Hybride Voiture, Bus, Moto ou électrique (Cars and other hybri
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Ikaros was a tragic hero of Greek mythology, son of inventor Daidalos. Ikaros is imprisoned with his father who has fallen in disgrace at King Minos in Crete. Of wax and feathers, Daidalo's wings then make both of them and contain flying over the sea. Daidalos warns his son to fly too close to the sun because it would melt the wax in the wings. Ikaros does not listen to his father, loses his wings and falls into the Aegean sea where he is drowning. The story of Ikaros is about supremacy and hybris. In connection with the flight development, Ikaros has also been produced as the hero trying to fly, despite failing.
MIXED MEDIA OIL / ACRYLIC PAINTING ON CANVAS BY ME
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Goat doves as a special breed have already been painted by Renaissance painters. The foreign world of pigeon breeding was open for me for some hours during an exhibition in Dortmund/Ruhr.
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de/from: Wikipedia
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es.wikipedia.org/wiki/Templo_de_Zeus_Ol%C3%ADmpico_(Atenas)
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Templo de Zeus Olímpico - Atenas - Grecia
El templo de Zeus Olímpico, también conocido como el Olimpeion (griego Ναός του Ολυμπίου Δός, o Naos tou Olimpiou Dios), es un templo de Atenas. Aunque comenzado en el siglo VI a. C., no fue terminado hasta el reinado del emperador Adriano, en el siglo II. En las épocas helenística y romana era el templo más grande de Grecia.
El templo se ubica a unos 500 metros al sureste de la Acrópolis de Atenas y a unos 700 m al sur de la Plaza Sintagma (centro de Atenas).
Sus cimientos fueron colocados en el sitio de un primer templo por el tirano Pisístrato en 515 a. C., pero el trabajo fue abandonado cuando su hijo, Hipias, fue derrocado en 510 a. C.Durante los años de la democracia ateniense, el templo fue dejado incompleto, porque se pensó que atentaba contra la hybris construir a tal escala. Aristóteles, en la Política, citó el templo como un ejemplo de cómo las tiranías atraían al pueblo a grandes obras de estado y lo dejaban sin tiempo, energía o medios para rebelarse.
El trabajo fue reanudado en 174 a. C., durante la dominación macedonia de Grecia, bajo el patrocinio del rey helenístico Antíoco IV Epífanes, que contrató al arquitecto romano Cosucio para diseñar el templo más grande del mundo conocido. Cuando Antíoco murió en 164 a. C. el trabajo estaba retrasado otra vez.
En 86 a. C., después de que las ciudades griegas cayeran bajo dominio romano, el general Sila llevó dos columnas del templo inacabado a Roma, para adornar el templo de Júpiter Capitolino en la Colina Capitolina. Estas columnas influyeron en el desarrollo del estilo corintio en Roma.
En el siglo II, el templo fue retomado por el emperador Adriano, un gran admirador de la cultura griega, quien finalmente lo llevó a su conclusión en 129 (algunas fuentes dicen que en 131).
El templo fue construido en mármol del monte Pentélico. Medía 96 metros de largo en sus lados mayores y 40 metros a lo ancho de sus caras oriental y occidental. Contaba de 104 columnas corintias, cada una de 17 metros de alto, de 2,6 metros de diámetro y un peso aproximado de 364 toneladas; de las cuales 48 estaban colocadas en filas triples bajo los frontones y 56 en filas dobles en los lados. Solo 16 de estas columnas sobreviven hoy, 13 de ellas, en el lado este, en pie. De las tres restantes, en el lado oeste, una se derrumbó en 1852 y está todavía tendida donde cayó.3
Adriano dedicó el templo a Zeus. También erigió una enorme estatua de marfil de Zeus en la cella del templo. Los frontones estaban adornados con muchas estatuas, pero también en todo el templo había estatuas y bustos de hombres famosos. Los atenienses, para mostrar su gratitud a Adriano, erigieron una estatua de él detrás del templo. Desafortunadamente, ninguna de las esculturas que adornaban el templo, o de su interior, ha sobrevivido. No se sabe exactamente cuándo fue destruido el templo, pero se especula que, como otros grandes edificios en Atenas, probablemente fue destruido por un terremoto durante los años bizantinos y sus ruinas se utilizaron para construir otros edificios.
