View allAll Photos Tagged imitator
White-faced Capuchin
The Panamanian White-faced Capuchin (Cebus imitator), also known as the Panamanian White-headed Capuchin or Central American White-faced Capuchin, is a medium-sized New World monkey of the family Cebidae, subfamily Cebinae. Native to the forests of Central America, the white-faced capuchin is important to rainforest ecology for its role in dispersing seeds and pollen.
Among the best-known monkeys, the Panamanian White-faced Capuchin is recognized as the typical companion to the organ grinder. In recent years the species has become popular in American media, particularly in the Pirates of the Caribbean film series. It is a highly intelligent monkey and has been trained to assist paraplegic persons. It is a medium-sized monkey, weighing up to 8 lb 10 oz. It is mostly black, but with a pink face and white on much of the front part of the body, giving it its common name. It has a distinctive prehensile tail that is often carried coiled up and is used to help support the monkey when it is feeding beneath a branch.
For more info: en.wikipedia.org/wiki/Panamanian_white-faced_capuchin
Park Guell , another masterpiece of Antoni Gaudi . I loved Gaudi since I seen it first in early teens. Just like music , I like artists with style "one and only and all others are imitators " . I may do one more Gaudi slideshow . I have done one last year but that was before I was able to get HDR work on my PC. When I was in Barcelona I have taken a lot of images in “bracketing” as for me architecture of Gaudi is so well suited for HDR.
Here is my first slideshow www.youtube.com/watch?v=czuMLqhQSwM
but if you want to see it on Flickr
Part One www.flickr.com/photos/januszbc/2838742027/
Part Two www.flickr.com/photos/januszbc/2838696751/
Please , please - View Large On Black
See where this picture was taken. Park Guell , Barcelona [?]
PS that was taken on my birthday ...
Explore Jan 18, 2009 #236
The Panamanian white-faced capuchin (Cebus imitator), also known as the Panamanian white-headed capuchin or Central American white-faced capuchin, is a medium-sized New World monkey of the family Cebidae, subfamily Cebinae. Native to the forests of Central America, the white-faced capuchin is important to rainforest ecology for its role in dispersing seeds and pollen.
Among the best known monkeys, the Panamanian white-faced capuchin is recognized as the typical companion to the organ grinder. In recent years the species has become popular in North American media, particularly in the Pirates of the Caribbean film series.
It is a highly intelligent monkey and has been trained to assist paraplegic persons. It is a medium-sized monkey, weighing up to 3.9 kg (8.6 lb). It is mostly black, but with a pink face and white on much of the front part of the body, giving it its common name. It has a distinctive prehensile tail that is often carried coiled up and is used to help support the monkey when it is feeding beneath a branch.
In the wild, the Panamanian white-faced capuchin is versatile, living in many different types of forest, and eating many different types of food, including fruit, other plant material, invertebrates, and small vertebrates. It lives in troops that can exceed 20 animals and include both males and females. It is noted for its tool use, including rubbing plants over its body in an apparent use of herbal medicine, and also using tools as weapons and for getting to food. It is a long-lived monkey, with a maximum recorded age of over 54 years.
Panamanian white-faced capuchins are highly social, living in groups of 16 individuals on average, about three quarters of which are females. Groups consists of related females, immigrant males, and offspring. On average, females birth offspring every 27 months even though they mate throughout the year. Females tend to stay within their original group while males leave their natal group when they are 4 years old and change groups every 4 years after. Both male and female capuchins exhibit different dominance behaviors within the group.
This image was taken near Puntarenas in Costa Rica.
Cofeb i Edward Williams - Iolo Morganwg- 1747 - 1826. Llenor amryddawn oedd Iolo. Er na chyfansoddodd eiriadur, bu wrthi'n casglu geiriau Cymraeg, yn bathu geiriau, ac yn benthyg rhai gan ieithoedd eraiill (gan gynnwys y Llydaweg). Cynhwysodd William Owen Pughe rai o'i fathiadau yn ei eiriadur dylanwadol ei hun. Yn rhannol, ysbrydolwyd geiriaduraeth Iolo gan John Walters, Llandochau, a chan Thomas Richards, Llangrallo.
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
Ur maen e koun unan eus souezhusañ skrivagnerien ar c'hembraeg, un den hag a ouie drevezañ doare sevel barzhonegoù ar varzhed kozh. Gantañ ivez e voe krouet Goursez ar Varzhed, un ensavadur hengounel hervezañ. Dedennet e oa gant ar yezhoù hag amprestañ a reas gerioù diwar ar brezhoneg evit pinvidikaat ar c'hembraeg lennegel. Nebeut eus ar gerioù-se a oa deuet da vezañ implijet er yezh avat.
