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Free Interpretation -- Pentax K 3 + Pentax DA*smc 60-250mm f/4 ED IF SDM -- Property Of The Author
Giuseppe Sartori Iscritto Alla SOCIETA' ITALIANA DEGLI AUTORI ED EDITORI SIAE n° 33070
At the Oregon Trail Interpretive Center in Baker City with Nimiipuu Experience, interactive storytelling, song, drum, and dance from the Nez Perce
A fun day at the Oregon Trail Interpretive Center, in Baker City Oregon exploring the Oregon Trail, pioneer and gold rush history and enjoying a special interpretive demonstration including music and storytelling of the Nez Perce.
The Center is currently operating with Covid 19 precautions in place. The interior exhibits remain closed and redesigned interpretive experiences have been moved outside and take place every Thursday through Sunday with a combination of visiting interpreter performances and Ranger led activities. The Center’s outdoor trails and exhibits remain open to the public including the iconic wagon encampment.
The National Historic Oregon Trail Interpretive Center sits high atop Flagstaff Hill outside Baker City Oregon, overlooking the ruts of the Oregon Trail still visible today in the Baker valley below. Located along the Hells Canyon Scenic Byway, an outdoor wagon encampment is the first sights visitors see when they arrive at the National Historic Oregon Trail Interpretive Center. Other outdoor exhibits include a gold panning exhibit, a recreated Lode Mine, a historic stamp mill, and an operating blacksmith shop.
Costumed narrators from the BLM staff and Trail Tenders volunteer group provide interpretation and narration for the exhibits. For more information about the Oregon Trail Interpretive Center including a list of upcoming events and activities visit www.blm.gov/or/oregontrail
For more information about other Baker County heritage sites, attractions and museums, visit the Baker County Tourism website at www.travelbakercounty.com or become a fan at www.facebook.com/travelbakercounty
At the Oregon Trail Interpretive Center in Baker City
A fun fall day at the Oregon Trail Interpretive Center, in Baker City Oregon exploring the Oregon Trail, pioneer and gold rush history. The Center currently open with new Covid 19 precautions in place including social distancing and mask requirements, and redesigned interpretive experiences.
The National Historic Oregon Trail Interpretive Center sits high atop Flagstaff Hill outside Baker City Oregon, overlooking the ruts of the Oregon Trail still visible today in the Baker valley below. Located along the Hells Canyon Scenic Byway, an outdoor wagon encampment is the first sights visitors see when they arrive at the National Historic Oregon Trail Interpretive Center. Other outdoor exhibits include a gold panning exhibit, a recreated Lode Mine, a historic stamp mill, and an operating blacksmith shop.
Costumed narrators from the BLM staff and Trail Tenders volunteer group provide interpretation and narration for the exhibits and activities throughout the center. For more information about the Oregon Trail Interpretive Center including a list of upcoming events and activities visit www.blm.gov/or/oregontrail
For more information about other Baker County heritage sites, attractions and museums, visit the Baker County Tourism website at www.travelbakercounty.com or become a fan at www.facebook.com/travelbakercounty
Photo and context are Copyrighted : Gabriella* Copyright © - All rights reserved -
All my photographs, my pictures, my graphics, my drawings, my paintings and material descriptions CAN NOT be REPRODUCER, copied, edited, published, transmitted or uploaded in WEBSITES or BLOGS in any way without my written permission
(Legge n. 633/41 protetta dal diritto d'autore.)
At the Oregon Trail Interpretive Center in Baker City
A fun fall day at the Oregon Trail Interpretive Center, in Baker City Oregon exploring the Oregon Trail, pioneer and gold rush history. The Center currently open with new Covid 19 precautions in place including social distancing and mask requirements, and redesigned interpretive experiences.
The National Historic Oregon Trail Interpretive Center sits high atop Flagstaff Hill outside Baker City Oregon, overlooking the ruts of the Oregon Trail still visible today in the Baker valley below. Located along the Hells Canyon Scenic Byway, an outdoor wagon encampment is the first sights visitors see when they arrive at the National Historic Oregon Trail Interpretive Center.