------------------------------------------------------------------------------------------en.wikipedia.org/wiki/Temple_of_Olympian_Zeus,_Athens
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Temple of Olympian Zeus - Athens - Greece
The Temple of Olympian Zeus (Greek: Ναός του Ολυμπίου Διός, Naós tou Olympíou Diós), also known as the Olympieion or Columns of the Olympian Zeus, is a former colossal temple at the center of the Greek capital Athens. It was dedicated to "Olympian" Zeus, a name originating from his position as head of the Olympian gods. Construction began in the 6th century BC during the rule of the Athenian tyrants, who envisaged building the greatest temple in the ancient world, but it was not completed until the reign of the Roman Emperor Hadrian in the 2nd century AD, some 638 years after the project had begun. During the Roman period the temple, which included 104 colossal columns, was renowned as the largest temple in Greece and housed one of the largest cult statues in the ancient world.
The temple's glory was short-lived, as it fell into disuse after being pillaged during a barbarian invasion in 267 AD, just about a century after its completion. It was probably never repaired and was reduced to ruins thereafter. In the centuries after the fall of the Roman Empire, it was extensively quarried for building materials to supply building projects elsewhere in the city. Despite that, a substantial part of the temple remains today, notably sixteen of the original gigantic columns, and it continues to be part of a very important archaeological site of Greece.
The temple is located approximately 500 m (0.31 mi) south-east of the Acropolis, and about 700 m (0.43 mi) south of the center of Athens, Syntagma Square. Its foundations were laid on the site of an ancient outdoor sanctuary dedicated to Zeus. An earlier temple had stood there, constructed by the tyrant Peisistratus around 550 BC. The building was demolished after the death of Peisistratos and the construction of a colossal new Temple of Olympian Zeus was begun around 520 BC by his sons, Hippias and Hipparchos. They sought to surpass two famous contemporary temples, the Heraion of Samos and the second Temple of Artemis at Ephesus. Designed by the architects Antistates, Callaeschrus, Antimachides and Phormos, the Temple of Olympian Zeus was intended to be built of local limestone in the Doric style on a colossal platform measuring 41 m (134 ft 6 in) by 108 m (354 ft 4 in). It was to be flanked by a double colonnade of eight columns across the front and back and twenty-one on the flanks, surrounding the cella.
Corinthian columns detail
The work was abandoned when the tyranny was overthrown and Hippias was expelled in 510 BC. Only the platform and some elements of the columns had been completed by that point, and the temple remained in that state for 336 years. The temple was left unfinished during the years of Athenian democracy, apparently, because the Greeks thought it was hubris to build on such a scale. In his treatise Politics, Aristotle cited the temple as an example of how tyrannies engaged the populace in great works for the state (like a white elephant) and left them no time, energy or means to rebel.[1]
It was not until 174 BC that the Seleucid king Antiochus IV Epiphanes, who presented himself as the earthly embodiment of Zeus, revived the project and placed the Roman architect Decimus Cossutius in charge. The design was changed to have three rows of eight columns across the front and back of the temple and a double row of twenty on the flanks, for a total of 104 columns. The columns would stand 17 m (55 ft 9 in) high and 2 m (6 ft 7 in) in diameter. The building material was changed to the expensive but high-quality Pentelic marble and the order was changed from Doric to Corinthian, marking the first time that this order had been used on the exterior of a major temple. However, the project ground to a halt again in 164 BC with the death of Antiochus. The temple was still only half-finished by that stage.
Serious damage was inflicted on the partly built temple by Lucius Cornelius Sulla's sack of Athens in 86 BC. While looting the city, Sulla seized some of the incomplete columns and transported them back to Rome, where they were re-used in the Temple of Jupiter on the Capitoline Hill. A half-hearted attempt was made to complete the temple during Augustus' reign as the first Roman emperor, but it was not until the accession of Hadrian in the 2nd century AD that the project was finally completed around 638 years after it had begun.