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
Scríbhneoir ildánach ab ea Iolo Morganwg. Bhí sé ina fhile, agus thaitníodh leis aithris a dhéanamh ar shaothar na bhfilí ag a raibh tábhacht stairiúil. Cé nár fhoilisgh sé foclóir, ba bhailitheoir focal é agus dhein sé iarracht focail Ghaeilge agus Bhriotainise a úsáid chun cur le saibhreas na Breatnaise liteartha. Bhí tionchar aige ar fhoclóirí eile, go háirithe ar William Owen Pughe. Bhí tionchar ag Thomas Richards agus ag John Walters ar a chuid foclóireachta.
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ The multi-talented Iolo Morganwg is one of the most interesting of Welsh writers. He was a poet but also an imitator of other poets of historical importance. Although Iolo didn't compile a dictionary, he was a collector and coiner of words and he influenced other lexicographers, especially William Owen Pughe. His own lexicography was partly inspired by the work of Thomas Richards, Coychurch, and John Walters, Llandow.
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
He-Man and the Masters of the Universe quickly gained success and, just as quickly, spawned imitators.
"I have you now, Neptul!"
flick!flick!
"HAHAHAA! Blackstar! With my cadre of Alien Demons we shall make short work of you! Even your... Where's your sword?"
flick!flick!flick!
Blackstar was one of the better lines, with its own backstory, world building and, very importantly, an animated series.
"Why do I need..."
flick!flick!
"...a sword, Neptul, when..."
flick!flick!
"I have my Laser Light power!"
Action features were also considered crucial to an action figure and so Blackstar et al had flints stuck in their chests with a strike wheel in their backs.
flick!flick!flick!
"HaHAA! I also have Laser Lights!"
flick!flick!flick!
"Your lights are diffused, Neptul..."
flick!flick!flick!
"...while mine is pure and clear!"
flick!flick!flick!
flick!flick!flick!
flick!flick!flick!
Thus, Blackstar did not bother to bring his Starsword. The two can flick at each other all they like and there'll be no harm done. It was a dubious 'action feature'. For a little boy, Blackstar had your dad's non-functioning Zippo lighter embedded in his torso.
═════════════════════════════════════
A year of the shows and performers of the Bijou Planks Theater.
Blackstar - Laser Lights
Blackstar
Neptul
Alien Demons
1984, Galoob
Central American forests wouldn't be the same without white-faced capuchins, which help to pollinate plants and disperse seeds.
19920608DE Unknown man playing known man. I think I have a blind spot. I cannot imagine why anyone would want to be Charlie C. With the exception of the Great Dictator the character is based solely on pathos. Berlin Germany #blackandwhite #90 #charliechaplin #imitator #film #knownknowns&unknownknowns #art #realpeople #reallives #truestories #portraits #b&w #photography #instagram #street www.hughes-photography.eu www.flickr.com/photos/michael_hughes www.hughes.berlin
A web, whose threads when woven, weave deceit,
whose threads when pulled, reveal nature's conceit.
To explore mimicry, is to contemplate the intimacies of the ecosystem, to trace the individual threads as they coil one around the other, complementing and competing for space. Darwin or Wallace might have called it an inspired design on the loom of evolution.
Observing this ant-mimicking spider (Myrmecium sp.) as it brazenly moved within the rank and file of its model ant was an extraordinary moment, marked as much by the spectacular natural history display, as by its sheer unexpectedness. Mimics which typify this group are traditionally timid, and though they often remain within close proximity to their model ant species, they also clearly avoid contact. As I watched, I became more and more entranced as the mimic passed between the ants and arrived at a treehopper. Though protected by a small regiment of ants, the mimic continued undeterred. It didn't behave aggressively, but rather gently pushed aside the treehopper. The tightness of the bud, and the positioning slightly shielded the spectacle from my gawping and I remained in a state of some confusion as to what exactly was happening. The imitator remained motionless for several seconds before emerging on the other side of a floral bud, assuaging my curiosity. The bounty of a jawful of treehopper nymphs its reward, and mine, a natural history display I won't soon forget.
Photo from Sani Lodge Principal, Ecuador.
-----------------
EE Legend
-Health injury/stress levels (scale 1-10-->☠️)
👣-Translocation
⏳-time in captivity
📷 -in situ
-studio
🎨 -Use of cloning or extensive post processing
↺ -Image rotation
🎼 -Playback
A White-faced Capuchin monkey in Costa Rica's Palo Verde National Park chews pensively on a piece of fruit. Until recently, this species was known scientifically as Cebus capucinus but that name is now reserved for the Colombian White-faced Capuchin, a former subspecies.