Costumed narrators from the BLM staff and Trail Tenders volunteer group provide interpretation and narration for the exhibits and activities throughout the center. For more information about the Oregon Trail Interpretive Center including a list of upcoming events and activities visit www.blm.gov/or/oregontrail
For more information about other Baker County heritage sites, attractions and museums, visit the Baker County Tourism website at www.travelbakercounty.com or become a fan at www.facebook.com/travelbakercounty
Each square is 6x6.
Sharpie on drawing paper.
Concern: The Past
Principles: Figure to Ground & Rendering Form
It took me a while to figure how I wanted to pursue the idea of "the past" because it can be interpreted on many levels including a historical, personal, or philosophical perspective. I eventually decided to incorporate feminity with the past that utilized high contrast design principles to mimic a figure to ground relationship and a minimalist design. My work was inspired by Ellsworth Kelly's color-blocking techniques and Kara Walker's politically stirring, high-contrast work. Each square is meant to depict the relationship between men and women overtime and how times leads to a continual growth of complexities in society. The first square (from the left) shows an equal balance between men (black) and women (white) because before developed society ever emerged, men and women were merely creatures who served equal purposes in this world — to survive. As humans became more intelligent, men in developed society found ways to minimize a women's voice and diminish her importance / exploit her well-being for their own purpose. Eventually, by the 20th century, women took great strives in American society, and women were granted the right to vote by 1920. The newly emerging lines in the third square represent this first wave of feminism. The fourth square thus depicts the second wave of feminism where women entered the workforce more rigorously in the 1970's. Finally, the last square depicts the modern era — one where the complexity between the sexes has grown the greatest. Because women were marginalized so greatly for centuries before, we can no longer reach the simple harmony and equality of the past, but emerging voices have helped acquire more rights for women within the political, economic, and social constructs of society. The last square also appears so circuitous to underscore the entangled issues of race and sexual orientation in the modern era. Feminism and the idea of feminity needs to be intertwined within all human beings, not just expressed or only accepted in women. As these complexities continue to grow on the page, progress will be further achieved.
"The Angelic Doctor interpreted [Aristotle] in a uniquely brilliant manner. He made that philosophy Christian when he purged it of the errors into which a pagan writer would easily fall; he used those very errors in his exposition and vindication of Catholic truth. Among the important advances which the Church owes to the great Aquinas this certainly should be included that so nicely did he harmonize Christian truth with the enduring peripatetic philosophy that he made Aristotle cease to be an adversary and become, instead, a militant supporter for Christ … Therefore, those who wish to be true philosophers … should take the principles and foundations of their doctrine from Thomas Aquinas. To follow his leadership is praiseworthy: on the contrary, to depart foolishly and rashly from the wisdom of the angelic Doctor is something far from Our mind and fraught with peril … For those who apply themselves to the teaching and study of Theology and Philosophy should consider it their capital duty, having set aside the findings of a fruitless philosophy, to follow St. Thomas Aquinas and to cherish him as their master and their leader.” – Pope Pius XII.
Fresco on the ceiling of the Vatican Museum, with St Thomas Aquinas offering his works to the Church. Beneath is Aristotle, whose philosophy St Thomas drew upon, thus showing the harmony of faith and reason in is writings.
Yuri Nikulin, Cementerio Novodévichi, Moscú – Yuri Nikulin , Novodevichy Cemetery, Moscow - Юрий Никулин , Новоде́вичье кла́дбище, Москва
Yuri Vladímirovich Nikulin (Demídov, Smolensk, 18 de diciembre de 1921 - Moscú, 21 de agosto de 1997) fue un actor de cine y cómico soviético, uno de los iconos del cine de la URSS en los años 60 y 70, intérprete en numerosas y conocidas películas soviéticas y, desde 1982, director general del Circo de Moscú.
