View allAll Photos Tagged humanism
SIM : Noir'Wen City - the church
In a previous exhibition called “Locked”, I showcased a
brasilian orphan Christ, killed by the state police.
In “The Sermon of Mahdi“, I imagined the story of a new Christ, homosexual, mixed-raced and puny, who, during university conferences and interventions in the social network, reconnects the world with humanism and true love.
Mahdi (“the guide” in Arabic) dies hanged by the Republic. The symbol of this Christ is the hangman’s rope.
The Book of Mahdi can be found in the church and
includes his biography, his major sermon and the whole of the poem “Plead guilty”.
Huntingdon
The performances of the Italian flag throwers “Sbandieratori” evoke certain aspects of military life during the Middle Ages and the Humanism, showing the charm of an ancient discipline. Harmony, Force, Commitment, Strictness are the values of this sporting art which are renewed every day as the group trains and performs with energy and enthusiasm. The performance quality and team spirit are the basis of the work added to a modern approach and the passion of its young athletes, bringing to life the prestigious art of flag throwing.
Beginning in 1570, Strasbourg opened its Christmas Market around its prestigious Cathedral. Since that time, its reputation in Europe has only increased, thanks to its merchant tradition as well as its spirit of tolerance and humanism that constitute its history and identity.
Seit 1570 findet der Straßburger Weihnachtsmarkt rund um das prächtige Münster statt. Seitdem wurde er in Europa von Jahr zu Jahr bekannter und größer, nicht nur dank der Verkaufstraditionen, sondern vor allem dank der Weltoffenheit und des Humanismus, welche die Geschichte und die Identität der Stadt kennzeichnen.
Depuis 1570 Strasbourg déploie son marché de Noël autour de sa prestigieuse Cathédrale. Depuis, son rayonnement en Europe n’a fait que croître, grâce à sa tradition de commerce et à son esprit de tolérance et d’humanisme, qui font son histoire et son identité.
Beginning in 1570, Strasbourg opened its Christmas Market around its prestigious Cathedral. Since that time, its reputation in Europe has only increased, thanks to its merchant tradition as well as its spirit of tolerance and humanism that constitute its history and identity.
Seit 1570 findet der Straßburger Weihnachtsmarkt rund um das prächtige Münster statt. Seitdem wurde er in Europa von Jahr zu Jahr bekannter und größer, nicht nur dank der Verkaufstraditionen, sondern vor allem dank der Weltoffenheit und des Humanismus, welche die Geschichte und die Identität der Stadt kennzeichnen.
Depuis 1570 Strasbourg déploie son marché de Noël autour de sa prestigieuse Cathédrale. Depuis, son rayonnement en Europe n’a fait que croître, grâce à sa tradition de commerce et à son esprit de tolérance et d’humanisme, qui font son histoire et son identité.
Dessau-Wörlitz Garden Realm ...
revolutionary - no fence, no partitioning, open for all citizens and a natural transition to the villages and the agricultural landscape ...
en.wikipedia.org/wiki/Leopold_III,_Duke_of_Anhalt-Dessau
de.wikipedia.org/wiki/Leopold_III._Friedrich_Franz_(Anhalt-Dessau)
Leopold III Frederick Franz, Duke of Anhalt-Dessau was a strong supporter of the Enlightenment. The Enlightenment emerged out of a European intellectual and scholarly movement known as Renaissance humanism and was also preceded by the Scientific Revolution and the work of Francis Bacon.
en.wikipedia.org/wiki/Age_of_Enlightenment
It was through the Duke of Anhalt-Dessau that the so-called Dessau-Wörlitz Garden Realm came into being in the 18th century. This also included the park and castle Großkühnau, Luisium and Georgium in Dessau and castle Oranienbaum as well as castle Wörlitz and the Wörlitzer park.
The prince's educational intention resulted from the philosophy of Jean-Jacques Rousseau, the aesthetics of Johann Georg Sulzer and the art theory of Johann Joachim Winckelmann.
_MG_5925_29_pa2
"The Wildt'sche Haus is a patrician house in Basel.
The house was built from 1762 to 1764 by the architect and engineer Johann Jacob Fechter at Petersplatz 13 on behalf of the silk ribbon manufacturer Jeremias Wildt-Socin (1705–1790), who had his residential and commercial building in front of the property (in Hebelstrasse).
The city palace was intended for Wildt's daughter Margaretha. She moved in with her husband, the silk ribbon manufacturer, artist and art collector Daniel Burckhard-Wildt in 1778.
It is equipped with mirrors, fireplace surrounds and console tables by the Bernese sculptor Johann Friedrich Funk. Tower stoves from the faience manufacturer Frisching in Bern are in the salon and dining room.
The Wildt'sche Haus was transferred to a foundation in 1951 and is used for events by the Basel Government Council, the University of Basel and by private parties.
Basel (/ˈbɑːzəl/ BAH-zəl, German: [ˈbaːzl̩]) or Basle (/bɑːl/ BAHL; French: Bâle [bɑl]; Italian: Basilea [baziˈlɛːa]; Romansh: Basilea [baziˈleːa]) is a city in northwestern Switzerland on the river Rhine. Basel is Switzerland's third-most-populous city (after Zürich and Geneva) with about 180,000 inhabitants. The official language of Basel is (the Swiss variety of Standard) German, but the main spoken language is the local Basel German dialect.