Child-minder is teaching children how to jump over the imitator of the flames of bonfires.
More info about this celebration is here: en.wikipedia.org/wiki/Kupala_Night
The various morphs of the Mimic Poison Frog are fascinating. This one, the spotted morph, has longer black markings along the body than the one in our earlier posting.
Leading a mostly arboreal life in the central rainforests of north-eastern Peru where we sighted this one. The Mimic Poison Frog is little more than a centimetre long, the average length is 1.3 centimetres.
There is a relatively large and stable wild population, however, they have been exploited for the pet trade where there are multiple captive-bred varieties.
White-faced Capuchin
The Panamanian White-faced Capuchin (Cebus imitator), also known as the Panamanian White-headed Capuchin or Central American White-faced Capuchin, is a medium-sized New World monkey of the family Cebidae, subfamily Cebinae. Native to the forests of Central America, the white-faced capuchin is important to rainforest ecology for its role in dispersing seeds and pollen.
Among the best-known monkeys, the Panamanian White-faced Capuchin is recognized as the typical companion to the organ grinder. In recent years the species has become popular in American media, particularly in the Pirates of the Caribbean film series. It is a highly intelligent monkey and has been trained to assist paraplegic persons. It is a medium-sized monkey, weighing up to 8 lb 10 oz. It is mostly black, but with a pink face and white on much of the front part of the body, giving it its common name. It has a distinctive prehensile tail that is often carried coiled up and is used to help support the monkey when it is feeding beneath a branch.
For more info: en.wikipedia.org/wiki/Panamanian_white-faced_capuchin
White-faced Capuchin
The Panamanian White-faced Capuchin (Cebus imitator), also known as the Panamanian White-headed Capuchin or Central American White-faced Capuchin, is a medium-sized New World monkey of the family Cebidae, subfamily Cebinae. Native to the forests of Central America, the white-faced capuchin is important to rainforest ecology for its role in dispersing seeds and pollen.
Among the best-known monkeys, the Panamanian White-faced Capuchin is recognized as the typical companion to the organ grinder. In recent years the species has become popular in American media, particularly in the Pirates of the Caribbean film series. It is a highly intelligent monkey and has been trained to assist paraplegic persons. It is a medium-sized monkey, weighing up to 8 lb 10 oz. It is mostly black, but with a pink face and white on much of the front part of the body, giving it its common name. It has a distinctive prehensile tail that is often carried coiled up and is used to help support the monkey when it is feeding beneath a branch.
For more info: en.wikipedia.org/wiki/Panamanian_white-faced_capuchin
They copy other birds songs , and some people say that they even try to imitate a Harley. You never really know which bird is singing until you see them.
This photo of the Northern Mockingbird was taken in Palm Desert , but I have photographed them in Manitoba.
White-faced Capuchin
The Panamanian White-faced Capuchin (Cebus imitator), also known as the Panamanian White-headed Capuchin or Central American White-faced Capuchin, is a medium-sized New World monkey of the family Cebidae, subfamily Cebinae. Native to the forests of Central America, the white-faced capuchin is important to rainforest ecology for its role in dispersing seeds and pollen.
Among the best-known monkeys, the Panamanian White-faced Capuchin is recognized as the typical companion to the organ grinder. In recent years the species has become popular in American media, particularly in the Pirates of the Caribbean film series. It is a highly intelligent monkey and has been trained to assist paraplegic persons. It is a medium-sized monkey, weighing up to 8 lb 10 oz. It is mostly black, but with a pink face and white on much of the front part of the body, giving it its common name. It has a distinctive prehensile tail that is often carried coiled up and is used to help support the monkey when it is feeding beneath a branch.
For more info: en.wikipedia.org/wiki/Panamanian_white-faced_capuchin
White-faced Capuchin
The Panamanian White-faced Capuchin (Cebus imitator), also known as the Panamanian White-headed Capuchin or Central American White-faced Capuchin, is a medium-sized New World monkey of the family Cebidae, subfamily Cebinae. Native to the forests of Central America, the white-faced capuchin is important to rainforest ecology for its role in dispersing seeds and pollen.
Among the best-known monkeys, the Panamanian White-faced Capuchin is recognized as the typical companion to the organ grinder. In recent years the species has become popular in American media, particularly in the Pirates of the Caribbean film series. It is a highly intelligent monkey and has been trained to assist paraplegic persons. It is a medium-sized monkey, weighing up to 8 lb 10 oz. It is mostly black, but with a pink face and white on much of the front part of the body, giving it its common name. It has a distinctive prehensile tail that is often carried coiled up and is used to help support the monkey when it is feeding beneath a branch.