Nació el 18 de diciembre de 1921 en Demídov, una pequeña población del área de Smolensk. Sus padres eran asimismo intérpretes y trabajaban en un centro de arte dramático en Demídov, pero en 1925 la familia se trasladó a Moscú. Desde pequeño, Nikulin siempre sintió interés y fascinación por el mundo del circo y especialmente por el humor de los payasos, habiendo decidido en plena adolescencia que de mayor quería dedicarse al mundo del espectáculo en el circo. Sin embargo, sus pretensiones se vieron temporalmente frustradas al ser llamado a filas en el Ejército Rojo en 1939, cuando contaba con 18 años, participando en la Guerra de Invierno contra Finlandia (1939- 1940). Estaba a punto de ser desmovilizado en 1941 cuando en julio el ejército alemán invadió la Unión Soviética, por lo que también combatió en la Gran Guerra Patriótica (1941-1945), sirviendo en una unidad de tanques, sobre todo en el frente de Leningrado. Manteniendo siempre su gran capacidad para los chistes, su primera experiencia como cómico tuvo lugar en 1944, cuando un comisario político de su batallón, impresionado por su talento, le encargó entretener y animar a la tropa.
Tras ser desmovilizado definitivamente en 1946, Nikulin intentó, sin éxito, entrar en varias compañías e institutos teatrales, recibiendo un rechazo tras otro, pues los Comités de dichos centros no veían en él dotes interpretativas. Pese a ello logró encontrar trabajo como ayudante secundario en el Circo de Moscú en 1950, tras haber pasado un curso de aprendizaje de dos años, durante el cual conoció a Tatiana Pokrovskaya, que sería su futura mujer, con la que tuvo un hijo, Maxim, en 1956. Nikulin comenzó a actuar como payaso profesional en varias ciudades de la Unión Soviética junto con su amigo Mijaíl Shuydin, con el que formó un dúo cómico que le permitió ganar fama y mejorar sus técnicas y experiencias en lo que él había considerado siempre como un oficio complicado. Durante toda su carrera, Nikulin nunca perdió sus lazos con el mundo del circo, dedicándole 50 años de trabajo.
Nikulin fue uno de los pocos artistas que se atrevían a parodiar la aparente perfección del sistema soviético que se intentaba reflejar en todos los ámbitos de la cultura, buscando siempre chistes innovadores que consiguieran burlar a la censura y llegar al público de forma inocente pero sugerente. Su capacidad de crear tanto personajes cómicos como fuertemente dramáticos y profundos, dotándolos de fuerte lirismo, le aportó una gran popularidad y carisma en el entorno del cine, que dejó en 1981, a los 60 años, para dedicarse exclusivamente al mundo al circo.
En ese mismo año se convirtió en el principal gerente del Circo de Moscú, y desde 1982 pasó a ser Director general del mismo, cargo que mantuvo hasta su muerte. Pese a dejar el cine, Nikulin hizo diversas apariciones en televisión y durante los años 90 dirigió el programa humorístico Loro Blanco (en ruso Beluyi popugay), en el que varios artistas se reunían y relataban chistes y anécdotas, algunos de los cuales eran del propio Nikulin. Falleció el 21 de Agosto en Moscú a los 75 años tras una operación del corazón, y fue enterrado en el cementerio Novodevichy.
Hoy en día, Yuri Nikulin sigue siendo recordado en Rusia como uno de los mayores cómicos que ha conocido el país. Sus películas han envejecido muy bien con el tiempo y siguen siendo grandes estrenos en las cadenas de televisión rusas. Pese a no haberse labrado una carrera fílmica como la de otros conocidos intérpretes soviéticos, el humor de Nikulin ha sido su influencia más importante en los cómicos actuales. El Circo de Moscú lleva el nombre de Yuri Nikulin desde su muerte en su honor.
es.wikipedia.org/wiki/Yuri_Nikulin
Yuri Vladimirovich Nikulin (Russian: Юрий Владимирович Никулин; 18 December 1921 – 21 August 1997) was a well-known Russian actor and comedian who starred in many popular films.
He was awarded the title of People's Artist of the USSR in 1973 and Hero of Socialist Labour in 1990. He also received a number of state awards, including the prestigious Order of Lenin, which he received twice in his lifetime.
Nikulin was born just after the end of the Russian civil war, in Smolensk in Western Russia. His mother was a garage supervisor and his father a writer of satirical plays – "a profession which may have influenced [Nikulin's] future career".
Nikulin fought in the Red Army in the Winter War with Finland and the World War II with Germany. He reportedly had a comparably "long period of military service, from 1939-46, preparing to be demobilised just when the German invasion of the Soviet Union began in 1941."
Nikulin's style and precise delivery, as well as his mastery of timing and his hilarious masks made him an outstanding comedian.
