with simple wood surrounds. Single windows are located on each wall surface of the chamfered first floor bays; second story windows are paired. The polygonal turret features a double hung window on each face, with decorative arched brackets placed over the upper sash to give the visual impression of Gothic windows. A single leaf, panelled front door is placed in the south facade (beneath the turret); similar doors are placed in the south wall of the west bay (leading to the front veranda), on the east wall of the south gable (leading to the east porch), and in the north wall (providing access to the rear porch). A single leaf door in the south wall of the second story opens onto the balcony. Each of the exterior windows and doors has heavy wooden shutters that are closed during the winter months.
Much of the exterior applied ornament is reserved for the eaves and gable ends of the building. The eaves are boxed and feature a moulded cornice supported by decorative brackets. The cornice of the turret features a dentil course and a panelled frieze. The peaks of the projecting gables are decorated with ornamental sunbursts with a band of turned spindles. A tall flagpole rises from the peak of the turret.
The interior of the house is remarkably well preserved and is typical of the summer cottages of the late 19th century. The front door on the south facade opens on to a central hall with steep stairs leading to the second floor. Three downstairs rooms -- a front parlor, a rear parlor, and a dining room -- project off the central hall. The upstairs features three bedrooms and an observatory in the turret. All the rooms in the house have visual and often physical access to the outdoors and the porches and balconies that surround the structure. For example, the first floor front parlor has a glazed bay projecting on the south and a side door leading to the east porch. The dining room has bay windows overlooking the west yard and a door to the front veranda. The rear parlor has a door to the back porch. Upstairs, each bedroom has paired windows overlooking the property. A door in the upstairs hall leads to the front balcony and the small turret is enclosed by windows facing east, south and west.
All interior walls and ceilings are finished in redwood and pine tongue-and-groove siding (laid diagonally on the angled walls of the first floor bays). The floors are hardwood with a dark stain. Because all the interior surfaces are finished in woods, the house has no painted or plastered wall surfaces (except in the bathroom addition). Mouldings around the doors and windows feature simple surrounds with bull's-eye corner blocks. The staircase has a bannister with square newel post and square balusters. The steps are the only carpeted surface in the house and the original carpet is intact.
The carriage house is located in the southwest corner of the lot. It is a gable roof structure clad in drop siding. A small opening in the gable end allowed hay to be raised to a hay loft. The carriage house has a deteriorated foundation and is in need of repair.
The Peter Schulderman House is an architecturally significant example of the Victorian summer cottages built in the late 19th century on the Long Beach peninsula. Constructed about 1894, the house maintains outstanding interior and exterior integrity, and reflects the picturesque aesthetic and rustic quality favored in the resort architecture of the era. According to a survey of historic buildings in Pacific County (1979), it is one of the best preserved 19th century summer cottages in the peninsula's ocean front communities.
Historical Background: Located on the southern end of the Long Beach peninsula, Seaview is one of the oldest resort communities on southwest Washington's ocean beaches. The unincorporated community was platted in 1881 by J. L. Stout, who laid out a grid plan that ran parallel to the vast and sandy beach. The first cottage in Seaview was probably built in 1881 by Edward Devaney (no longer extant), and by the 1890s numerous cottages -- many built by prominent Portland families -- lined the beach front.
Unlike the famous ocean resorts of the eastern United States, the Long Beach resort communities were relatively informal, and cottages were often extremely simple and rustic. As the local newspaper reported in 1900, if retirement be the desire, one can pitch his tent and enjoy solitude and life in repose. Many from Portland and the heated interior have purchased retired, secluded sites along the shore where neat cottages peep from the shrubbery which man has not yet robbed nature of. In summer months, these are occupied by those who wish to escape the heat and turmoil of the city and recuperate health and enjoy life to the utmost. By 1900, an estimated 20,000 people visited the resorts at Long Beach annually.
Peter H. Schulderman lived in Portland, where he owned a transportation and freight business. According to his descendants, he first visited Seaview in the mid-1880s; in 1894, he purchased a parcel that was once part of town founder Stout's 10-acre Seaview Hotel grounds. (The hotel burned in 1892 and was not rebuilt.) Shortly thereafter, Schulderman hired a Portland contractor, Henry Christianson, to build a cottage on the lot using cedar and pine. From its completion until the present day, the cottage has been used exclusively as a summer home by the Schulderman family. When Peter Schulderman died in 1930, he deeded the property to his son, attorney Henry Schulderman. The property is currently owned by Henry's only child, Marie Schulderman Collie, who continues to maintain the residence as a summer retreat.
Among the Portland families who spent summers at the beach, many built simple, rustic cottages, typically one story and gabled (according to historic photographs). The Schulderman cottage was larger than most and reflected the Victorian interest in the picturesque and rustic. The picturesque -- revealed here in the multiple and varied roof shapes, the irregular profile and massing of the house, and the variety of surface texture and ornament -- was seen as an aesthetic well suited to rural settings where the structure could harmonize with the natural landscape. The rusticity of the design was expressed through the use of wood siding, interior wood finishes, and an ample use of porches, bay windows, and a glazed turret which helped integrate the indoors and outside. The Schulderman House is an exceptionally well preserved example of these themes and a reflection of life at the ocean beach before the advent of the automobile and motor court.
"Stepping into the ethereal realm of the Fairy Pools, I found myself entranced by nature's symphony. The waterfall cascades danced with graceful elegance, harmonizing with the enchanting atmosphere that surrounded them. As overcast clouds gently embraced the mountain tops, a mystical ambiance settled over the scene. It was as if the elements conspired to create a moment of pure magic. With each step, I immersed myself in the serenity of this hidden gem, feeling the whispers of ancient tales carried by the wind. The Fairy Pools, where the forces of nature and wonder collide, inviting us to lose ourselves in their breathtaking embrace. #FairyPools #WaterfallCascades #CloudsTouchingPeaks #EnchantingAtmosphere #MysticalBeauty #Nature'sSymphony #HiddenGem #MagicalMoments #Wanderlust"
Some 1,500 light-years away in Gemini, the Medusa Nebula is the dying breath of a Sun-like star. As the star exhausted its fuel, it shed its outer layers into space — filaments of gas that now glow in the ultraviolet light of the white dwarf smoldering at its core.