For more info: en.wikipedia.org/wiki/Panamanian_white-faced_capuchin
We’ve arrived (finally) at the building that made Portman famous and infamous among architects, hoteliers, and the business-class population at large. A couple of lawyers from Chicago, who in the late fifties had acquired the small Hyatt hotel enterprise, hired Edwards & Portman to build a flagship property in downtown Atlanta, a few minutes’ walk from a Portman-developed trade-show venue called the Merchandise Mart. What he gave them, an expansion of his earlier (and now lost) Antoine Graves elderly-housing project, was no less than a reinvention of the hotel typology. It could be compared to what Roche and Dinkeloo were developing for the office building at the Ford Foundation around the same date, or what Wright had done with the Guggenheim a few years earlier. Essentially, Portman realized that with a large enough parcel, you could scrap the normative double-loaded corridor and create a perimeter block, maximizing the number of hotel rooms while creating a memorable spatial experience on the interior. The resulting cubic atrium is lit by a band of clerestory windows and one circular skylight, and enlivened by greenery, shiny abstract sculpture (courtesy Richard Lippold) reaching up, and a lightweight canopy for the bar hanging down.
It’s a natural step forward from the Miami hotels of Morris Lapidus, which were slabs, but tried to make a lively, sporty promenade architecturale out of the journey from lobby to elevator. Why not keep that rolling from elevator to guest room? Or from the floor of the lobby, shooting straight up in an outboarded elevator cab, to a revolving rooftop restaurant? The results, in an off-white International Style vocabulary of cubes and cubic projections, may seem downright austere compared to Portman’s later projects, but in 1967 it was a revelation. Even the serious-minded Progressive Architecture was forced to admit that the elevators, at least, were “a lot of fun.” You just had to be willing to accept a huge increase in “unused” and circulation space, and the air-conditioning of that huge volume, which was a substantial expense even before the first energy crisis. But the “wow” factor topped all of that, and it’s easy to imagine that anybody in the hotel business who saw this in 1967 immediately raced to their rooms to long-distance dial headquarters and insist that somebody get to work on getting them one of these.
Given my earlier remarks on Portman’s controversial urbanism and how it inexorably transformed this stretch of downtown Atlanta, we should note that the atrium space was conceived, somewhat implausibly, as an interiorized European plaza. That was a typology of much interest to younger, less doctrinaire Modernists in the 1950s and 60s. In Portman’s case, the deviations from the inspiration are substantial. As in the Ford Foundation, the ‘plaza’ is rendered regular and cubic, though that building features more sectional variety at ‘ground’ level to disguise this. More importantly, by cutting the plaza off from the street, and rendering it a piece of private property, Portman makes it into something other than a plaza. In the 2010s, the language of the “privately-owned public space” is now much better-known, and a POPS is what this is: the plaza, minus anything and anyone not approved by the owner. No neon signs, no trash, no unexpected or ill-timed activities, nobody who doesn’t belong.
We can compare it, as a POPS, to others of its ilk, and evaluate it as a piece of architectural design, weighing how effectively the furnishings and sculptural insertions create the desired sense of controlled informality and accessible elegance. That’s what Portman was offering his clients, and in general I would say he succeeded quite well; you compare a Portman atrium to an imitator and Portman wins almost every time. But if you’re weighing them as plazas – that is, multifunctional, nonprogrammed pieces of the public realm – they are all failures, in the same way that all basketballs are failures as wedding cakes. The problem is that the concept spreads almost virally. I’ve come to see this atrium as, in part, a migration back to the downtown of Victor Gruen’s attempts to make mixed-use, European-downtown-like spaces out of the suburban shopping center. From the Hyatt, the effort begins to transform the rest of downtown Atlanta, and other downtowns. By the late 1970s, schemes to “save” downtowns (sometimes but not always in such need of saving) look remarkably like efforts to turn streets into malls, or into Hyatts.
The lawyer clients, by the way, had the memorable last name of Pritzker and would go on to sponsor architecture in several other venues. Their titular prize, somewhat surprisingly, was never awarded to Portman despite his outsized, worldwide influence on an entire typology. I imagine that, to borrow a phrase from Liberace, he cried all the way to the bank.
My Website : Twitter : Facebook : Instagram : Photocrowd
A modified street sign in the Tuscan town of Poppi. Pretty sure this is the work of French Street Artist Clet Abraham, either that or an imitator.
I've photographed a few of his signs now in Florence, Lisbon and London so it was interesting to come across this one is a small Tuscan hilltown a bit off the beaten track.