In the ring, Nikulin presented a phlegmatic temperament, slow and unsmiling, and to many in the West his personality was reminiscent of the great silent film comedian Buster Keaton. Rich in mimicry, doleful of expression, Nikulin was hailed as “a brainy clown” outside Russia.
Nikulin, affectionately called "Uncle Yura" by Russian children, relied mainly upon his wits to earn his place in history as one of the best clowns of the 20th century.
Nikulin first took up clowning in 1944 when a political officer in his battalion, impressed by his repertoire of jokes, ordered him to organize entertainment for the division, which he did with resounding success. Encouraged, once the war ended, Nikulin reportedly "tried unsuccessfully to enter drama college before answering a newspaper advertisement recruiting trainees for the Clown Studio at Moscow's Tsvetnoy Boulevard Circus."
The several acting schools and theatres rejected Nikulin allegedly due to "lacking artistic talent". However, he did find initial success at the Circus and qualified as a fully trained clown in 1950, and never abandoned his links with the circus. He met his wife, Tatyana, there, and in 1982 became the director of the Moscow Circus, a post he held until his death. His son, Maxim, is now a circus administrator.
His screen debut came in 1958 with the film The Girl with the Guitar. He appeared in almost a dozen major features, mainly in the 1960s and 1970s, "but his ascent to star status was assured by a handful of short films directed by Leonid Gaidai."
The first two of these, Dog Barbos and Unusual Cross and later Bootleggers (Russian: Samogonchiki or The Moonshine Makers, 1961) were also where Nikulin was featured as a character named Fool in The Three Stooges-like trio, along with Georgy Vitsyn as Coward and Yevgeny Morgunov as Experienced. In former Soviet republics he is particularly well known for his role in popular film series about the criminal trio. The series included such films as Operation Y and Other Shurik's Adventures and Kidnapping Caucassian Style.
His most popular films include comedies Brilliantovaia Ruka (Diamond Arm), 12 Stulyev (12 Chairs), Stariki-Razboiniki (Old Hooligans). He was also acclaimed for his roles in Andrey Tarkovsky's Andrei Rublev and several films on World War II themes (Sergei Bondarchuk's They Fought for Their Country, Aleksei German’s Twenty Days Without War).[citation needed]
Nikulin's "comic timing never faltered" even in old age and "he had no enemies and mixed with politicians from both the Soviet and post -Soviet eras". He reportedly was close to Moscow mayor Yuri Luzhkov and supported Boris Yeltsin's re-election campaign."
As mentioned, Nikulin was succeeded in his office at the Moscow Circus on Tsvetnoy Boulevard by his son. There is a bronze monument to him in front of the circus, which now bears his name. He is buried in Novodevichy Cemetery in Moscow.[
en.m.wikipedia.org/wiki/Yuri_Nikulin
El Cementerio Novodévichi (en ruso Новодевичье кла́дбище, Novodévichiye kládbishche) es el cementerio más famoso de Moscú, Rusia. Forma parte del conjunto conventual del Monasterio Novodévichi, que data del siglo XVI, declarado en 2004 Patrimonio de la Humanidad por la Unesco.1
Fue inaugurado en 1898, cuando ya existían muchos enterramientos en los muros del monasterio. Uno de los primeros personajes notables en ser enterrado en el cementerio fue Antón Chéjov, cuya tumba es obra de Fiódor Shéjtel.
El cementerio alberga más de 27 000 tumbas, entre las que se encuentran las de distinguidos escritores, actores, poetas, científicos, líderes políticos y militares. Se asemeja a un parque, con pequeñas capillas y grandes conjuntos escultóricos. Es un lugar más para visitar en Moscú. Existe la posibilidad de solicitar un plano en la oficina del cementerio.
es.wikipedia.org/wiki/Cementerio_Novodévichi
Novodevichy Cemetery (Russian: Новоде́вичье кла́дбище, Novodevichye kladbishche) is the most famous cemetery in Moscow. It lies next to the southern wall of the 16th-century Novodevichy Convent, which is the city's third most popular tourist site.[1]
The cemetery was designed by Ivan Mashkov and inaugurated in 1898.[2] Its importance dates from the 1930s, when the necropoleis of the medieval Muscovite monasteries (Simonov, Danilov, Donskoy) were scheduled for demolition. Only the Donskoy survived the Joseph Stalin era relatively intact. The remains of many famous Russians buried in other abbeys, such as Nikolai Gogol and Sergey Aksakov, were disinterred and reburied at the Novodevichy.