The result is a complex bubble of ionized hydrogen and oxygen nearly four light-years across, still slowly expanding into the surrounding void. The intricate serpentine wisps give the nebula its name
The nebula will continue to expand and dissipate over tens of thousands of years. What we see now is a transient moment in that long decline.
Taken from Happy Jack, Arizona, March 2026
This is an HOOS image with about 4 hours for each filter. The S was added as magenta color, to harmonize with the red Ha. The whitish areas are where all 3 wavelengths overlap.
Taken with Paramount MYT mount, ASI 2600MM camera, and Vixen VC200L telescope @ 1800 mm focal length
The telescope is courtesy of Larry Parker, Santa Rosa, CA.
Overview of Codex Alimentarius
by Rima Laibow, M.D.
At the request of the United Nations (UN) in 1962, the World Health Organization (WHO) and Food and
Agriculture Organization (FAO) took on the joint role of running and administering the Codex
Alimentarius Commission (CAC) to establish standards and remove barriers to trade for all food and
food products. Having declared that nutrients are toxins from which we must be protected, the CAC
has been busy establishing enforceable international guidelines for upper limits of nutritional
supplement dosing. Codex has goals that affect every person in the UN’s 170+ member nations,
including the United States. As a tool for furthering these goals, member nations are urged to adopt
Codex standards and guidelines as domestic policy. The United States has already committed itself to
doing so despite U. S. law which prohibits this compliance.
The World Trade Organization (WTO) has adopted Codex as a standard for the adjudication of foodrelated
international trade disputes and has the authority to enforce Codex standards through
implementation of harsh economic sanctions on non-Codexcompliant member nations. Pre-existing
international treaty laws dictate that WTO rulings will override the domestic laws already in place in
its member nations and, in fact, the WHO has successfully taken both states and the U. S. government
to court in the U. S. to force changes in our domestic laws eleven times. This means our nation’s hard
won laws that give you access to over-the-counter, natural health supplements will become
meaningless. Codex’s original mandate to remove barriers to trade and assure a clean food supply has,
under the influence of private, economically-driven multinational pharmaceutical, agricultural and
chemical corporations, self-expanded far beyond its original mandate. The result is a body of highly
dangerous and restrictive policies that threaten to become domestic law in the U. S. and, as such, are
a threat to your health and freedom.
The FDA has stated explicitly that its goal is complete "harmonization" with Codex and, in order to
bring that about, international regulations i.e., Codex will be given preference over domestic ones!
(Federal Register, 10/ 11 /95)
If Codex gets its way, as it already has in the EU, we can expect that, ultimately, only 18 or so dietary
supplements will be available over-the-counter in doses which are, by design, far too small to have any
discernible impact on any human being since codex classifies nutrients as toxins. High potency
nutrients will not be available either with or without physician’s prescription since these molecules
and compounds will be forbidden under any circumstances. The big surprise? Once in the hands of
pharmaceutical companies, consumer supplement costs are expected to more than quadruple. This
has, in fact, been the experience in Europe where this process is already underway and micro-dose
nutrient prices have increased 10 to 100 fold or more (e.g., in Norway a bottle of zinc lozenges which
previously cost $2 now costs $54; in France 12 Vitamin C tabs of just10 mg cost $117; while 10 Vitamin
E caps of only 10 IU each cost $110).
Australia and the European Union (EU) are in the process of enacting harmonized Codex policies that
restrict consumer access to nutritional supplements. America is next. Though Americans value
personal freedom, the fact Codex meets infrequently (and almost always offshore) and is bogged
down in highly technical language that is difficult to understand has resulted in many Americans
being unaware of this threat. The nearly total media blackout on Codex and its activities helps to
keep the U. S. uninformed and therefore, pliant.
While there have been rare serious adverse reactions to nutritional supplements during the past
decades, (usually when taken far in excess of the recommended dosing), numerous severe and even
fatal reactions to drugs (usually when taken at the recommended dosing) occur every day and are the
fourth leading cause of death in hospitalized clients in the United States when properly
used. When improperly used, they are, in fact, far and away the leading cause of death in
the United States. Even so, drug deaths are very likely underreported. Drugs are
inherently dangerous; nutrients are not. This fact makes it clear why the drug culture
2
needs to eliminate all access to natural health options, including nutritional supplements,
in order to expand and intensify its influence and thus its profitability. Healthy people
take fewer drugs and thus are poor customers.
The global pharmaceutical powers -that-be have already purchased a large piece of the
lucrative global nutritional supplement pie but the considerable size of this pie keeps the
hugely profitable pharmaceutical profit -share-pie from reaching its maximum size so the
competing nutrient pie must be destroyed. Though unable to patent a natural substance,
pharmaceutical corporations can hold patents on synthetic versions of vitamins and
minerals that, unfortunately for the consumer, often do not act like their natural vitamin
counterparts in the body and often act in unpredic table and harmful ways. If Codexcompliant
Europe is any guide, the permitted micro-doses of permitted nutrients will be
only synthetic ones.
In addition to regulatory and/or administrative takeover and destruction of the dietary
supplement market and consumer access, Codex also mandates irradiation of food;
mandatory use of antibiotics, hormones and growth stimulants in all animals raised for
food, is expected to legalize the unlabeled inclusion of Genetically Modified Organisms (GMOs) (whose
safety has never been established while their serious dangers have) into our seed and food supplies and
will increase the allowable maximum tolerated levels of pesticides, herbicides, veterinary drugs and
other dangerous industrial toxins in food, likely driving up degenerative illnesses, including cancer,
diabetes, cardiovascular disease, macular degeneration, MS, etc. All of these policies are made under
the guise of free and equal access to trade for all nations and protection of the public.