Looking at his instagram it does seem he gets about it a bit though......... www.instagram.com/cletabraham/
He's even now got a phone app which will help identify them by taking a photo, points are then awarded for how rare it is. Wonder if it works from a computer screen........ www.clet.com/sign-clet-app/
Click here to see more of my photos from Tuscany : www.flickr.com/photos/darrellg/albums/72157714689304067
From Wikipedia : "Poppi is a comune (municipality) in the Province of Arezzo in the Italian region Tuscany, located about 40 km (25 mi) east of Florence and about 30 km (19 mi) northwest of Arezzo.
Poppi borders the following municipalities: Bibbiena, Castel Focognano, Castel San Niccolò, Chiusi della Verna, Ortignano Raggiolo, Pratovecchio Stia."
© D.Godliman
"We're on Twitter with one side of our personality,
and Facebook with another,
and LinkedIn with another side of our personality,
and we're toggling between them.
That's just a version of what an impostor does:
shifting from one side of their personality to another
with lightning speed."
~ Walter Kirn ~
Belgium.
Antwerp National Zoo.
Antwerp Zoo (Dutch: ZOO Antwerpen) is a zoo in the centre of Antwerp, Belgium, located next to the Antwerpen-Centraal railway station. It is the oldest animal park in the country, and one of the oldest in the world, established on 21 July 1843.
Hendrick Avercamp (Amsterdam, January 27, 1585 - Kampen (Overijssel), May 15, 1634) - Winter landscape with skaters (1634) - oil on panel 48 × 74.5 cm - Pinacoteca/Biblioteca Ambrosiana - Milan
Hendrick Avercamp è noto per essere l’ideatore delle scene di paesaggio invernale in Olanda; suo seguace per questa pittura di genere e per lo stile fu il nipote Barent, suo abile imitatore, al punto che per certe opere, come in questo caso, è difficile stabilire a quale dei due sia da attribuire un’opera. La scena ci propone una grande varietà di personaggi, alcuni dei quali resi con grande naturalezza, come ad esempio il pattinatore con le mani dietro la schiena o l’uomo che gioca con una trottola.
Hendrick Avercamp is known to be the creator of the winter landscape scenes in Holland; his follower for this genre painting and style was his nephew Barent, his skilled imitator, to the point that for certain works, as in this case, it is difficult to establish to which of the two is to be attributed a work. The scene offers us a wide variety of characters, some of them rendered with great naturalness, such as the skater with his hands behind his back or the man playing with a spinning top.
NS 101 departs Debutts Yard bound for Sheffield, AL. Leading is Union Pacific 1988, the companies Missouri-Kansas-Texas Railroad (KATY as it was known) heritage unit, making a rare appearance in Tennessee. Since Dossett had their couch, many competitors/imitators have emerged to try & gain notoriety. This one does at least offer the most rail side action. 12-17-21
This is a female common mormon (Papilio polytes) - but if you compare it to the "regular" version (here: www.flickr.com/photos/tinyturtle/54105675296/), you'll see that it looks quite different. This is because this is the theseus form which mimics the unpalatable species known as the common rose (Pachliopta aristolochiae). Only the females have these mimic forms and all the males look like the one in the link above.
Naturalists who observed the males courting and mating with different-looking females is the origin of the "mormon" name as a reference to polygamy.
Nativity window in the Lady Chapel by Tristan Ruhlmann, exhibiting his unusual and imaginative approach to the medium of dalle de verre.
Hidden away behind the suburban facades of Hall Green lies a little known gem, St Peter's is one of the most outstanding modern churches in the Midlands and can be found by venturing down a quiet lane that leads between the houses off one of Hall Green's busier roads. Its presence is announced over the rooftops by the slender concrete tower with a striking lattice window and a circular cap at its summit.
The church was opened in 1964 to replace a more modest predecessor and makes a striking architectural statement. Approaching it from the lane reveals an intriguingly formed building with an octagonal nave at its heart, similarly finished in precast concrete and capped by a pleasingly green copper roof. Below is a brick ambulatory that surrounds the nave and from which a substantial chapel and the main sanctuary also erupt, both marked by large expanses of dalle de verre glazing, as are the twelve windows in the upper part of the nave itself. These were what I'd really come to see, but the unusual architecture itself is a reward for meandering this way.