A 19th-century necropolis within the walls of the Novodevichy convent, which contained the graves of about 2000 Russian noblemen and university professors, also underwent reconstruction. The vast majority of graves were destroyed. It was at that time that the remains of Anton Chekhov were moved outside the monastery walls. His grave served as the kernel of the so-called "cherry orchard" – a section of the cemetery which contains the graves of Constantin Stanislavski and the leading actors of his company.
Under Soviet rule, burial in the Novodevichy Cemetery was second in prestige only to burial in the Kremlin Wall Necropolis. Among the Soviet leaders, only Nikita Khrushchev was buried at the Novodevichy rather than at the Red Square. Since the fall of the Soviet Union, the Kremlin Wall is no longer used for burials and the Novodevichy Cemetery is used for only the most symbolically significant burials. For example, in April 2007, within one week both the first President of the Russian Federation Boris Yeltsin and world-renowned cellist Mstislav Rostropovich were buried there.
Today, the cemetery holds the tombs of Russian authors, musicians, playwrights, and poets, as well as famous actors, political leaders, and scientists.[3][4] More than 27,000 are buried at Novodevichy. There is scant space for more burials. A new national cemetery is under construction in Mytishchi north of Moscow.
The cemetery has a park-like ambience, dotted with small chapels and large sculpted monuments. It is divided into the old (Divisions 1–4), new (Divisions 5–8) and newest (Divisions 9–11) sections; maps are available at the cemetery office.[5]
Hunter Noack, In A Landscape performance at the Sumpter Valley Gold Dredge State Park
Hunter, Noack created “In a Landscape,” as a new approach to presenting classical music. "This is the spirit of Oregon, the Wild West, where nothing is impossible, where the wagons circle round and everyone gives what they can to build something greater than any one person," claims Noack. Noack came up with the novel idea of passing out wireless Sennheiser headphones to attendees who want to use them, beaming the music he’s playing to them via radio frequencies, even enhancing the sound a bit with digital magic to make it sound even more like a concert hall.
The Sumpter Dredge State Park in Sumpter Oregon. Listed on the National Register of Historic Places, the Sumpter Valley Gold Dredge is the last of three built on the Powder River. Built in 1935, it ran until 1954. It dug up more than four million dollars worth of gold. The Dredge is located just a block off of the main street of the small historic mining town of Sumpter along the Elkhorn Scenic Byway
The tour of the dredge is a great way to explore the gold mining heritage of Eastern Oregon and the Sumpter Valley. The Dredge is currently undergoing restoration however park rangers will continue to host tours throughout the restoration process.
Visitors to the park can also try their luck at gold panning and explore the vast system of nature and interpretive trails that meander through the tailings left by the dredge as it worked its way up the river bed more than a half century ago.
The Sumpter Dredge is also the setting for bestselling author Patrick Carman’s, Skeleton Creek book series www.patrickcarman.com/enter/skeleton-creek
For more information about the Sumpter Dredge State Heritage Area visit www.oregonstateparks.org/park_239.php LIKE the Friends of the Dredge on facebook at
www.facebook.com/home.php#!/pages/Friends-of-The-Dredge/1...
For more information about other Baker County historic sites, attractions, events, and activities visit Baker County Tourism’s website www.basecampbaker.com
How wonderful to be wise, to analyze and interpret things.
Wisdom lights up a person’s face, softening its harshness.