Some people have “Codex Anesthesia,” a state of overwhelming, numb confusion that occurs just
before people lose their health freedom. Many otherwise well-informed people from the manufacturing
and retailing sectors of natural healthcare believe that the Dietary Supplement Health and Education
Act (DSHEA), passed in 1994 to protect Americans’ access to natural healthcare substances, will still be
in place to protect them. This is not the case: Fundamental health freedoms afforded the American
public by DSHEA, which classifies supplements as food which, as such, can have no upper limit set on
their use, are now under well orchestrated legislative and/or administrative attack. Health nuts and
junk food devotees alike are not immune from this legislative attack on health freedom.
The following is a link to Dr. Laibow's website which gives a self-prompting 5-minute presentation that
tells you about Codex: http: //www.healthfreedomusa.org/aboutcodex.shtml
More in-depth information can be found on her website, www.healthfreedomusa.org, and on
the highly informative "Nutricide: the DVD" http: /
/www.healthfreedomusa.org/aboutcodex/dvd.shtml
Back to Elk Island. Not sure how many I will post from there as I am not sure that my images are showing up for everyone. I have contacted Flickr a couple of times recently and although they are sympathetic, they assured me that they are working on it.
I am not crazy how it is paddling away from me I really liked the National Park-like colours and how the reflections harmonize with the colours of the Drake.
Time for another *photage* as I like to call these compositions,
as they are not a collage, since photographic images are carefully combined to harmonize with one another, creating a message at the same time.
•In the upper left is a gorgeous New Year's greeting from my dearest, oldest (in flickr years) friend, Yu-Fen from Taiwan!
•The wooden carved figures sit atop our new stove, wondering about the little dodad (which is actually an oven light button!)
•The lower right is a *doodle* from Richard, with an attempt to write some Tibetan characters with a left-handed nib (although he is right-handed) . . .
•The silk autumn leaves are just that!
Enjoy!
The Adventure
The Neko was intrigued by the sounds of lyre strings being plucked.
The melody harmonized by the sound of twin lutes became too much for our adventurer, they had to see where that sound was coming from.
Soon Honni discovered the lost gardens once known as the Pillars of Hercules. Large Grecian temples stood tall, carved from the most exquisite marble. Everywhere you looked the old gods could be found, still calling out to the mortals of earth.
A quick picture, and a message from Honni
‘You gotta check this place out! It's beautiful, and open to everyone!’
Where was Honni?
Pillars of Hercules
maps.secondlife.com/secondlife/Pillars%20Of%20Hercules/33...
What’s Honni Wearing?
Outfit
Somnium- Malakoi’s Coverings
Get it here:
maps.secondlife.com/secondlife/Wicked%20Mountains/56/45/2511
Jewelry
Oatmilk-Nazar Belly Ring Unisex
Get it here:
maps.secondlife.com/secondlife/Hilbert/216/213/1988
Ears and Tail
.Stoic.- Kitty Parts
Get it here:
Walking along the avenue of the Isles of Aquarius, I felt that they could well be part of Plato's lost Atlantis, resurfacing from the same seabed, perhaps thanks to the natural disaster that submerged it. I was thinking of the structures that are emerging in the swamps and rivers due to the drought, as monuments that remind them of what one day they were and will never be again. This sim, with a structure and color harmonizing with the background through which it continues, becomes a monument to yesterday and tomorrow, a bridge between generations where the common, omnipresent and life-giving link is the great ocean. That ocean, with its purifying water, returns to us our own constructions transformed like the father who smiles at his son's toy plane. A father who also requires the care of his children.
travellintimesecondlife2.wordpress.com/2023/04/20/fantasy...
Just the still melancholy that I love—that makes life and nature harmonize." ~ George Eliot
Processed with VSCO with l2 preset
Evening at Vilsalpsee in the Tannheimer Valley. I was really hoping for some alpenglow and a bit better light but in the two days we were there nothing happened. At least the lake was calm and created a perfect mirror which created a nice atmosphere.
In the end I'm quite happy with this photo. The colors harmonize very well, the brownisch tones of the jetty are picked up in the mountains, same for the boats.
Tech: I used a lee 0.6 soft GND but also did bracketing to further balance the exposure.
Από τον Σεπτέμβριο του 2023 το Ζαγόρι ενεγράφη ως πολιτισμικό τοπίο στην παγκόσμια κληρονομιά της UNESCO.
From September 2023, Zagori was registered as a cultural landscape in the UNESCO world heritage.
My Board ”Balta di stringa” waterfalls on gettyimages
My board Zagori mountain on Getty Images
My photos for sale on getty images
My blog Λογεικών Logikon
Μπάλτα ντι στρίγκα
Ένας μέχρι πρό λίγων ετών άγνωστος για τους περισσοτέρους φυσικός θησαυρός της Ηπειρώτικης γής είναι οι εικονιζόμενοι καταρράκτες με το Βλάχικο όνομα Μπάλτα ντί στρίγκα ( η οβίρα=μικρή λίμνη της κραυγής) στο Ηλιοχώρι του κεντρικού Ζαγορίου.
Η ονομασία προέρχεται από έναν σχετικό μύθο για μιάν απελπισμένη ερωτικά κοπέλα η οποία εξ αιτίας του χωρισμού από τον καλό της αυτοκτόνησε στα νερά τους και από τότε ακούγονται οι κραυγές της.Στο να γίνει ο τόπος προσφάτως σχετικά,ευρύτερα γνωστός,αναμφιβόλως συνετέλεσε και η αναβάθμιση του μέχρι πρότινος δύσβατου μονοπατιού το οποίο οδηγούσε εκεί σε μια σύγχρονη και πλήρως εναρμονισμένη με το περιβάλλον ορεινή περιπατητική διαδρομή.