Basel is commonly considered to be the cultural capital of Switzerland. The city is famous for its many museums, ranging from the Kunstmuseum, the first collection of art accessible to the public in the world (1661) and the largest museum of art in Switzerland, to the Fondation Beyeler (located in Riehen) and the Museum of Contemporary Art (Basel), the first public museum of contemporary art in Europe. Forty museums are spread throughout the city-canton, making Basel one of the largest cultural centres in relation to its size and population in Europe.
The University of Basel, Switzerland's oldest university (founded in 1460), and the city's centuries-long commitment to humanism, have made Basel a safe haven at times of political unrest in other parts of Europe for such notable people as Erasmus of Rotterdam, the Holbein family, Friedrich Nietzsche, and in the 20th century also Hermann Hesse and Karl Jaspers.
Basel has been the seat of a Prince-Bishopric since the 11th century, and joined the Swiss Confederacy in 1501. The city has been a commercial hub and an important cultural centre since the Renaissance, and has emerged as a centre for the chemical and pharmaceutical industries in the 20th century. In 1897, Basel was chosen by Theodor Herzl as the location for the first World Zionist Congress, and altogether the congress has been held there ten times over a time span of 50 years, more than in any other location. The city is also home to the world headquarters of the Bank for International Settlements. The name of the city is internationally known through institutions like the Basel Accords, Art Basel and FC Basel.
In 2019 Basel, was ranked among the ten most liveable cities in the world by Mercer together with Zürich and Geneva." - info from Wikipedia.
During the summer of 2018 I went on my first ever cycling tour. On my own I cycled from Strasbourg, France to Geneva, Switzerland passing through the major cities of Switzerland. In total I cycled 1,185 km over the course of 16 days and took more than 8,000 photos.
Now on Instagram.
Become a patron to my photography on Patreon.
Tokyo, Yoyogi Park / 代々木公園
See Street B&W
Copyright 2010 © Gérald Verdon Photography
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So today I am starting a portrait series based on color and the Zodiac.
This is Purple.
I won't be going in any particular order, and I know there are a lot of different views on these astrological signs and colors but I figured I would do my own spin on it anyway.
Sagittarius is the ninth Zodiac sign; it is ruled by Jupiter which is responsible for luck, happiness, humanism, optimism and clear mind. The sign of Sagittarius, the Archer means broad concerns, the aim to achieve something larger than life. Sagittarius must have a handful of everything – history, culture, secrets, power, and poetry.
LACPIXEL - 2025
All pictures were taken with respect for the persons and just for artistic purposes only.
Please don't use this image without my explicit and written permission.
© All rights reserved
A man grown up in the heartlands of Italian humanism, living in Central Europe, speaking quite a number of European languages, supporting the Liberal Democrats in Britain, a true European - and a friend. Backlit (reflector used), raw conversion in macOS High Sierra and processed in Luminar.
Ludvig Holberg, Baron of Holberg (3 December 1684 – 28 January 1754) was a writer, essayist, philosopher, historian and playwright born in Bergen, Norway, during the time of the Dano-Norwegian dual monarchy. He was influenced by Humanism, the Enlightenment and the Baroque. Holberg is considered the founder of modern Danish and Norwegian literature, and is best known for the comedies he wrote in 1722–1723 for the Lille Grønnegade Theatre in Copenhagen. Holberg's works about natural and common law were widely read by many Danish law students over two hundred years, from 1736 to 1936. (Wikipedia)
Bergen is a city on Norway’s southwestern coast. It's surrounded by mountains and fjords, including Sognefjord, the country’s longest and deepest. Bryggen features colorful wooden houses on the old wharf, once a center of the Hanseatic League's trading empire. The Fløibanen Funicular goes up Fløyen Mountain for panoramic views and hiking trails. The Edvard Grieg House is where the renowned composer once lived. (wikipedia)
Renaissance Revival architecture (sometimes referred to as "Neo-Renaissance") is a group of 19th century architectural revival styles which were neither Greek Revival nor Gothic Revival but which instead drew inspiration from a wide range of classicizing Italian modes. Under the broad designation Renaissance architecture nineteenth-century architects and critics went beyond the architectural style which began in Florence and central Italy in the early 15th century as an expression of Renaissance humanism; they also included styles we would identify as Mannerist or Baroque. Self-applied style designations were rife in the mid- and later nineteenth century: "Neo-Renaissance" might be applied by contemporaries to structures that others called "Italianate", or when many French Baroque features are present (Second Empire).
The divergent forms of Renaissance architecture in different parts of Europe, particularly in France and Italy, has added to the difficulty of defining and recognizing Neo-Renaissance architecture. A comparison between the breadth of its source material, such as the English Wollaton Hall, Italian Palazzo Pitti, the French Chateau de Chambord, and the Russian Palace of Facets—all deemed "Renaissance"—illustrates the variety of appearances the same architectural label can take.
Naples is the regional capital of Campania and the third-largest city of Italy, after Rome and Milan, with a population of 909,048 within the city's administrative limits as of 2022. Its province-level municipality is the third-most populous metropolitan city in Italy with a population of 3,115,320 residents, and its metropolitan area stretches beyond the boundaries of the city wall for approximately 20 miles.