[Ecclesiastes 8:1 NLT]
5 THINGS YOU SHOULD KNOW:
1. Like it or not, we are ALL sinners: As the Scriptures say, “No one is righteous—not even one. No one is truly wise; no one is seeking God. All have turned away; all have become useless. No one does good, not a single one.” (Romans 3:10-12 NLT)
2. The punishment for sin is death: When Adam sinned, sin entered the world. Adam’s sin brought death, so death spread to everyone, for everyone sinned. (Romans 5:12 NLT)
3. Jesus is our only hope: But God showed his great love for us by sending Christ to die for us while we were still sinners. (Romans 5:8 NLT) For the wages of sin is death, but the free gift of God is eternal life through Christ Jesus our Lord. (Romans 6:23 NLT)
4. SALVATION is by GRACE through FAITH in JESUS: God saved you by his grace when you believed. And you can’t take credit for this; it is a gift from God. Salvation is not a reward for the good things we have done, so none of us can boast about it. For we are God’s masterpiece. He has created us anew in Christ Jesus, so we can do the good things he planned for us long ago. (Ephesians 2:8-10 NLT)
5. Accept Jesus and receive eternal life: If you openly declare that Jesus is Lord and believe in your heart that God raised him from the dead, you will be saved. (Romans 10:9 NLT) But to all who believed him and accepted him, he gave the right to become children of God. (John 1:12 NLT) And this is what God has testified: He has given us eternal life, and this life is in his Son. Whoever has the Son has life; whoever does not have God’s Son does not have life. (1 John 5:11-12 NLT)
Read the Bible for yourself. Allow the Lord to speak to you through his Word. YOUR ETERNITY IS AT STAKE!
Oregon or Bust Wagon Encampment in Baker City Oregon
A fun Labor Day weekend at the Oregon Trail Interpretive Center’s “Oregon Or Bust” wagon encampment, exploring the Oregon Trail history, and watching living history performers and guest musicians. This annual wagon encampment held each Labor Day weekend typically takes place at the Oregon trail Interpretive Center but was moved to Baker City’s Geiser Pollman Park this year since the Center remains closed due to COVID.
The National Historic Oregon Trail Interpretive Center sits high atop Flagstaff Hill outside Baker City Oregon, overlooking the ruts of the Oregon Trail still visible today in the Baker valley below. Located along the Hells Canyon Scenic Byway, an outdoor wagon encampment is the first sights visitors see when they arrive at the National Historic Oregon Trail Interpretive Center.
Costumed narrators from the Trail Tenders, and BLM staff provide interpretation and narration for the exhibits and activities throughout the center. For more information about the Oregon Trail Interpretive Center including a list of upcoming events and activities visit www.blm.gov/or/oregontrail
For more information about other Baker County heritage sites, attractions and museums, visit the Baker County Tourism website at www.travelbakercounty.com.
At the Oregon Trail Interpretive Center in Baker City
A fun fall day at the Oregon Trail Interpretive Center, in Baker City Oregon exploring the Oregon Trail, pioneer and gold rush history. The Center currently open with new Covid 19 precautions in place including social distancing and mask requirements, and redesigned interpretive experiences.
The National Historic Oregon Trail Interpretive Center sits high atop Flagstaff Hill outside Baker City Oregon, overlooking the ruts of the Oregon Trail still visible today in the Baker valley below. Located along the Hells Canyon Scenic Byway, an outdoor wagon encampment is the first sights visitors see when they arrive at the National Historic Oregon Trail Interpretive Center. Other outdoor exhibits include a gold panning exhibit, a recreated Lode Mine, a historic stamp mill, and an operating blacksmith shop.
Costumed narrators from the BLM staff and Trail Tenders volunteer group provide interpretation and narration for the exhibits and activities throughout the center. For more information about the Oregon Trail Interpretive Center including a list of upcoming events and activities visit www.blm.gov/or/oregontrail
For more information about other Baker County heritage sites, attractions and museums, visit the Baker County Tourism website at www.travelbakercounty.com or become a fan at www.facebook.com/travelbakercounty
I might call this Spooks. It reminds me of those shows or cartoons when we were young where the scary figure’s shadow was creeping up behind. I know very little about art except perhaps what I like and what I don’t like. Maybe I am an art cretin! But I do know all art, whatever is an interpretation by the artist of something. And in a way, that’s what the whole work that this is a part of is about.
Of the not dissimilar pieces in this particular work by Francis Upritchard, this one is called “Run”. It is one of five figures in the one complex work.
“The whole exhibition is called “Setting the Stage” which brings together a selection of works from the (GOMA*) Collection that reflect the different ways artists have drawn on the theatrical convention of the stage and its implied audience.......