Το μονοπάτι διανοίχθηκε και σημάνθηκε άριστα σε,όλο το μήκος του,στρώθηκε επιμελώς με τα υλικά τα οποία βρίθουν στην περιοχή,πέτρα,χαλίκι και ξύλο με ξύλινα στηθαία όπου κρίθηκε απαραίτητο,δημιουργήθηκε χώρος προσωρινής στάσης για ανάπαυση με τρεχούμενο νερό,ακόμη και ένα εξαιρετικά καλαίσθητο ξύλινο γεφυράκιι χτίστηκε ώστε η πρόσβαση των πολλών πλέον καθημερινών επισκεπτών να γίνει όσο το δυνατόν πιο εύκολη,γρήγορη και ασφαλής.
Η σύζυγος κι εγώ είχαμε την επιπλέον χαρά να μας καθοδηγήσει ο…αυτοδιορισθείς ξεναγός του χωριού ο εικονιζόμενος εκπληκτικός,καθαρόαιμος, Ελληνικός ποιμενικός ο οποίος ακούει στο όνομα….Νταβέλης :ο))) !!! προφανώς λόγω της γιγαντόσωμης διάπλασής του.
Μας….παρέλαβε από το πρώτο πλάτωμα του χωριού στην κορυφή ,μας…παρέδωσε στον προορισμό μας στα ριζά του βουνούκαι,αφού πρώτα πήρε και το αναζωογονητικό μπανάκι του στα παγωμένα νερά,αναχώρησε προς άγραν νέων….πελατών :ο))) !!!
Το (υπερ)θέαμα σου κόβει την ανάσα παρ’όλο που το επισκεφθήκαμε καλοκαίρι κατά την διάρκεια του οποίου η ροή των υδάτων δεν είναι τόσο εντυπωσιακή σε όγκο και δύναμη όπως τις άλλες εποχές-φθινόπωρο και χειμώνα κυρίως-διότι τα νερά προέρχονται αποκλειστικά από το λιώσιμο του χιονιού και είναι τόσο καθαρά ώστε μπορεί κανείς να πιεί άφοβα απ’αυτά!
Την ανάσα σου κόβει,όμως,κυριολεκτικά και η ανηφόρα της επιστροφής(καθώς τα περισσότερα από τα 1200 μέτρα της τα κάνεις σχεδόν….κάθετα με τον ουρανό)ιδίως όταν είσαι φορτωμένος με φωτογραφικές «γκουμούτσες» σαν τις δικές μου και-κυρίως-με το…κοντέρ της ηλικίας να απέχει πλέον μόλις 4 γραμμές από τα 60!!!
Ευτυχώς περάσαμε με επιτυχία αυτό το λίγο βίαιο “τέστ κοπώσεως” και επιφυλασσόμεθα-πρώτα ο Θεός-για μιάν επόμενη σε προσφορότερη εποχή επίσκεψη.
Balta di striga
A until a few years unknown for most people natural treasure of Epirus earth are the released waterfalls with Vlachiko name Balta Di striga (the ovires = small lake scream) in Iliochori central Zagori.The name comes from a legend related to a desperate erotic girl which because of separation from her lover of suicide in their waters and then the screams heard.
To be the place recently regarding, widely known, undoubtedly contributed to the upgrading of previously inaccessible path that led there in a modern and fully harmonized with the environment ambulatory mountainous route.The path was drilled and labeled in excellent, full length, was covered thoroughly with the materials that abound in the area, stone, gravel and wood with wooden parapets where necessary, created a temporary staging area for rest with running water,even an extremely elegant wooden small bridge is built to access the many daily visitors become as easy fast and safe as possible.
My wife and I have the additional pleasure to guide us a depicted surprising, blooded, Greek shepherd who goes by the name ... .Ntavelis: o))) !!! apparently because of the giant physique.He took us the first plateau of the village at the top,μας…παρέδωσε στον προορισμό μας στα ριζά του βουνού και,αφού πρώτα πήρε και το αναζωογονητικό μπανάκι του στα παγωμένα νερά,departed chasing... new clients : o))) !!!
The attraction is breathtaking although we visited summer during which the water flow is not as impressive in size and strength as the other seasons-autumn and winter-mainly because the waters come exclusively from melting snow and is so clean that you can drink without fear of them!
But breathtaking is, literally the acclivity of turn back too (as most of the 1200 meters of this acclivity is ... almostvertical to the sky), especially when you are laden with my heavy cameras -and mainly-by ... the speedometer of age to is now just 4 lines of 60 !!!
Luckily we passed successfully this little violent "stress-test" and we reserve first-God-for a next to a more appropriate time visit.
Excerpt from spatialsolutions.maps.arcgis.com/apps/MapTour/index.html?...:
Lookout Algonquin Park (83) by Shelly Locke: My painting “Look Out Trail-Algonquin Park”, is the first in a series of paintings from my own travel photos and one of my favourite places to decompress. Even though this is my rendition of Algonquin Park it will very easily lead one to think of many, nearby hiking trails on the escarpment. This series turns my photos into surreal, fantasy landscapes that have been reduced to colourful and vibrant, harmonizing shapes. This specific painting is a visual illusion of a rocky woodland that will speak volumes to the outdoor enthusiast as well as inspire a longing to walk amongst the trees by others less outdoorsy. Set off by a background blend of light blue and white representing a calm blue sky. The earthy undertones invoke a calm peacefulness. The warm tones of the landscape contrast perfectly with the organic lines and monochromatic cool tones of the shadowy rock face. The relaxed ambiance of nature is conjured within one’s mind.