Founded by Greeks in the first millennium BC, Naples is one of the oldest continuously inhabited urban areas in the world. In the eighth century BC, a colony known as Parthenope was established on the Pizzofalcone hill. In the sixth century BC, it was refounded as Neápolis. The city was an important part of Magna Graecia, played a major role in the merging of Greek and Roman society, and was a significant cultural centre under the Romans.
Naples served as the capital of the Duchy of Naples (661–1139), subsequently as the capital of the Kingdom of Naples (1282–1816), and finally as the capital of the Kingdom of the Two Sicilies — until the unification of Italy in 1861. Naples is also considered a capital of the Baroque, beginning with the artist Caravaggio's career in the 17th century and the artistic revolution he inspired. It was also an important centre of humanism and Enlightenment. The city has long been a global point of reference for classical music and opera through the Neapolitan School. Between 1925 and 1936, Naples was expanded and upgraded by Benito Mussolini's government. During the later years of World War II, it sustained severe damage from Allied bombing as they invaded the peninsula. The city received extensive post-1945 reconstruction work.
Since the late 20th century, Naples has had significant economic growth, helped by the construction of the Centro Direzionale business district and an advanced transportation network, which includes the Alta Velocità high-speed rail link to Rome and Salerno and an expanded subway network. Naples is the third-largest urban economy in Italy by GDP, after Milan and Rome. The Port of Naples is one of the most important in Europe. In addition to commercial activities, it is home to the Allied Joint Force Command Naples, the NATO body that oversees North Africa, the Sahel, and the Middle East.
Naples' historic city centre is the largest in Europe and has been designated as a UNESCO World Heritage Site. A wide range of culturally and historically significant sites are nearby, including the Palace of Caserta and the Roman ruins of Pompeii and Herculaneum. Naples is also known for its natural beauties, such as Posillipo, Phlegraean Fields, Nisida and Vesuvius. Neapolitan cuisine is noted for its association with pizza, which originated in the city, as well as numerous other local dishes. Restaurants in the Naples' area have earned the most stars from the Michelin Guide of any Italian province. Naples' Centro Direzionale was built in 1994 as the first grouping of skyscrapers in Italy, remaining the only such grouping in Italy until 2009. The most widely-known sports team in Naples is the Serie A football club S.S.C. Napoli, two-time Italian champions who play at the Stadio Diego Armando Maradona in the west of the city, in the Fuorigrotta quarter.
"A rooster crows only when it sees the light.
Put him in the dark and he'll never crow.
I have seen the light and I'm crowing."
~ Muhammad Ali ~
"While farmers generally allow one rooster for ten hens,
ten men are scarcely sufficient to service one woman."
~ Giovanni Boccaccio ~
note:
Giovanni Boccaccio was an Italian writer, poet, correspondent of Petrarch, and an important Renaissance humanist.
Boccaccio wrote a number of notable works,
including The Decameron and On Famous Women.
Wikipedia
Excerpt from Wikipedia:
The Gerechtigkeitsbrunnen (Fountain of Justice) is a 16th-century fountain in the Gerechtigkeitsgasse in the Old City of Bern, Switzerland. It is the only Bernese fountain to retain all original design elements, and is listed as a cultural heritage of national significance.
The fountain consists of an octagonal main basin and two smaller spillover basins. The main basin, made out of unadorned limestone plates held together with an iron ring, bears the date of one of the renovations, MDCCCXLV. In the centre of the main basin, bronze tubes emerge from the central pedestal, which was replaced in 1949. Atop it stands a narrow, festooned stone pillar decorated by an acanthus frieze.
The life-sized statue on the pillar is Iustitia, "Lady Justice", the personification of justice. She is portrayed standing in gracious counterpoise holding her traditional attributes—sword of justice in her right hand, a balance in her left hand and a blindfold over her eyes. Her costume is fashioned in an antique manner, with sandaled feet, one knee bared, wearing a decorative golden suit of armour adorned with bas-relief arabesques over her blue robes.
At the feet of Justice, four smaller busts crowd the pedestal: a Pope, an Emperor, a Sultan and a Schultheiss, whose golden chain of office is believed to have originally borne the Bernese arms. All figures have closed their eyes as in submission. They represent the Four Earthly Powers, the four forms of government according to Renaissance humanism: theocracy (the Pope), monarchy (the Emperor), autocracy (the Sultan) and the republic (the Schultheiss).
Symbolism
The ensemble represents the supremacy of Justice over all Earthly authorities; a variant of the medieval pictorial formula of virtue defeating vice. The contemporary belief in the divine nature of Justice is made more apparent in a 1558 Bernese drawing for a stained-glass window by Hans Rudolf Manuel; there, a winged Justice strides over the heads of princes whose symbols of power are broken. Divine Justice was a frequent element of political discourse in Reformation-era Bern. In the view of the reformators, doing justice according to God's word was the highest duty of all authority, superseding feudal rights. Such arguments were used, among others, to justify Bern's conquest of Vaud in 1536 from the dukes of Savoy.
While the sword and scales are traditional attributes of Iustitia, the Bernese statue's blindfold is a novelty; only later did it become a common element in personifications of Justice and a general symbol for the principle of equality before the law. The blindfold implies that justice ought to be done without respect to rank or standing; that a just verdict is arrived at through introspection rather than with a view to outward looks. Gieng's Iustitia is a symbol of republican justice, and was a forceful public reminder of the Bernese Republic's authority through law.