Told across the media of film, video, art, photography, painting and sculpture, “Setting the Stage” elaborates on and highlights the power and versatility offered by artificial environments through works that illustrate their potential as conduits for ideas about language, identity and culture”. That’s a snippet from the full statement about the full exhibit by the Queensland Gallery of Modern Art, I could never have made that up! But, interpretation I believe and I have used that in my little contribution to the species!
Gallery of Modern Art, (*GOMA) Brisbane, Queensland.
Or not.
This is a Carolina Wren that was hopping around on my deck collecting bugs and eating them. At one point it stopped and splayed out flat on the deck, as pictured above. Anyone know why birds do this? Is it in an effort to scare off other birds? I saw a chickadee do the same thing a few minutes earlier. The wren sat like this for a few minutes, then carried on about it's day.
Rocky Mountain Front Range, Colorado, Dusk.
I looked out our back window into this low area behind our home. It was filled with shadows as the sun already was setting (thus the grainy quality of this image). This coyote appeared and walked about three feet away, directly in front of this young buck! The buck watched it, but then continued to graze.
Next, the coyote went to the buck's right and laid down, as seen in this photo. Minutes later, the coyote arose and walked into the thicket of bushes behind it. Then it reappeared at the right edge of the thicket and walked past and behind the buck.
Remarkably, it laid down, raised its legs, and exposed its underside to the buck! I interpreted it as an act of submission, as I've often seen with dogs. But I defer to anyone who understands wild animal behavior better than I! Or, . . was the coyote being coy?
After a few more moments the coyote got up and continued on its way. And the buck resumed eating whatever mid-winter fodder it could find. It was an interesting encounter to witness!
Espinelas
[...]
Yo, con la frente muy alta,
cual retando al rayo a herirme
soportaré sin rendirme
la tempestad que me asalta.
No esperes en tu piedad
que lo inflexible se tuerza:
yo seré esclavo por fuerza
pero no por voluntad.
Mi indomable vanidad
no se aviene a ruin papel.
¿Humillarme? Ni ante aquel
que enciende y apaga el día.
Si yo fuera ángel, sería
el soberbio ángel Luzbel.
El hombre de corazón
nunca cede a la malicia.
¡No hay más Dios que la justicia
ni más ley que la razón!
¿Sujetarme a la presión
del levita o el escriba?
¿Doblegar la frente altiva
ante torpes soberanos?
Yo no acepto a los tiranos
ni aquí abajo ni allá arriba.
Salvador Díaz Mirón(1853-1928).
MÚSICA: Anónimo sefardí medieval - Kuando el Rey Nimrod, interpretado por Apollo's Fire
The Historic Murie Ranch is a campus of the Teton Science School inside Grand Teton National Park. This home of Mardy and Olaus Murie was the headquarters of The Wilderness Society when Olaus was president.
At the Oregon Trail Interpretive Center in Baker City with Buffalo Bill Boycott and Dr Jo
A fun day at the Oregon Trail Interpretive Center, in Baker City Oregon exploring the Oregon Trail, pioneer and gold rush history. The Center recently reopened with new Covid 19 precautions in place including social distancing and mask requirements, and redesigned interpretive experiences.
Buffalo Bill Boycott’s performance is just one of numerous annual visiting musical performances including this summer’s new “After Hours on the Oregon Trail” outdoor concert series
The National Historic Oregon Trail Interpretive Center sits high atop Flagstaff Hill outside Baker City Oregon, overlooking the ruts of the Oregon Trail still visible today in the Baker valley below. Located along the Hells Canyon Scenic Byway, an outdoor wagon encampment is the first sights visitors see when they arrive at the National Historic Oregon Trail Interpretive Center.
Costumed narrators from the BLM staff and Trail Tenders volunteer group provide interpretation and narration for the exhibits and activities throughout the center. For more information about the Oregon Trail Interpretive Center including a list of upcoming events and activities visit www.blm.gov/or/oregontrail
For more information about other Baker County heritage sites, attractions and museums, visit the Baker County Tourism website at www.travelbakercounty.com or become a fan at www.facebook.com/travelbakercounty
Photo of Sweet Creek Falls captured from the Sweet Creek Falls Interpretive Trail: Observation Point, at Sweet Creek Rest Area, alongside State Route 31, the International Selkirk Loop and the North Pend Oreille Scenic Byway, via Minolta MD Zoom Rokkor-X 35-70mm F/3.5 lens. Selkirk Mountains Range. Northern Rockies Region. Pend Oreille County, Washington. Early May 2015.