The same design also appears on 61, 73, 75, 88.
im still learning how to take good nightshot lol..
BTW,honest opinions and constructive criticisms are always welcome
(From Wikipedia):
Rainbow Bridge (レインボーブリッジ, Reinbō Burijji?) is a suspension bridge crossing northern Tokyo Bay between Shibaura Wharf and the Odaiba waterfront development in Minato ward, in Tokyo, Japan. Construction started in 1987 and was completed in 1993, the bridge is 798 metres (2,618 ft) long with a main span of 580 metres (1,903 ft). Officially called the 'Shuto Expressway No. 11 Odaiba Route Tokyo port connector bridge', the name 'Rainbow Bridge' was decided by the public and is colloquially known as 'RB'.
The towers supporting the bridge are white in color, designed to harmonize with the skyline of central Tokyo seen from Odaiba. There are lamps placed on the wires supporting the bridge, which are illuminated into three different colors, red, white and green every night using solar energy obtained during the day.
The towers supporting the bridge are white in color, designed to harmonize with the skyline of central Tokyo seen from Odaiba. There are lamps placed on the wires supporting the bridge, which are illuminated into three different colors, red, white and green every night using solar energy obtained during the day.
The bridge can be accessed by foot from Tamachi Station (JR) or Shibaura-futō Station (Yurikamome) on the mainland side.
Heron Harmonization - Nest Building
Photographed in low, flat light at ISO 1600.
Other photos from this series below in comments.
Space Coast Photo #9
National Cat Day on October 29th is the purrfect day to give extra attention, treats, and appreciation to the independent, often hilarious, felines who grace our lives.
Prompt: Create a digital fine art, ultra-realistic painting of a fluffy kitten sitting on an aged wooden bench, inspired by a classical portrait composition.
The kitten should appear with soft golden-brown fur accented by cream and white markings, especially on its chest, face, and paws. Its fur is voluminous, detailed, and illuminated with subtle highlights that emphasize each strand. The kitten’s large, expressive green eyes gaze directly toward the viewer with a gentle, curious expression.
The old wooden bench should display visible age and grain texture, with small cracks, nails, and warm brown hues that complement the kitten’s coloring. The background should be a rich painterly blend of dark earthy tones—burnt sienna, olive green, and deep umber—blurred softly like a traditional studio backdrop, adding depth and contrast.
Use fine brush-stroke texture to emulate a classical oil painting style, with natural light illuminating the kitten from one side, creating soft shadows and gentle highlights across the fur and wood. Maintain warm, natural tones and a slightly vintage, timeless mood.
At the bottom center, overlay elegant serif text:
Line 1: “National Cat Day”
Line 2: “October 29”
Ensure the typography is subtle and harmonizes with the painting’s warm, antique palette — light cream or muted gold lettering that feels refined and integrated.
This digital fine art was created using OpenAI Sora AI and Photoshop
Germany, Hamburg, "Planten un Blomen" is an approximately 47 hectare park in the centre of Hamburg.
The name "Planten un Blomen" is in the North German dialect & it means “Plants & Flowers”. The founder & first director of the botanical garden in the Hamburg walls, Johann G. C. Lehmann, planted a plane tree in November 1821, the first tree in the park. The tree is located still today at the Dammtor train station entrance between the large tropical glasshouse & the Congress Centre, the tree is a natural symbol representing the beginnings of the gardens.
The park is a popular destination for the inhabitants in the Hamburg metropolitan area & tourists; it is part of a green zone that stretches horizontally through the whole nearly 2 million city down to the harbour.
The park is famous for its water-light concerts, public theatre & music performances. In addition to the gardens, there is a large playground in the southern park area; the park is open all year round there is no entrance fee.
📌...From May to September, the water-light concerts are presented daily at 10 pm with a bi-weekly changing 30 minutes program. The fountain & lighting is operated by three technicians during the show & tuned to harmonize with the music. Every evening several hundreds of people, with or without a picnic, sit on the lawns around the lake to watch the intense spectacle...unless it rains, the water games still take place.
👉 One World one Dream,
🙏...Danke, Xièxie 谢谢, Thanks, Gracias, Merci, Grazie, Obrigado, Arigatô, Dhanyavad, Chokrane to you & over
17 million visits in my photostream with countless motivating comments
6 year old Thoroughbred broodmare. Take a look at her pedigree and you'll see that her female line traces back to the most influential broodmare of the 20th century, La Troienne:
www.pedigreequery.com/brokerage+account
From Wikipedia...
"She produced fourteen foals and 12 of them raced. 10 of those 12 were winners. The first of these was the Champion Black Helen, by Black Toney, born in 1932. Black Helen won the American Derby, the Florida Derby, the Maryland Handicap, and the Coaching Club American Oaks. The second was born in 1934, Biologist, by Bubbling Over who won the 1926 Kentucky Derby. The third was Baby League, born in 1935, again by Bubbling Over, who became the dam of four stakes winners: the great Hall of Fame filly Busher, as well as Mr. Busher, Striking, and Harmonizing. Her fourth winning foal was Big Hurry, another Black Toney filly, born in 1936, and the dam of five stakes winners: Be Fearless, Bridal Flower, The Admiral, Great Captain, and Searching. La Troienne also brought forth the great Hall of Fame colt Bimelech, born in 1937. By Black Toney, Bimlech won the Belmont Stakes, the Preakness Stakes, and placed in the 1940 Kentucky Derby. Big Event came next in 1938, a Blue Larkspur filly and dam of stakes winner Hall of Fame. In 1939, she dropped Businesslike who was the dam of two stakes winners: Busanda (who was the dam of Buckpasser) and Auditing. Then came Besieged by Balladier in 1940, Broke Even in 1941, a colt by Blue Larkspur, Back Yard in 1942, a gelding by Balladier, and in 1944 Bee Ann Mac by Blue Larkspur. Belle Histoire came along in 1945, once more by Blue Larkspur. Belle Histoire was the dam of stakes winner Royal Record. La Troienne's last two foals were Belle of Troy in 1947, again by Blue Larkspur, and the gelding Trojan War in 1948 by Shut Out.