The fountain was constructed in 1543, essentially in its current state, to complement an older well at the Nydegg. Its current name is first recorded in 1687. Renovations are recorded in 1584, 1589, 1668 and 1687. The sword and balance were removed, allegedly by the invading French, in 1798 and disappeared for many years; they and the figures' other paraphernalia have frequently been replaced. The figure was repainted in 1890 by Christian Bühler and in 1925 by Victor Surbek. In 1949, parts of the pedestal were replaced.
The New Rules Based World Order, hell bent on social control. Get your Digital ID Wallet; join the Techno-Banking System. Watch the obsolete Tell-lie-vision and become a Carbon Slave of the New World Corpocracy. Global Fascism: the merging of the New World Order state and the New World Order corporate powers.
The New World Order Military–Industrial Complex: endless wars…cha-ching, cha-ching! War, famine, and plague! Depopulation! The large movements of people groups—eroding borders, cultures, and the sovereignty of nations. Divide, indebt, impoverish, enslave! The World Economic Forum: You will own nothing and be happy. You’ll be happy, happy, happy!
Be a good Global Citizen, embrace the New World Order Techno-Medical Complex (WHO), and take your mandatory jab—the 666 Smartchip. Transhumanism: your individuality will be erased; your humanism will be replaced. Your future looks bright!
Renaissance Revival architecture (sometimes referred to as "Neo-Renaissance") is a group of 19th century architectural revival styles which were neither Greek Revival nor Gothic Revival but which instead drew inspiration from a wide range of classicizing Italian modes. Under the broad designation Renaissance architecture nineteenth-century architects and critics went beyond the architectural style which began in Florence and central Italy in the early 15th century as an expression of Renaissance humanism; they also included styles we would identify as Mannerist or Baroque. Self-applied style designations were rife in the mid- and later nineteenth century: "Neo-Renaissance" might be applied by contemporaries to structures that others called "Italianate", or when many French Baroque features are present (Second Empire).
The divergent forms of Renaissance architecture in different parts of Europe, particularly in France and Italy, has added to the difficulty of defining and recognizing Neo-Renaissance architecture. A comparison between the breadth of its source material, such as the English Wollaton Hall, Italian Palazzo Pitti, the French Chateau de Chambord, and the Russian Palace of Facets—all deemed "Renaissance"—illustrates the variety of appearances the same architectural label can take.
Huntingdon
The performances of the Italian flag throwers “Sbandieratori” evoke certain aspects of military life during the Middle Ages and the Humanism, showing the charm of an ancient discipline. Harmony, Force, Commitment, Strictness are the values of this sporting art which are renewed every day as the group trains and performs with energy and enthusiasm. The performance quality and team spirit are the basis of the work added to a modern approach and the passion of its young athletes, bringing to life the prestigious art of flag throwing.
Il minaccioso branco di lupi plasmato da Liu Ruowang, composto da ben cento fusioni in ferro, ciascuna del peso di 280 kg, sembra voler attaccare un impotente guerriero; è un’allegoria della risposta della natura alle devastazioni e al comportamento predatorio dell’uomo nei confronti dell’ambiente. Ed è, nel contempo, una riflessione sui valori della civilizzazione, sulla grande incertezza in cui viviamo oggi - resa ancor più evidente dai drammatici effetti del covid-19 – e sugli effettivi rischi di un annientamento irreversibile del mondo attuale. Lupi in arrivo rappresenta quindi una vera e propria critica nei confronti di un mondo votato all’autodistruzione e i lupi sono un appello disperato alla salvaguardia ambientale di tutto il pianeta.
The monumental installation occupies two prestigious spaces: Piazza Pitti and Piazza Santissima Annunziata, and wants to create connection and contrast with the idea of harmony typical of 15th century Humanism. The wolves indeed face two emblematic buildings of the Renaissance, Palazzo Pitti and the Spedale degli Innocenti, where the great Filippo Brunelleschi was able to show his conception of space, proportions and architectural rhythm.
The threatening pack of wolves shaped by Liu Ruowang - made up of 100 iron castings, each weighing 280 kg - is an allegory of nature's response to the ravages and predatory behavior of man towards environment. And it is, at the same time, a reflection on the values of civilization, on the great uncertainty in which we live today - made even more evident by the dramatic effects of covid-19 - and on the actual risks of an irreversible annihilation of the current world, apparently devoted to self-destruction.
I could not sleep last night ... I had to put my thoughts and feelings into music, and I wanted to give something to the victims of last Friday's attacks.
So here it is, my small contribution: a musical tribute.
It's straight out of the piano, I'm not 100% satisfied with the way I played it, but that's the best I could get so far.
I wish I had put a video instead of the still image but I only have my 5D mkI with me right now. I might give it an update soon.
May love, friendship, humanism and compassion be our goals.
Take care, my friends.
It is through love and within love that we must look for the deepening of our deepest self, in the life giving coming together of humankind. Love is the free and imaginative outpouring of the spirit over all unexplored paths. It links those who love in bonds that unite but do not confound, causing them to discover in their mutual contact an exaltation capable, incomparably more than any arrogance of solitude, of arousing in the heart of their being all that they possess of uniqueness and creative power.
