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My blog:
darkness swallows light
the hunger inside us all
would devour the earth
This sounds very dark I know...
But I showed a friend this image
and they led me to the Norse myths
around the wolves Fenir, Sköll, and Hati Hróðvitnisson.
Sköll (meaning treachery) chases the sun during the day.
Hati Hróðvitnisson (meaning hatred of enemies) chases the moon.
At the end of time Fenir devours the cosmos.
The cosmos begins again...
A myth. And a metaphor :-)
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Apple Blossom Georgia Set {top,tank,pants} @ Warehouse Sale
Legacy / Perky, Maitreya / Petite
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But as autumn approaches, certain influences both inside and outside the plant cause the chlorophylls to be replaced at a slower rate than they are being used up. During this period, with the total supply of chlorophylls gradually dwindling, the "masking" effect slowly fades away. Then other pigments that have been present (along with the chlorophylls) in the cells all during the leaf's life begin to show through. These are carotenoids they give us colorations of yellow, brown, orange, and the many hues in between.
The reds, the purples, and their blended combinations that decorate autumn foliage come from another group of pigments in the cells called anthocyanins. These pigments are not present in the leaf throughout the growing season as are the carotenoids. They develop in late summer in the sap of the cells of the leaf, and this development is the result of complex interactions of many influences - both inside-and outside the plant. Their formation depends on the breakdown of sugars in the presence of bright light as the level of a certain chemical (phosphate) in the leaf is reduced.
But in the fall, phosphate, along with the other chemicals and nutrients, moves out of the leaf into the stem of the plant. When this happens, the sugar-breakdown process changes, leading to the production of anthocyanin pigments. The brighter the light during this period, the greater the production of anthocyanins and the more brilliant the resulting color display that we see. When the days of autumn are bright and cool, and the nights are chilly but not freezing, the brightest colorations usually develop.
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Stolzenfels Castle (German: Schloss Stolzenfels) is a castle in the Middle Rhine Valley in Koblenz. It stands on the left side of the Rhine opposite the mouth of the Lahn above the Stolzenfels district named after the castle. The complex was finally developed in the 19th century by the Prussian Crown Prince Frederik Willem and dates back to a Keur-Trier toll castle from the 13th century, which was destroyed in 1689. The neo-Gothic castle is the most beautiful building of the Rhine Romanticism, an art and culture movement within Romanticism in which the river landscape of the Rhine and the legends and myths surrounding the history of the GermanRhine Valley emerged, were central and exerted a major influence on German Romanticism. The complex also includes the so-called Klausenburg in the valley of the Gründgesbach, which housed the stables, staff houses and guest houses, and a 9-hectare landscape park. About 50,000 tourists visit the castle every year.
Created for Treat This 272 ~ Kreative People
Thank you Brillianthues for the starter image.
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Background image is my own.
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Kestrel - Falco tinnunculus (Juv)
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The common kestrel (Falco tinnunculus) is a bird of prey species belonging to the kestrel group of the falcon family Falconidae. It is also known as the European kestrel, Eurasian kestrel, or Old World kestrel. In Britain, where no other kestrel species occurs, it is generally just called "the kestrel".
This species occurs over a large range. It is widespread in Europe, Asia, and Africa, as well as occasionally reaching the east coast of North America.
Kestrels can hover in still air, even indoors in barns. Because they face towards any slight wind when hovering, the common kestrel is called a "windhover" in some areas.
Unusual for falcons, plumage often differs between male and female, although as is usual with monogamous raptors the female is slightly larger than the male. This allows a pair to fill different feeding niches over their home range. Kestrels are bold and have adapted well to human encroachment, nesting in buildings and hunting by major roads. Kestrels do not build their own nests, but use nests built by other species.
Their plumage is mainly light chestnut brown with blackish spots on the upperside and buff with narrow blackish streaks on the underside; the remiges are also blackish. Unlike most raptors, they display sexual colour dimorphism with the male having fewer black spots and streaks, as well as a blue-grey cap and tail. The tail is brown with black bars in females, and has a black tip with a narrow white rim in both sexes. All common kestrels have a prominent black malar stripe like their closest relatives.
The cere, feet, and a narrow ring around the eye are bright yellow; the toenails, bill and iris are dark. Juveniles look like adult females, but the underside streaks are wider; the yellow of their bare parts is paler. Hatchlings are covered in white down feathers, changing to a buff-grey second down coat before they grow their first true plumage.
Data from Britain shows nesting pairs bringing up about 2–3 chicks on average, though this includes a considerable rate of total brood failures; actually, few pairs that do manage to fledge offspring raise less than 3 or 4. Compared to their siblings, first-hatched chicks have greater survival and recruitment probability, thought to be due to the first-hatched chicks obtaining a higher body condition when in the nest. Population cycles of prey, particularly voles, have a considerable influence on breeding success. Most common kestrels die before they reach 2 years of age; mortality up until the first birthday may be as high as 70%. At least females generally breed at one year of age; possibly, some males take a year longer to maturity as they do in related species. The biological lifespan to death from senescence can be 16 years or more, however; one was recorded to have lived almost 24 years.