Les Brinsfield, a pedigree expert, wrote: "Anyone who wants can take any daughter of La Troienne (or all of them) and trace them through pedigrees to today's stars. It will be a rare week when there is no stakes winner linebred to La Troienne.""
Bixby Bridge, Big Sur, California
The Bixby Bridge is one of California's iconic bridges. Completed in 1932 as part of the Pacific Coast Highway through Big Sur, it has a single concrete arch that spans 98 meters (320 feet) and is 85 meters (280 feet) above Bixby Creek. Concrete was used instead of steel to avoid corrosion problems from the salty ocean air and to harmonize with the area's existing rock faces.
Here we see a light trail from a single car heading south. Notice that the brake lights went on when the driver realized that the roadway took a sharp right at the end of the bridge.
My Head said Triptych and my Heart made a Quadtych. My Reason as is often the case was of little use as Emotion had designs on a different notion. I followed Heart the chest wedge of appreciation and it was happy especially so as Head was proved wrong yet again. Dumb Brain trying to think bright solution after brilliant solution. Three became Four and they opened out ready to reflect and hopefully to soar with one extra wing into any and all skies and rise in the mind’s of any casual passers by. Unfold to to reveal what’s told nothing either new, or old, nothing charged nothing sold. Just a picture reflected and reflected on itself.
One Lily is joy and several are a pleasure. In the wondrous white flowering there was an unfocused centre ready to be composed into a Heart. The Heart was all ready fading, the bright petals were gently time spent mouldering back to soil from where they had sprouted with their moment of splendid presentation now fading into degradation. One picture repeated and repeated to release the central pulse from the Heart of Death and of Life to fulfil the flowering out of The Lily of Life not unlike the sephira of Tiphareth on The Tree of Life.
© PHH Sykes 2025
phhsykes@gmail.com
Tiferet (Hebrew: תִּפְאֶרֶת Tip̄ʾereṯ, in pausa: תִּפְאָרֶת Tip̄ʾāreṯ, lit. 'beauty, glory, adornment')[1] alternatively Tifaret, Tiphareth, Tifereth or Tiphereth, is the sixth sefira in the kabbalistic Tree of Life. It has the common association of "Spirituality", "Balance", "Integration", "Beauty", "Miracles", and "Compassion".[2]
Description
In the Bahir it states: "Sixth is the adorned, glorious, delightful throne of glory, the house of the world to come. Its place is engraved in wisdom as it says 'God said: Let there be light, and there was light.'" [3]
Tiferet is the force that integrates the sefira of Chesed ("Kindness") and Gevurah ("Strength", also called Din, "Judgement"). These two forces are, respectively, expansive (giving) and restrictive (receiving). Either of them without the other could not manifest the flow of Divine energy; they must be balanced in perfect proportion by balancing compassion with discipline. This balance can be seen in the role of Tiferet, wherein the conflicting forces are harmonized, and creation flowers forth. Tiferet also similarly balances Netzach and Hod. In that case, Hod can be seen as the intellect whereas Netzach is seen as emotion.
Modern architecture captivates with its sleek lines, innovative materials, and minimalist designs, harmonizing form and function.
It emphasizes open spaces, natural light, and sustainable practices, creating elegant structures that blend seamlessly with their surroundings while pushing creative boundaries.
In the past few days, an intriguing idea struck me. What if each week I came up with a different theme? This notion seemed both exciting and promising, offering a fresh perspective and a constant source of novelty. I imagined diving into a new world every seven days, exploring diverse themes.
With these meticulously crafted decorations and landscape pieces, you hold the reins of your very own French garden. Now, let's delve into the charm of that gazebo – an unparalleled fusion of weathered wood aesthetics with undeniable elegance. I've seamlessly incorporated a trellis that harmonizes flawlessly, along with darling little leaves for you to scatter at your whim. Vibrantly lush and green, they yearn for delightful summer rendezvous. And oh my, let's not overlook those walking slabs – perfect for sculpting serene patios or meandering pathways. So, without further ado, immerse yourself and watch your creativity flourish in our enchanted garden!
Visit Equal10 Today to See it for yourself :
maps.secondlife.com/secondlife/equal10/223/127/89
I hope you like ♥
On my fourteenth birthday I got a camera and from that time on I started shooting. First all kind of things but more and more transport. At some point I started with wedding photography and that was a golden time, especially financially. I learned how to work fast and still checking that the subject was sharp and foreground and background harmonized with the bridal couple. Due to the success there was no possibility to do other things and after a few years I stopped, just photographing transport again. One thing has remained. I still look at the foreground and background and the subject needs to be in harmony and sharp!!!
Fondée en 1872 dans la vallée de la Molignée par des moines bénédictins, l’Abbaye de Maredsous est caractéristique d’un style architectural néo-gothique qui s’harmonise parfaitement avec la nature boisée et vallonnée de la région
Empreints de spiritualité, les bâtiments de l’abbaye de Maredsous dégagent une sensation de plénitude et d’absolu à laquelle on ne peut rester indifférent. L’église qui domine le cloître, le monastère et la bibliothèque, les diverses dépendances dont l’ancienne école des métiers d’art, le Centre d’accueil Saint-Joseph, constituent un ensemble harmonieux qui invite le visiteur à la promenade et à la méditation.
La vie des moines de l'abbaye de Maredsous
Comme les Cisterciens ou les Trappistes, les moines de l’Abbaye de Maredsous ont adopté la règle de St-Benoît, une ligne de conduite qui partage la vie du moine entre prière, travail et tradition d’accueil.