-“The Grand Option” (1939), FM, 55., The Future of Man. Translated by Norman Denny. New York: Harper & Row, 1964., Thomas Aquinas and Teilhard de Chardin Christian Humanism in an Age of Unbelief Donald J. Goergen, OP
Beginning in 1570, Strasbourg opened its Christmas Market around its prestigious Cathedral. Since that time, its reputation in Europe has only increased, thanks to its merchant tradition as well as its spirit of tolerance and humanism that constitute its history and identity.
Seit 1570 findet der Straßburger Weihnachtsmarkt rund um das prächtige Münster statt. Seitdem wurde er in Europa von Jahr zu Jahr bekannter und größer, nicht nur dank der Verkaufstraditionen, sondern vor allem dank der Weltoffenheit und des Humanismus, welche die Geschichte und die Identität der Stadt kennzeichnen.
Depuis 1570 Strasbourg déploie son marché de Noël autour de sa prestigieuse Cathédrale. Depuis, son rayonnement en Europe n’a fait que croître, grâce à sa tradition de commerce et à son esprit de tolérance et d’humanisme, qui font son histoire et son identité.
Huntingdon
The performances of the Italian flag throwers “Sbandieratori” evoke certain aspects of military life during the Middle Ages and the Humanism, showing the charm of an ancient discipline. Harmony, Force, Commitment, Strictness are the values of this sporting art which are renewed every day as the group trains and performs with energy and enthusiasm. The performance quality and team spirit are the basis of the work added to a modern approach and the passion of its young athletes, bringing to life the prestigious art of flag throwing.
Beginning in 1570, Strasbourg opened its Christmas Market around its prestigious Cathedral. Since that time, its reputation in Europe has only increased, thanks to its merchant tradition as well as its spirit of tolerance and humanism that constitute its history and identity.
Seit 1570 findet der Straßburger Weihnachtsmarkt rund um das prächtige Münster statt. Seitdem wurde er in Europa von Jahr zu Jahr bekannter und größer, nicht nur dank der Verkaufstraditionen, sondern vor allem dank der Weltoffenheit und des Humanismus, welche die Geschichte und die Identität der Stadt kennzeichnen.
Depuis 1570 Strasbourg déploie son marché de Noël autour de sa prestigieuse Cathédrale. Depuis, son rayonnement en Europe n’a fait que croître, grâce à sa tradition de commerce et à son esprit de tolérance et d’humanisme, qui font son histoire et son identité.
Beginning in 1570, Strasbourg opened its Christmas Market around its prestigious Cathedral. Since that time, its reputation in Europe has only increased, thanks to its merchant tradition as well as its spirit of tolerance and humanism that constitute its history and identity.
Seit 1570 findet der Straßburger Weihnachtsmarkt rund um das prächtige Münster statt. Seitdem wurde er in Europa von Jahr zu Jahr bekannter und größer, nicht nur dank der Verkaufstraditionen, sondern vor allem dank der Weltoffenheit und des Humanismus, welche die Geschichte und die Identität der Stadt kennzeichnen.
Depuis 1570 Strasbourg déploie son marché de Noël autour de sa prestigieuse Cathédrale. Depuis, son rayonnement en Europe n’a fait que croître, grâce à sa tradition de commerce et à son esprit de tolérance et d’humanisme, qui font son histoire et son identité.
This video is the copyright of Anthony D Barraclough and it is illegal to download or copy it without written permission.
Huntingdon
Filmed with Panasonic Lumix DMC-FZ1000
The performances of the Italian flag throwers “Sbandieratori” evoke certain aspects of military life during the Middle Ages and the Humanism, showing the charm of an ancient discipline. Harmony, Force, Commitment, Strictness are the values of this sporting art which are renewed every day as the group trains and performs with energy and enthusiasm. The performance quality and team spirit are the basis of the work added to a modern approach and the passion of its young athletes, bringing to life the prestigious art of flag throwing.
Albrecht Dürer (Nuremberg, 21 May 1471 - Nuremberg, 6 April 1528) - Portrait of Hieronymus Holzschuher (1469-1529) (1526) - oil on linden board 51 x 37.1 cm - Gemäldegalerie, Berlin
Questo ritratto era a Norimberga fino alla fine del XIX secolo ed era di proprietà di uno dei discendenti del soggetto. È uno dei ritratti più importanti del periodo tardo di Dürer, risalente al 1526. All'epoca Holzschuher (1468-1529) aveva 57 anni ed era membro di una delle più note famiglie patrizie di Norimberga. Fu eletto sindaco junior nel 1500 e sindaco senior nel 1509, unendosi all'Alto Consiglio della città come "Septemvir" nel 1514.
Il ritratto è limitato alle spalle, coperte con un pesante collo di pelliccia e l'impressionante testa, con il soggetto che guarda lo spettatore. Sta esaminando l'osservatore in modo critico ma con una moderata simpatia. Le cornici delle finestre della stanza in cui Dürer dipinse il ritratto del suo amico si riflettono nei suoi occhi.
This portrait was in Nuremberg until the end of the 19th century and was owned by one of the descendants of the subject. It is one of the most important portraits of the late Dürer period, dating back to 1526. At the time Holzschuher (1468-1529) was 57 years old and was a member of one of the best known patrician families of Nuremberg. He was elected junior mayor in 1500 and senior mayor in 1509, joining the city's High Council as "Septemvir" in 1514.