Population:
UK breeding:
46,000 pairs
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Tegernsee fue fundada en el año 746 por monjes benedictinos, los cuales tuvieron una influencia sustancial en la región de Baviera y en su desarrollo. Aún hoy existe la famosa Abadía de Tegernsee. En 1803, en el marco de las Guerras Napoleónicas pasó a ser la residencia de verano de la familia real bávara, los Wittelsbach, lo que contribuyó a atraer cortesanos y visitantes al lago.
Tegernsee was founded in 746 by Benedictine monks, who had a substantial influence on the Bavarian region and its development. The famous Tegernsee Abbey still exists today. In 1803, during the Napoleonic Wars, it became the summer residence of the Bavarian royal family, the Wittelsbachs, which helped attract courtiers and visitors to the lake.
Norfolk is on a parallel with the Netherlands and in the past a great influence was had on our buildings and waterways as well as our windmills. The landscape has similarities as well, very flat.
Royksopp - Here She Comes Again
Here she comes again
Troubles on her brow
Here she comes again
With worries she can't hide
Who can stop the rain
Pouring down inside?
Who can keep her sane
Give her peace of mind
Here she comes again
Covered up in black
Such a pretty face
Such sorrow in her eyes
Do you wanna know
What's killing her inside?
Do you dare to walk
The alleys of her mind
Here she comes again
Troubles on her brow
Here she comes again
With worries she can't hide
Will you let it show
Will you cross the line?
Will you take her home
And tell her she'll be fine
Kreative People Treat This 232: Friday 18 October ~ Thursday 24 October 2019 thanks so much to abstractartangel77 for this beautiful fractal flic.kr/p/2hvip3b
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VERSUS SUMMER EDITION !!!!
VERSUS SUMMER EDITION IS HERE! You will find the latest summer trends featured by the best stylists, the greatest artists of FRACTAL ART, magical resorts to hide yourself at, an interview to the TMD owner and much more!!! We hope you enjoy our third Versus Magazine!!
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VERSUS SUMMER EDITION
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"Color is a power which directly influences the soul."
"Color is the keyboard, the eyes are the harmonies, the soul is the piano with many strings. The artist is the hand that plays, touching one key or another, to cause vibrations in the soul."
Wassily Kandinsky
💖In advance I want to thank each one of you for your always kindness, support, beautiful awards, favs, and messages. Please know that I see and read them all, even if I do not reply back to them, I appreciate them all so much as well as each on of you for taking the time.
💖 You all mean a lot to me, Flickr would not be the same without you, I can not thank each one of you enough for your constant encouraging and uplifting support that you all give me. I am immensely grateful.
I hope you are all doing well 💐🌹🌻🌷💐
🌻Happy Sunday and I wish you all a lovely upcoming week ahead🌻
💖Best wishes and regards to each one of you always. Take good care of your self as well as one another, be kind as well as thoughtful towards yourself as well as others.
💖 Huge, huge hugs, light, peace and love to you all 💖.
Best regards
Lori 💖
Antwerp, Estación Central.
(...) Towards the end of the nineteenth century, Austerlitz began, in reply to my questions about the history of the building of Antwerp station, when Belgium, a little patch of yellowish gray barely visible on the map of the world, spread its sphere of influence to the African continent with its colonial enterprises, when deals of huge proportions were done on the capital markets and raw-materials exchanges of Brussels, and the citizens of Belgium, full of boundless optimism, believed that their country, which had been subject so long to foreign rule and was divided and disunited in itself, was about to become a great new economic power—at that time, now so long ago although it determines our lives to this day, it was the personal wish of King Leopold, under whose auspices such apparently inexorable progress was being made, that the money suddenly and abundantly available should be used to erect public buildings which would bring international renown to his aspiring state. One of the projects thus initiated by the highest authority in the land was the central station of the Flemish metropolis, where we were sitting now, said Austerlitz; designed by Louis Delacenserie, it was inaugurated in the summer of 1905, after ten years of planning and building, in the presence of the King himself.
Delacenserie's eclecticism, uniting past and future in the Centraal Station with its marble stairway in the foyer and the steel and glass roof spanning the platforms, was in fact a logical stylistic approach to the new epoch, said Austerlitz, and it was also appropriate, he continued, that in Antwerp Station the elevated level from which the gods looked down on visitors to the Roman Pantheon should display, in hierarchical order, the deities of the nineteenth century—mining, industry, transport, trade, and capital. For halfway up the walls of the entrance hall, as I must have noticed, there were stone escutcheons bearing symbolic sheaves of corn, crossed hammers, winged wheels, and so on, with the heraldic motif of the beehive standing not, as one might at first think, for nature made serviceable to mankind, or even industrious labor as a social good, but symbolizing the principle of capital accumulation.
And Time, said Austerlitz, represented by the hands and dial of the clock, reigns supreme among these emblems. The clock is placed above the only baroque element in the entire ensemble, the cruciform stairway which leads from the foyer to the platforms, just where the image of the emperor stood in the Pantheon in a line directly prolonged from the portal; as governor of a new omnipotence it was set even above the royal coat of arms and the motto Endracht maakt macht. The movements of all travelers could be surveyed from the central position occupied by the clock in Antwerp Station, and conversely all travelers had to look up at the clock and were obliged to adjust their (...)
W. G. Sebald, Austerlitz, 2001.