Entry is via the doorway at the base of the tall and slender west tower, and initially there is a sense of subdued light until one becomes accustomed to the level and can then fully appreciate the dazzling richness of the glass. All around the octagonal nave is a series of strikingly non-figurative windows inspired by Middle Eastern prayer-mats, each design different and evoking other times and places in their symbolism of the act of prayer itself, but doing so in a modern idiom. At the east end our eyes are drawn to the largest window in the church situated behind the altar, which is again a work of dalle de verre glass mosaic, but is a figurative composition depicting Christ's call to St Peter. The austerity of the architecture sets the windows off very well.
The windows are rare works (outside his native Alsace) by the artist Tristan Ruhlmann and their style is unlike any dalle de verre glass I've seen elsewhere. Ruhlmann used his own technical wizardry to expand the graphic quality of this otherwise limited medium for pictorial subject matter (dalle de verre windows normally consist of roughly hewn chunks of glass set in concrete, which limits their narrative capacity). In order to work in a more illustrative style, Ruhlmann incorporates pieces of flat glass as well, only using then set on their edges to create lines of coloured light with which he 'draws' *(some are heat distorted to create curves). This is likely a unique use of the medium in England, and deserves to be better known as a highly complex and imaginitive response to the material which remain without imitators.
On the south side is the lady chapel which culminates in another large Ruhlmann window, this time depicting the Nativity across three lights. The chapel is otherwise flooded with light from its remaining clear glazed windows, and is a pleasant place to sit and contemplate Ruhlmann's work.
The church isn't normally open outside of services but is well worth seeing if one can make arrangements to visit. I am hugely hugely indebted to the church's vicar, Reverend Martin Stephenson who kindly agreed to open the church for me after I'd phoned the parish office and spent some time showing me his archive of photos of Ruhlmann's work in France (all of which was previously unknown to me and quite a revelation!). He clearly understands what a special church he has and what a unique individual Tristan Ruhlmann was and I am very grateful for the time he gave me to explore the church and share his passion for its glass.
It was a visit I'll never forget and a church I could easily lose myself in for a lot longer (the acoustics are 'interesting' in there too, quite an echo to every word and movement, I wonder what it is like to sing in there?). Frustratingly my camera was having 'issues' that day, but at least I have a reasonable set of images to show for my visit.
when one has admired an artist for a couple years, and their work has sparked imagination and pierced the heart with love and wonder... well in this case, i wondered what it would be like to meet the person who was behind the art which moved me this way.
so... finally i got the courage and looked her up & wrote her.
what i didn't expect was meeting a lovely new friend who has been as beautiful as the art she creates. nothing fake here folks. giving, kind, open. wow.
it's so interesting how when we look close... we can see behind the "effects" and "programs" and see the creator's heart in their art.
Are the "BEST" always perfect?" no... BUT... they are ALWAYS inspired and full of life. for me, that is as perfect as it gets. you can't learn inspiration, no matter how many skill sets you possess. heart is not learned either. often faked, especially in sl, the world of instant gratification and fake-deep relationships vanish when the reality of humanity erases the lust of fantasy.
thank you Kynne for your work where you put all of your heart, talent and authenticity. it shows. in a world filled mostly with imitators, you stand out. i'm so honored i got to shoot you and watch you work.
you don't fake it. thank you for being real.
love, callie
White-faced Capuchin
The Panamanian White-faced Capuchin (Cebus imitator), also known as the Panamanian White-headed Capuchin or Central American White-faced Capuchin, is a medium-sized New World monkey of the family Cebidae, subfamily Cebinae. Native to the forests of Central America, the white-faced capuchin is important to rainforest ecology for its role in dispersing seeds and pollen.
Among the best-known monkeys, the Panamanian White-faced Capuchin is recognized as the typical companion to the organ grinder. In recent years the species has become popular in American media, particularly in the Pirates of the Caribbean film series. It is a highly intelligent monkey and has been trained to assist paraplegic persons. It is a medium-sized monkey, weighing up to 8 lb 10 oz. It is mostly black, but with a pink face and white on much of the front part of the body, giving it its common name. It has a distinctive prehensile tail that is often carried coiled up and is used to help support the monkey when it is feeding beneath a branch.
For more info: en.wikipedia.org/wiki/Panamanian_white-faced_capuchin
Bosque del Cabo, Osa Peninsula | Costa Rica
Full taxonomy :
Order : PRIMATES
Suborder : HAPLORHINI (Dry-nosed primates)
Infraorder : SIMIIFORMES (Simians - Monkeys)
Parvorder : PLATYRRHINI (New World Monkeys)
Family : Cebidae (Capuchins and Squirrel Monkeys)
Subfamily : Cebinae
Genus : Cebus and Sapajus (Capuchin Monkeys) (9 species)
Species : White-faced Capuchin [Cebus capucinus]
(Aka. White-headed Capuchin)
Alternative taxonomy may split the species into the :
Panamanian White-faced Capuchin [Cebus imitator]
(Aka. Central American White-faced Capuchin)
Range : Honduras, Nicaragua, Costa Rica and Panama
and the Columbian White-faced Capuchin [Cebus capucinus]
Range : eastern Panama, western Columbia and northewestern Ecuador.