A few days ago Lego published a globus.
So here is an alternative for a blockhead like me and all the other ones out there.
I also wanted to build a disk but I don't have much time right now.
The build was more difficult than I imagined. Especially the cluch of the tiles was so strong that you can actually see that the left side is not straight.
Also the block was way heavier than I expected so I had to place it in a straight line. I intended to to use a slight angle first.
I also tried to use other colours for the landscape but one important part is not available in green or bright green. I could have used some complicated snot techniques like I did in 'Hybris' or much simpler in my Halo ring but in the end I just opted for this rather minimal approach.
Architecture by Michele Valori (1964), Rome.
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Dieser Klapperschlangenhybride, eine Kreuzung aus Texasklapperschlange und Diamantklapperschlange, konnte ich im Terrazoo Rheinberg photographieren.
Diese Tiere wurden bei einem unverantwortlichen Halter beschlagnahmt und müssen besonders verwahrt werden, da die Wirkung ihres Giftes nicht abschätzbar ist - genausowenig pb die üblichen Gegengifte überhaupt noch Wirkung zeigen.
Terrazoo Rheinberg ( www.terrazoo.de )
PART I HYBRIS
Exhibition version
This is a little more conventinonal version of my MOC. I had to rebuild it to a half circle to present it at an exhibition. It doesn't really look like a bright future that much anymore. The added greebles give away a sold hint of what part II will become.
You can see the original version in this video:
www.youtube.com/watch?v=sIhd-ENcQRA
I was very limited in the original version because of the extreme perspective. Because this version is meant to be seen from the side I enlarged the cities and spread them along the horizontal line. I also hid most of the ugly support structure.
An adult female from an area of southwestern North Carolina where the two species regularly hybridize. Photographed in situ.
The future is bright. Part I Hybris
Shiptember
Men will conquer the stars. Live long and prosper. The future is bright.
Heavily inspired by Mass Effect Citadel.
The picture shows some kind of spaceship that contains a world to live in. No glue, stickers or dirty tricks.
Leave a comment or a like to help me keep up my motivation for part II:
the future is dark
www.flickr.com/photos/158394645@N03/44286926464/in/datepo...
I'm so sorry cause I had planed something much more epic but time is runnning out.
Thanks to Dr. Zarkow for picture processing tips and motivational talks. Also to my former building buddies Jonas and Simon.
I will add much more photos soon. The whole tube is longer than 1,50 meters. For all the Dr. Who fans:
It's kind of a reversed TARDIS - it's bigger from the outside. Space magically disappears when looking inside the tube.
As you can see there are 4 support rings and three segments. While the first segment looks large the last segment is hardly visible.
I will present it at the Fanworld (16-18 November) in Colgne and then disassemble it. I will do a rebuild so that you can have a look from the side.
I will add many details, sky scrapers and space ships for the exhibition that I couldn't use in the picture.
It's not the prettiest MOC but I had to face severe building restrictions.
i) Every two studs the ground bends, so I could only build on a 2 studs wide base. In other words I couldn't build anything wider than two studs.
ii) The "ground level" is the level, where the bricks perfectly align to each other. I could build higher on one of those two studs wide tracks, but I couldn't build something next to it. Building below ground level is possible, but then there are small gaps.
So my building range was limited to a height of exactely 3 plates most of the times.
iii) No parts availlable in the colors I used.
My colour scheme is mainly medium green, bright green, green and dark green.
Medium green - which is ironically a very light and damped color and not medium at all - is a rare Scala color with almost no availlable parts. There are no small plates, no tiles and I had only the 3004 bricks.
Bright green has a few more parts but is still very limited. The only tile is a 1 x 4 for example. There are no plates either.
iv) Because of this extremely flat angle I had to use much space so that the result would not be a total mess.
v) The bends between all those two studs wide tracks is done with my beloved mixel hinges (other hinges would have worked better, since I only needed one direction the bend should be in). So I had to fix everything in a way, that adjacent tracks stay together and do not open up. This is only possible on certain hights. I have to show a photo to illustrate that.