Bien ancrés dans la société contemporaine, les moines de Maredsous ont développé une économie qui répond aux exigences du sacré comme aux besoins de la communauté. Ainsi, chaque moine s’emploie à une tâche bien précise : certains enseignent, d’autres travaillent à la bibliothèque, dans divers secteurs de la recherche scientifique, au Centre Informatique et Bible ou s’occupent du service d’administration et de fonctionnement de l’abbaye. Les moines collaborent aussi aux ateliers d’art ou à la fromagerie et s’occupent de l’accueil des visiteurs.
Dépositaire de la tradition bénédictine, l’Abbaye de Maredsous est surtout un foyer culturel : dès 1882, elle accueille un centre d’artisanat d’art et d’édition à l’origine du premier missel latin-français, et d’une traduction de la Bible en français en 1950. Dans la même optique, les moines diffusent la Bible sur disquettes dès 1981 et éditent depuis des logiciels d'étude et de lecture biblique.
Founded in 1872 in the Molignée valley by Benedictine monks, Maredsous Abbey is characteristic of a neo-Gothic architectural style which harmonizes perfectly with the wooded and hilly nature of the region.
Imbued with spirituality, the buildings of Maredsous Abbey give off a feeling of fullness and absoluteness to which we cannot remain indifferent. The church which dominates the cloister, the monastery and the library, the various outbuildings including the old crafts school, the Saint-Joseph Welcome Center, constitute a harmonious whole which invites the visitor to stroll and explore. meditation.
The life of the monks of Maredsous Abbey
Like the Cistercians or the Trappists, the monks of Maredsous Abbey have adopted the rule of St-Benoît, a line of conduct which divides the life of the monk between prayer, work and tradition of welcome.
Well anchored in contemporary society, the monks of Maredsous have developed an economy that meets the demands of the sacred as well as the needs of the community. Thus, each monk works on a very specific task: some teach, others work in the library, in various sectors of scientific research, at the Computer and Bible Center or take care of the administration and operation of the the abbey. The monks also collaborate in the art workshops or the cheese factory and take care of welcoming visitors.
Custodian of the Benedictine tradition, the Abbey of Maredsous is above all a cultural center: from 1882, it hosted a center of artistic crafts and publishing at the origin of the first Latin-French missal, and a translation of the Bible in French in 1950. In the same vein, the monks distributed the Bible on floppy disks from 1981 and have since published Bible study and reading software.
This is a big old book I have and I fashioned it into a heart. I'm adding this link: www.youtube.com/watch?v=4F1CP7eXhIk It's an acapella song by Home Free, another of my faves, these guys can harmonize!!!
Listen: alfred23harthonkse.bandcamp.com/releases
In early 2008 I again had started a kind of work-in-progress of solo recordings, called "micro_saxo_phone" which album title refers to the fact that I am using a sax of course + microphone (contact mics etc) of course for feeding devices as the Kaoss Pad or others + using the possibilties of my laptop. Together with this equipment I could give live performances which – for several reasons – did not happen often so far, though more probable within performances with others, as in the duo "Gift Fig" together with the American composer Carl Stone e.g.
"micro_saxo_phone, edition II", CDR Laubhuette Production M10 from 2008 gave an overview about what I was trying to state within the traditional course of my former solo recording on Side A of the LP "Plan Eden" from 1986/7 where I had begun to use electronic devices & effects in combination with solo tenor sax besides using a harmonizer here & there in the early years. On "micro_saxo_phone, edition II" I used baritone sax, tenor sax, alto sax, soprano sax, bass clarinet, breathe & saliva noise multi phonics and even bowed the saxes’ bodies (con arco) during blowing and doing percussion with the instrument’s keys.
On "micro_saxo_phone.edition III" I extended the language by means of using the sounds of the key springs which create a kind of meditative Asian feel and also through texts.
I searched for finding a way to voice words during blowing (e.g. at the beginning of "doublespeak" and tracks 14 and 15), or underlined words (and other stuff) that I had recorded on cassette in 1972 or by dubbing an interview with Japanese art photographer Nobuyoshi Araki which I had recorded in 1998 in a kind of double voicing. The same track also contains a sample of Korean gagok which is a kind of fake classical music - from some decades ago - made in Korea. "doublespeak" is the exception - as a composition – within the solos, as is "chukyo" using some of my electric guitar recordings (as well as track 3). There are also some "classical" solos (without all effects or edits): track 9, 10 (underlined alto sax solo from 1972) and 13.
With that title "doublespeak" I also refer to George Orwell’s term "doublethink", which means the ability to believe contradictory ideas simultaneously. And there are more doublespeak titles here, as "surplussed", "twonky" (software designers’ jargon inspired by a 1953 sci-fi film starring Hans Conried and Gloria Blondell about a TV that is really an alien life form) etc. Other titles refer to themes and authors that I am also dealing with these days (e.g. Ray Kurzweil, Terence McKenna,) . "chukyo" is a dedication to Chukyo University in Nagoya, Japan, where I had been invited by the above mentioned Carl Stone to lecture and had met Fomal Haut, a great artist & pioneer of computer graphics.
A23H, December MMX
Review by Massimo Ricci: touchingextremes.wordpress.com/2011/04/25/alfred-23-harth...
Un grazioso punto di ristoro completamente in legno situato sulla sponda del Lago Welsperg presso Tonadico (TN) si armonizza con il bosco che lo circonda che, nel periodo autunnale si riveste di svariate tonalità calde. Al di sopra, si elevano le alte vette dolomitiche del gruppo delle Pale di San Martino, nello scatto è visibile il Cimerlo (2.503 m.) e il Sass Maòr (2.812 m.).