NB. taxonomy information added for personal reference.
Aambyvalley Rd.,Lonavala,Mah.,India
synonym:Ambivia popa.
/Popa spurca ssp. spurca??
www.tandfonline.com/doi/abs/10.1080/03946975.1995.10539285
twig-imitator
Another morph of the Mimic Poison Frog with a clearly defined banding to the body and yellow and black legs, a real contrast to the green/blue legs on the the spotted morphs, in our earlier postings.
Like the others this was a sighting in the vicinity of the Rio Huallaga, in north-eastern Peru where they lead a mostly arboreal life in the central rainforests.
The Mimic Poison Frog is little more than a centimetre long, the average length is 1.3 centimetres. There is a relatively large and stable wild population, however, they have been exploited for the pet trade where there are multiple captive-bred varieties.
Raphael (school of) (Urbino, March 28 or April 6, 1483 - Rome, April 6, 1520) - Saint Elizabeth of Hungary - tempera on wood 18.3 x 18.1 cm - Museo Poldi Pezzoli, Milan
La tavoletta, nonostante una lunga fenditura verticale sul lato sinistro, è in buone condizioni. Raffigura Elisabetta d'Ungheria, santa francescana di nobili origini, riconoscibile grazie all'abito monacale e ai fiori che porta raccolti in grembo, simbolo di un suo miracolo. La santa è mostrata di tre quarti, con un'espressione di devoto raccoglimento. Piccole, ma ben calibrate asimmetrie - nella posizione del copricapo, delle mani e nelle pieghe del manto - tolgono staticità alla presentazione frontale. La testa e lo sguardo sono rivolti a sinistra, atteggiamento che sembra indicare la presenza di un'altra scena che Elisabetta osserva silenziosamente. L'opera era infatti parte di una sequenza alla quale appartengono altri tre piccoli dipinti di analogo formato e impostazione, oggi a Berlino. L'insieme, collegato per la prima volta da Federico Zeri, proprietario dell'opera poi donata al Poldi Pezzoli, sembra provenire anticamente da Perugia ed era forse parte della predella di una pala raffaellesca, di committenza francescana. Lo studioso assegnava dubitativamente la tavoletta al giovane maestro, anche se si tende oggi a far prevalere il nome del pittore perugino Domenico Alfani, collaboratore di Raffaello e imitatore del suo stile, che avrebbe in questo caso raggiunto uno dei suoi risultati migliori. Se, infatti, la fattura delle mani è poco aggraziata e il trattamento del copricapo appare schematico, l'espressione del volto e l'elaborato disegno del panneggio risultano invece di notevole qualità. Il dipinto, il cui retro mostra due stemmi nobiliari non ancora identificati, dovrebbe risalire al primo decennio del Cinquecento
The panel, despite a long vertical crack on the left side, is in good condition. It depicts Elizabeth of Hungary, a Franciscan saint of noble origins, recognizable by her monastic habit and the flowers she carries on her lap, the symbol of one of her miracles. The saint is shown in three-quarter profile, with an expression of devout recollection. Small, but well-calibrated asymmetries - in the position of the headdress, of the hands and in the folds of the mantle - take away the static nature of the frontal presentation. The head and gaze are turned to the left, an attitude that seems to indicate the presence of another scene that Elisabeth is silently observing. The work was in fact part of a sequence to which three other small paintings of similar format and setting belong, today in Berlin. The whole, linked for the first time by Federico Zeri, owner of the work then donated to the Poldi Pezzoli, seems to come from Perugia in ancient times and was perhaps part of the predella of a Raphaelesque altarpiece, commissioned by the Franciscans. The studious dubitatively assigned the tablet to the young master, even if it tends today to make to prevail the name of the painter perugino Domenico Alfani, collaborator of Raffaello and imitator of its style, that would have reached in this case one of its best results. If, in fact, the invoice of the hands is little graceful and the treatment of the headgear appears schematic, the expression of the face and the elaborate sketch of the drapery result instead of notable quality. The painting, whose back shows two noble coats of arms not yet identified, should date back to the first decade of the sixteenth century.