Apart from that I had to incorporate those 4 rings to hold all the segments together.
Somehow I had to provide light. I couldn't just build a full circle. That was in fact something I tought about a long time before I began building. How to get light into a tube?
But what would a real station like this would look like?
They also would need light.
Some lights in the middle of the circle? I doubt it.
There has to be some kind of sky.
I had - more or less - two options:
building a half circle only or leaving spaces.
IN ENGLISH BELOW THE LINE
Just ahir mateix, l'exèrcit rus evacuà, fugint, Lyman, que ara ja era pomposament considerat per ells com a ciutat rusa, amb la falsa annexió del Donbass. Orgull i prejudici, Hibris i Nemesi. O en aquest cas, paper i tisores.
Slava Ukraini.
Vist en una tapia just al davant del Imperial War Museum, Londres.
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Just yesterday, the Russian army evacuated, fleeing, Lyman, which was now pompously considered by them as a Russian city, with the false annexation of Donbass. Pride and Prejudice, Hubris and Nemesis.Or, in this case, paper and scissors!
Slava Ukraini
Seen on a wall just outside the Imperial War Museum, London.
I don´t feel like posting much right now. It sure seems as if we are living in the end of times already. Even the sun and earth are getting increasingly furious at our greed, hybris, aggression and madness.
My hopes go out to all the innocent and victims, to all those that have to die for the comfort of the few.
About the photo:
captured in Anting / Shanghai...the small spots you can see when you look closely are dragon flies...myriads of them were racing about frantically on this strange day.
This is a website looking to organize shelter in Germany for the homeless Japanese, by a dear friend of mine:
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© Andy Brandl / PhotonMix (2011)
Don´t redistribute / use on webpages, blogs or any other media without licensing
Manuel Castro Gonzalez
_DSC3762-2
Un ave con secretos historia y belleza en la pasarela de la ria de Vigo.
Leda y el Cisne es un motivo de la mitología griega, según el cual Zeus descendió del Olimpo en forma de un cisne hacia Leda, mientras esta reina caminaba junto al río Eurotas. En la versión original, fingiendo ser atacado por un águila para que ella le protegiera hacia su regazo. De acuerdo con la mitología griega, más tarde Leda dio a luz a dos parejas de hijos: por un lado, a Helena y a Pólux, que serían hijos de Zeus y, por lo tanto, inmortales; y, por otra parte, a Clitemnestra y a Cástor, considerados hijos de su esposo Tíndaro, rey de Esparta, y en consecuencia, mortales. Según la historia, Zeus tomó la forma de un cisne y violó o sedujo a Leda en la misma noche en que ella se había acostado con su esposo, el rey Tíndaro, de ahí que las dos parejas de hijos tuvieran distintos padres.1 En algunas versiones, ella puso dos huevos de los que nacieron los niños. En otras versiones, Helena es una hija de Némesis, la diosa que personificaba el desastre que les esperaba a las personas que padecen el orgullo de Hibris.
A bird with secrets history and beauty in the Vigo's ria walkway.
Leda and the Swan is a motif of Greek mythology, according to which Zeus descended from Olympus in the form of a swan to Leda, while this queen was walking along the river Eurotas. In the original version, pretending to be attacked by an eagle so that she would protect him to her lap. According to Greek mythology, Leda later gave birth to two pairs of children: on the one hand, Helen and Pollux, who would be children of Zeus and, therefore, immortal; and, on the other hand, Clytemnestra and Castor, considered children of her husband Tindarus, king of Sparta, and consequently, mortal. According to the story, Zeus took the form of a swan and raped or seduced Leda on the same night that she had slept with her husband, King Tindarus, hence the two pairs of children had different fathers.1 In some versions, she laid two eggs from which the children were born. In other versions, Helen is a daughter of Nemesis, the goddess who personified the disaster that awaited people suffering from the pride of Hybris.
Translated with www.DeepL.com/Translator (free version)