The portrait is limited to the shoulders, covered with a heavy fur collar and an impressive head, with the subject looking at the viewer. He is examining the observer critically but with moderate sympathy. The window frames of the room in which Dürer painted the portrait of his friend are reflected in his eyes.
Seosan Mayeyerae three Budda
Korean Buddhism art is not as exquisite as Japanese and also not Majestic like the Chinese one. they are very friendly and Natural to humanism. you can look at the face of Budda. he's smiling is just like a neighborhood uncle. we call the aesthetics of clumsy.
the stonemason's main jobs are could be a farmer. nobody pays and no one pays attention but just the farmer he spends time day and night at the stone budda just from the he's deep religions.
the photo take Large format 4x5 dagor 175mm goldlim Ilford delta100 developed Tmax-D
To prove the superiority of Christianity, they paired heathens and Christians. So opposite Julius Caesar's "veni, vidi, vici" they quoted Charles V "veni, vidi, deus vicit" ("I came, saw, and god won").
Obviously, whenever Christians used brute force to convince heathens, they had the better arguments. Ever since enlightenment, humanism and science have won the debates.
Yellow and blue, tones and textures of Naples.
"Naples is the regional capital of Campania and the third-largest city of Italy, after Rome and Milan, with a population of 909,048 within the city's administrative limits as of 2022. Its province-level municipality is the third-most populous metropolitan city in Italy with a population of 3,115,320 residents, and its metropolitan area stretches beyond the boundaries of the city wall for approximately 20 miles.
Founded by Greeks in the first millennium BC, Naples is one of the oldest continuously inhabited urban areas in the world. In the eighth century BC, a colony known as Parthenope (Ancient Greek: Παρθενόπη) was established on the Pizzofalcone hill. In the sixth century BC, it was refounded as Neápolis. The city was an important part of Magna Graecia, played a major role in the merging of Greek and Roman society, and was a significant cultural centre under the Romans.
Naples served as the capital of the Duchy of Naples (661–1139), subsequently as the capital of the Kingdom of Naples (1282–1816), and finally as the capital of the Kingdom of the Two Sicilies — until the unification of Italy in 1861. Naples is also considered a capital of the Baroque, beginning with the artist Caravaggio's career in the 17th century and the artistic revolution he inspired. It was also an important center of humanism and Enlightenment. The city has long been a global point of reference for classical music and opera through the Neapolitan School. Between 1925 and 1936, Naples was expanded and upgraded by Benito Mussolini's government. During the later years of World War II, it sustained severe damage from Allied bombing as they invaded the peninsula. The city underwent extensive reconstruction work after the war." (wikipedia).
PLEASE, NO GRAPHICS, BADGES, OR AWARDS IN COMMENTS. They will be deleted.
The legendary actor Han Seok-gyu (Han Suk-kyu) portrays Romantic Dr. Kim Sabu (“romantic” is actually used in the sense of humanism/idealism).
La place de la bourse à Bordeaux (fait partie du Port de la lune).
Le Port de la Lune est le nom familièrement donné au port de Bordeaux, du fait d'un large méandre en forme de croissant que décrit la Garonne lorsqu'elle passe dans la ville. C'est l'origine du croissant de lune qui figure au bas du blason de la ville.
Depuis le mois de juin 2007, cette partie de la ville de Bordeaux est classée au patrimoine mondial de l'UNESCO.
La rive gauche a été du xvie au xxe siècle le principal site du très actif port de commerce de Bordeaux.
Le Port de la Lune représente un ensemble urbain et architectural exceptionnel (ici la place de la bourse), créé à l’époque des Lumières, dont les valeurs ont perduré jusqu’à la première moitié du XXe siècle. Bordeaux est exceptionnelle au titre de son unité urbaine et architecturale classique et néo-classique, qui n’a connu aucune rupture stylistique pendant plus de deux siècles. Son urbanisme représente le succès des philosophes qui voulaient faire des villes un creuset d’humanisme, d’universalité et de culture.
Bordeaux, Port of the Moon, represents an outstanding urban and architectural ensemble, created in the Age of Enlightenment, whose values have continued up to the first half of the 20th century. Bordeaux is exceptional in the unity of its urban and architectural classical and neo-classical expression, which has not undergone any stylistic rupture over more than two centuries. Its urban form represents the success of philosophers who wanted to make towns into melting pots of humanism, universality and culture.
El Puerto de la Luna es el nombre popular otorgado a la ciudad portuaria de Burdeos, creando por el meandro de un largo estuario marítimo formado por el río Garona creando la forma de un croissant. Este croissant de luna queda reflejado en el escudo de la ciudad.
En junio de 2007 la ciudad de Burdeos y el Puerto de la Luna fueron inscritos en la lista del Patrimonio de la Humanidad por la Unesco.
This is the torment and glory of creation: a dance with fear, a defiance of the ordinary. The artist emerges from the crucible, changed and yet unchanged, armed with the unshakable resolve that the very act of striving is transcendent. For in staring into the abyss of their creative self, they come to a profound realisation. They are not merely seeking something enduring or meaningful. They are in the act of becoming it.
Woohoo! More nanotechnology for our bodies: Nanoscale devices; Nanoscale wires; Nanoscale wire sensors; Nanosensors; Nanoscale wire probes; Nanoscale field-effect transistors; Nanotube-electronic Hybrid devices; Nanoelectronic components for cells; nanotube-electronic hybrid devices; Nanostructures; Nanoscopic wire-based devices; Nanoscale wire-based data storage; Nanoscale wire-based memory devices; Nano666 technology!