Mimic Poison Frog tadpole (Ranitomeya imitator) - San Martin Department, Peru
Admittedly not the greatest photo but one that I had to get creative in order to get. I'm here in Peru researching Ranitomeya imitator, the first phase of my project involves mapping out the territories of various pairs of R. imitator and I was lucky to come across this and other tadpoles during my observations of the adults. To begin, some background info on the life history of Ranitomeya imitator: these frogs form monogamous relationships and have an advanced parental care system. After eggs hatch the male frog will carry the tadpoles to various phytotelmata, pools of water that form in plants. These pools (phytotelmata) may include things like waterlogged tree holes but this species atleast seems particularly fond of leaf axils especially those of Dieffenbachia plants. Ranitomeya imitator uses smaller waterpools to deposit their young than other species of dendrobatid which gives their offspring a competitor/predator free environment to grow in. However the drawback to growing up in a thimbleful of water is that there are typically not enough nutrients present for the tadpole to feed itself, and that is when the parental care plays a further role. The males routinely check up on sites where they have deposited tadpoles and when the tadpole signals hunger the male will fetch the female who will lay an unfertilized trophic egg into the tadpole's pool. The tadpole gains nourishment from the egg and continues its development, this process must be repeated many times over the several month course of development. If you look carefully you can see one of the trophic eggs behind this young tadpole.
As I mentioned before this was a tricky shot to get, the Dieffenbachia that this tadpole was located in was within a dense thicket that I climbed into. It was also one of many axils however the only one on this particular plant containing a tadpole, the others were simply in the way when trying to get this shot. I also had to play around with different lighting techniques in order to get a shot I was content with. Tough but enjoyable, while I'm no wholly satisfied with the result I'm overall pleased with the image and look forward to continuing to refine my methods and get more shots of this little one and others development.
(The 2nd of 6 images from the series. The whole thing is on my insta, but once again without these texts).
Today I worked in my garden, almost naked (in Indian loincloth and the visor from the sun), and my friends wondered how I am not freeze. But I get used to. And I thought about this wonderful human ability and once again about this nightmare war. I thought about this rare chance to stop it because we aren’t get used to it even in almost 3 months. All the world is still horrified. That’s very important. That’s why I continue to write these letters from the other side of the war. That’s crucial. Because there aren’t our houses and lives that are destroying this very moment. The real bombs from the real bombers are falling somewhere else, not where I write and you read this, my friend. But we’re trying to help, to do something, to stop the war to the extent of our horror and compassion.
But we in Russia are get used to the same people in power, who unleashed this insane, stupid and unhuman war. With the same thinking and methods. It’s not that big difference. Tortures? Yes, they are torture people in Russia. Rape? Yes, just unofficially. Murders? But of course! Mass murders? Just google about Chechnya. But we’re get used to it. It’s about 2 decades with our mr. Zed, and he’s just weak imitator of his predecessors.
But now I feel some wild hope. We couldn’t just tell him go away, see. Couldn’t even make him lose the next election. He fakes them. Maybe our mister has more chances to get rid of us who couldn't stand him anymore than we could say good riddance to him. He really knows how to accumulate and save the power, as nuts as he is. But now all of you and us there in Russia, who helps and saves Ukraine as the country (our mr Zed wants to destroy it completely, to make it part of Russia), are also helps and saves Russia. There’s the long way to freedom and maybe I’d rather live under our occupation (again: I think that Russia is occupied by the same ones who now trying to occupy and destroy Ukraine), than have this war. But it’s happening. And maybe when my Ukrainian brothers and sisters will win with the help of all the united world, then we will regain our freedom and our country as well.
To be continued…
These poison frogs live in a small area in Peru, but in Blijdorp they look different than in their own habitat. This is a form of camouflage.
P1160770 (2)
I chose the warlock Abramelin the Mage. He is not generally known today but continues to have thousands of imitators and followers since his existence in the 1400s. Powerful and expert on the Kabbalah. He learned his magical knowledge from Angels, who told him how to conjure and tame demons into personal servants and workers. Sidebar, they’re not very good cleaners.
Scholars note that Abramelin’s warlock abilities were based on symbols that could be used only by performing specific rituals at certain times. The Book of the Sacred Magic of Abramelin (still available at Amazon!) was published in 1900. It immediately became a favorite among those involved in the occult.
Stylng:
Boots, coat, vest, pants, belt, and coat by Lenka Canvas for White Canvas, all but the boots I textured in authentic 15th Century fabrics.
Kabbalah tattoo by DiegoEstaban Burt.
Kabbalah Necklace by Sey
Tetragrammaton Amulet by DragonsLord.
Viola lace collar by Lassitude & Ennui
Elizabeth Brooch by AvaWay
Feathered Shoulder Wrap by Meli Imako
...and last but not least, Makeup by Zibska