A charming wooden refreshment point located on the shore of Lake Welsperg at Tonadico (TN) harmonizes in with the surrounding forest which, takes on a variety of warm hues in autumn. Above, rise the high Dolomite peaks of the Pale of San Martino group, visible in the shot are Cimerlo (2.503 m) and Sass Maòr (2.812 m).
Germany, Hamburg, "Planten un Blomen" is an approximately 47 hectare park in the centre of Hamburg.
The name "Planten un Blomen" is in the North German dialect & it means “Plants & Flowers”. The founder & first director of the botanical garden in the Hamburg walls, Johann G. C. Lehmann, planted a plane tree in November 1821, the first tree in the park. The tree is located still today at the Dammtor train station entrance between the large tropical glasshouse & the Congress Centre, the tree is a natural symbol representing the beginnings of the gardens.
The park is a popular destination for the inhabitants in the Hamburg metropolitan area & tourists; it is part of a green zone that stretches horizontally through the whole nearly 2 million city down to the harbour.
The park is famous for its water-light concerts, public theatre & music performances. In addition to the gardens, there is a large playground in the southern park area; the park is open all year round there is no entrance fee.
📌...From May to September, the water-light concerts are presented daily at 10 pm with a bi-weekly changing 30 minutes program. The fountain & lighting is operated by three technicians during the show & tuned to harmonize with the music. Every evening several hundreds of people, with or without a picnic, sit on the lawns around the lake to watch the intense spectacle...unless it rains, the water games still take place.
👉 One World one Dream,
🙏...Danke, Xièxie 谢谢, Thanks, Gracias, Merci, Grazie, Obrigado, Arigatô, Dhanyavad, Chokrane to you & over
17 million visits in my photostream with countless motivating comments
The Rainbow Bridge (レインボーブリッジ Reinbō burijji) is a suspension bridge crossing northern Tokyo Bay between Shibaura Pier and the Odaiba waterfront development in Minato, Tokyo, Japan.
Construction started in 1987 and was completed in 1993. The bridge is 798 metres (2,618 ft) long with a main span of 580 metres (1,903 ft).'Rainbow Bridge" was decided by the public.
The towers supporting the bridge are white in color, designed to harmonize with the skyline of central Tokyo seen from Odaiba. There are lamps placed on the wires supporting the bridge, which are illuminated into three different colors, red, white and green every night using solar energy obtained during the day.(Wikipedia)
Motion Picture Herald, November 11, 1939:
“Forming a striking architectural feature of the new Sandra theatre, Wichita, Kansas, is the luminous sign tower rising above the marquee and lighted in six pastel shades to harmonize with the color scheme of the building front.”
Fondée en 1872 dans la vallée de la Molignée par des moines bénédictins, l’Abbaye de Maredsous est caractéristique d’un style architectural néo-gothique qui s’harmonise parfaitement avec la nature boisée et vallonnée de la région
Empreints de spiritualité, les bâtiments de l’abbaye de Maredsous dégagent une sensation de plénitude et d’absolu à laquelle on ne peut rester indifférent. L’église qui domine le cloître, le monastère et la bibliothèque, les diverses dépendances dont l’ancienne école des métiers d’art, le Centre d’accueil Saint-Joseph, constituent un ensemble harmonieux qui invite le visiteur à la promenade et à la méditation.
La vie des moines de l'abbaye de Maredsous
Comme les Cisterciens ou les Trappistes, les moines de l’Abbaye de Maredsous ont adopté la règle de St-Benoît, une ligne de conduite qui partage la vie du moine entre prière, travail et tradition d’accueil.
Bien ancrés dans la société contemporaine, les moines de Maredsous ont développé une économie qui répond aux exigences du sacré comme aux besoins de la communauté. Ainsi, chaque moine s’emploie à une tâche bien précise : certains enseignent, d’autres travaillent à la bibliothèque, dans divers secteurs de la recherche scientifique, au Centre Informatique et Bible ou s’occupent du service d’administration et de fonctionnement de l’abbaye. Les moines collaborent aussi aux ateliers d’art ou à la fromagerie et s’occupent de l’accueil des visiteurs.
Dépositaire de la tradition bénédictine, l’Abbaye de Maredsous est surtout un foyer culturel : dès 1882, elle accueille un centre d’artisanat d’art et d’édition à l’origine du premier missel latin-français, et d’une traduction de la Bible en français en 1950. Dans la même optique, les moines diffusent la Bible sur disquettes dès 1981 et éditent depuis des logiciels d'étude et de lecture biblique.
Founded in 1872 in the Molignée valley by Benedictine monks, Maredsous Abbey is characteristic of a neo-Gothic architectural style which harmonizes perfectly with the wooded and hilly nature of the region.
Imbued with spirituality, the buildings of Maredsous Abbey give off a feeling of fullness and absoluteness to which we cannot remain indifferent. The church which dominates the cloister, the monastery and the library, the various outbuildings including the old crafts school, the Saint-Joseph Welcome Center, constitute a harmonious whole which invites the visitor to stroll and explore. meditation.
The life of the monks of Maredsous Abbey
Like the Cistercians or the Trappists, the monks of Maredsous Abbey have adopted the rule of St-Benoît, a line of conduct which divides the life of the monk between prayer, work and tradition of welcome.
Well anchored in contemporary society, the monks of Maredsous have developed an economy that meets the demands of the sacred as well as the needs of the community. Thus, each monk works on a very specific task: some teach, others work in the library, in various sectors of scientific research, at the Computer and Bible Center or take care of the administration and operation of the the abbey. The monks also collaborate in the art workshops or the cheese factory and take care of welcoming visitors.
Custodian of the Benedictine tradition, the Abbey of Maredsous is above all a cultural center: from 1882, it hosted a center of artistic crafts and publishing at the origin of the first Latin-French missal, and a translation of the Bible in French in 1950. In the same vein, the monks distributed the Bible on floppy disks from 1981 and have since published Bible study and reading software.
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