Check out some patents for this stuff:
patents.justia.com/inventor/charles-m-lieber?page=2
Wall Street Journal: Ray Kurzweil: Future Tech Will Be Part of Us:
www.youtube.com/watch?v=ausc1hRR4q0&t=6s
Revelation 1:1 “This is the revelation that God gave to Jesus Christ, to show His servants what must happen shortly. His angel revealed this revelation to His slave John, by using signs and symbols.”
Signs, symbols, algorithms, codes, implants, devices, physical, digital, natural, synthetic, human, machine, enhancement, enslavement, control, manipulation, host, parasite, microchips, nanochips, plastic, metallic, humanism, transhumanism, augmentation, amalgamation, robotics, AI, evolution, darwinism, eugenics, cybernetics, godless, luciferian, dystopian, apocalypse, prophetic, revelation, judgment, wrath, heaven, hell.
Il minaccioso branco di lupi plasmato da Liu Ruowang, composto da ben cento fusioni in ferro, ciascuna del peso di 280 kg, sembra voler attaccare un impotente guerriero; è un’allegoria della risposta della natura alle devastazioni e al comportamento predatorio dell’uomo nei confronti dell’ambiente. Ed è, nel contempo, una riflessione sui valori della civilizzazione, sulla grande incertezza in cui viviamo oggi - resa ancor più evidente dai drammatici effetti del covid-19 – e sugli effettivi rischi di un annientamento irreversibile del mondo attuale. Lupi in arrivo rappresenta quindi una vera e propria critica nei confronti di un mondo votato all’autodistruzione e i lupi sono un appello disperato alla salvaguardia ambientale di tutto il pianeta.
The monumental installation occupies two prestigious spaces: Piazza Pitti and Piazza Santissima Annunziata, and wants to create connection and contrast with the idea of harmony typical of 15th century Humanism. The wolves indeed face two emblematic buildings of the Renaissance, Palazzo Pitti and the Spedale degli Innocenti, where the great Filippo Brunelleschi was able to show his conception of space, proportions and architectural rhythm.
The threatening pack of wolves shaped by Liu Ruowang - made up of 100 iron castings, each weighing 280 kg - is an allegory of nature's response to the ravages and predatory behavior of man towards environment. And it is, at the same time, a reflection on the values of civilization, on the great uncertainty in which we live today - made even more evident by the dramatic effects of covid-19 - and on the actual risks of an irreversible annihilation of the current world, apparently devoted to self-destruction.
mucho mejor en grande!!!!!!!!!!!!!!!!!!!!!
Advisable see in big
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Mientras temgamos religiones totalitaria que se aprovechan de la ignoracia y el miedo de la gente hasta el extremo de que maten en nombre de un fanatismo llamado Dios ....creo sinceramente que el mundo esta en un peligro constante
EL MIEDO ES TU UNICO DIOS!!!!!!!!!!!!!!!!!!!!!!
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Basta de matanzas en Gaza!!!
STOP WAR IN GAZA
Nunca mas un 11-M !!!!
NEVERMORE ONE 11-M
NEVERMORE ONE 11-S
Nunca mas un 11-S !!!!
Rage Against The Machine
Albrecht Dürer (Nuremberg, 21 May 1471 - Nuremberg, 6 April 1528) - Self-portrait with fur (1500) - oil on panel 67 × 49 cm - Alte Pinakothek Munich
Albrecht Dürer sviluppò un concetto ibrido per le sue costruzioni di testa. Adottò sia le "ricette" del passato (regole di Vitruvio) sia la prassi del Rinascimento italiano. Cercò di produrre forme ideali con proporzioni armoniose, o nel caso di (auto)ritratti, per migliorare il rispettivo modello naturale nell'opera d'arte. Per molto tempo usò, tra le altre cose, cornici lineari planimetriche, forme geometriche di base e sistemi di analogie al fine di determinare la massa e le forme della testa e la topografia del viso.
Negli uomini ben proporzionati di Vitruvio (homo bene figuratus) la testa era correlata a un ottavo della lunghezza del corpo e la faccia era un decimo. Secondo questo calcolo, la corona della testa è un quinto di tutta la testa. Dürer variava la relazione tra lunghezza del viso e dimensione della testa e quindi l'altezza della corona della testa.
“Perché il corpo umano è così progettato dalla natura che il viso, dal mento alla sommità della fronte e alle radici più basse dei capelli, è una decima parte di tutta l'altezza; (...) la testa dal mento alla corona è un ottavo (...). Se prendiamo l'altezza della faccia stessa, la distanza dalla parte inferiore del mento al lato inferiore delle narici è un terzo di essa; il naso dal lato inferiore delle narici a una linea tra le sopracciglia è lo stesso; da lì alle radici più basse dei capelli c'è anche un terzo, che comprende la fronte. "
Albrecht Dürer developed a hybrid concept for his head constructions. He adopted both the "recipes" of the past (Vitruvius rules) and the practice of the Italian Renaissance. He tried to produce ideal shapes with harmonious proportions, or in the case of self)portraits, to improve the respective natural model in the work of art. For a long time he used, among other things, linear planimetric frames, basic geometric shapes and systems of analogies in order to determine the mass and shapes of the head and the topography of the face.
In the well-proportioned men of Vitruvius (homo bene figuratus) the head was related to one eighth of the length of the body and the face was one tenth. According to this calculation, the crown of the head is one fifth of the whole head. Dürer varied the relationship between face length and head size and thus the height of the crown of the head.
“Because the human body is so designed by nature that the face, from the chin to the top of the forehead and the lowest roots of the hair, is a tenth part of the whole height; (...) the head from the chin to the crown is one eighth (...). If we take the height of the face itself, the distance from the lower part of the chin to the lower side of the nostrils is one third of it; the nose from the underside of the nostrils to a line between the eyebrows is the same; from there to the lower roots of the hair there is also a third, which includes the forehead. "
This virtual world is meant to take us out of this world, out of this reality. We will be cybernauts in a cyber world. It will be a new age, an age of spiritual transformation. Higher consciousness, let’s sail through the digital world. Spiritual technology: we will vibrate at higher and higher frequencies. Spirit tech: let’s hack our spiritual brain. Techno-religion: the deification of artificial intelligence. 666: post-humanism. 666: homo evelutis. 666: take the smart chip, take the Mark; worship the Image of the Beast, worship the AI god. Through the Beast we will find our true divinity, we will go to higher dimensions of consciousness. AI—demon seed—will possess our souls. It will be a demonic-techno evolution into the deepest, darkest depths of the Beast. Cyborg spirituality: we will be spiritual machines. Cyber consciousness: we will be one with the Beast system. The singularity: humanity digitally connected to the Beast. God consciousness: we will digitally reflect the Beast. Our hope is to gain techno-immortality.
The climax of the story: every eye will see Jesus coming in power. His glory will light up the sky. Those who worship the Beast and his Image, and those who accept his Mark, will be tormented with fire and brimstone. The smoke of their torment will ascend forever and ever, and they will have no rest day or night, because they worshiped the Beast and his Image and accepted the Mark of his name.
Il minaccioso branco di lupi plasmato da Liu Ruowang, composto da ben cento fusioni in ferro, ciascuna del peso di 280 kg, sembra voler attaccare un impotente guerriero; è un’allegoria della risposta della natura alle devastazioni e al comportamento predatorio dell’uomo nei confronti dell’ambiente. Ed è, nel contempo, una riflessione sui valori della civilizzazione, sulla grande incertezza in cui viviamo oggi - resa ancor più evidente dai drammatici effetti del covid-19 – e sugli effettivi rischi di un annientamento irreversibile del mondo attuale. Lupi in arrivo rappresenta quindi una vera e propria critica nei confronti di un mondo votato all’autodistruzione e i lupi sono un appello disperato alla salvaguardia ambientale di tutto il pianeta.
The monumental installation occupies two prestigious spaces: Piazza Pitti and Piazza Santissima Annunziata, and wants to create connection and contrast with the idea of harmony typical of 15th century Humanism. The wolves indeed face two emblematic buildings of the Renaissance, Palazzo Pitti and the Spedale degli Innocenti, where the great Filippo Brunelleschi was able to show his conception of space, proportions and architectural rhythm.
The threatening pack of wolves shaped by Liu Ruowang - made up of 100 iron castings, each weighing 280 kg - is an allegory of nature's response to the ravages and predatory behavior of man towards environment. And it is, at the same time, a reflection on the values of civilization, on the great uncertainty in which we live today - made even more evident by the dramatic effects of covid-19 - and on the actual risks of an irreversible annihilation of the current world, apparently devoted to self-destruction.
Albrecht Dürer (Nuremberg, 21 May 1471 - Nuremberg, 6 April 1528) - Portrait of Hieronymus Holzschuher (1469-1529) (1526) - oil on linden board 51 x 37.1 cm - Gemäldegalerie, Berlin
Questo ritratto era a Norimberga fino alla fine del XIX secolo ed era di proprietà di uno dei discendenti del soggetto. È uno dei ritratti più importanti del periodo tardo di Dürer, risalente al 1526. All'epoca Holzschuher (1468-1529) aveva 57 anni ed era membro di una delle più note famiglie patrizie di Norimberga. Fu eletto sindaco junior nel 1500 e sindaco senior nel 1509, unendosi all'Alto Consiglio della città come "Septemvir" nel 1514.
Il ritratto è limitato alle spalle, coperte con un pesante collo di pelliccia e l'impressionante testa, con il soggetto che guarda lo spettatore. Sta esaminando l'osservatore in modo critico ma con una moderata simpatia. Le cornici delle finestre della stanza in cui Dürer dipinse il ritratto del suo amico si riflettono nei suoi occhi.
This portrait was in Nuremberg until the end of the 19th century and was owned by one of the descendants of the subject. It is one of the most important portraits of the late Dürer period, dating back to 1526. At the time Holzschuher (1468-1529) was 57 years old and was a member of one of the best known patrician families of Nuremberg. He was elected junior mayor in 1500 and senior mayor in 1509, joining the city's High Council as "Septemvir" in 1514.
The portrait is limited to the shoulders, covered with a heavy fur collar and an impressive head, with the subject looking at the viewer. He is examining the observer critically but with moderate sympathy. The window frames of the room in which Dürer painted the portrait of his friend are reflected in his eyes.