Exposure Time: 1/5 sec. * ISO Speed: ISO-200 * Aperture: F/22 * Bracketing: None
A new friend for my Euphorbia obesa. In my garden. July 2016.
Exactly how do you interpret "Drought intolerant; Dies from over-watering." Yikes.
This is the bell at the Smith Interpretive Center / Greenhouse. If anyone knows the story behind this bell, I would be interested in learning about it. I decided to see whether the Flickr community likes the B&W of the non-B&W.
I haven't been here since I was a child. I consider it more of a walk rather than a hike. But it is incredibly interesting. Especially for photography. My Grandfather - Joseph Harris - was the Superintendent of Col. Thompson's Miami Inspiration Mines.
en.wikipedia.org/wiki/Boyce_Thompson_Arboretum
Boyce Thompson Arboretum is the oldest and largest botanical garden in the state of Arizona. It is one of the oldest botanical institutions west of the Mississippi River. Founded in 1924 as a desert plant research facility and “living museum”, the arboretum is located in the Sonoran Desert on 392 acres (159 ha) along Queen Creek and beneath the towering volcanic remnant, Picketpost Mountain. Boyce Thompson Arboretum is on U.S. Highway 60, an hour's drive east from Phoenix and 3 miles (4.8 km) west of Superior, Arizona.
The arboretum was founded by William Boyce Thompson (1869-1930), a mining engineer who made his fortune in the copper mining industry. He was the founder and first president of Inspiration Consolidated Copper Company at Globe-Miami, Arizona and Magma Copper Company in Superior, Arizona. In the early 1920s, Thompson, enamored with the landscape around Superior, built a winter home overlooking Queen Creek. Also in the 1920s, as his fortunes grew, he created and financed the Boyce Thompson Institute for Plant Research in Yonkers, New York (now at Cornell University), and the Boyce Thompson Arboretum on the property of the Picket Post House, west of Superior.
Boyce Thompson wrote: “I have in mind far more than mere botanical propagation. I hope to benefit the State and the Southwest by the addition of new products. A plant collection will be assembled which will be of interest not only to the nature lover and the plant student, but which will stress the practical side, as well to see if we cannot make these mesas, hillsides, and canyons far more productive and of more benefit to mankind. We will bring together and study the plants of the desert countries, find out their uses, and make them available to the people. It is a big job, but we will build here the most beautiful, and at the same time the most useful garden of its kind in the world.”[3]
DSC03413-HDR acd b&w
Una finestra spalancata sull’alba
In un cielo pieno di nuvole
La luce fioca ad illuminare gli occhi di lei
Due stelle brillanti, con riflessi d’oro nelle pupille
Un bacio.. in silenzio
Quanto silenzio...
Rumore di anime
Sguardi sereni a scrutare il cielo e a pensare
Futuro strano?
Forse incerto, ma pur sempre la speranza di un futuro
Quasi come bere un bicchier d’acqua...
FS
while she has wrapped herself
in shadows
for years
and she has never been afraid of them.
the shadows are comfort
and strength
and memory.
the shadows blanket the thoughts that
creep
from the light. from reality.
from present.
Vowed on July 4, 13 BCE, and dedicated on January 30, 9 BCE, the Ara Pacis Augustae stood proudly in the Campus Martius in Rome (a level area between several of Rome’s hills and the Tiber River). It was adjacent to architectural complexes that cultivated and confidently displayed messages about the power, legitimacy, and suitability of their patron—the emperor Augustus. Now excavated, restored, and reassembled in a sleek modern pavilion designed by architect Richard Meier (2006), the Ara Pacis continues to inspire and challenge us as we think about ancient Rome.
Augustus himself discusses the Ara Pacis in his epigraphical memoir, Res Gestae Divi Augusti (“Deeds of the Divine Augustus”) that was promulgated upon his death in 14 C.E. Augustus states “When I returned to Rome from Spain and Gaul, having successfully accomplished deeds in those provinces … the senate voted to consecrate the altar of August Peace in the Campus Martius … on which it ordered the magistrates and priests and Vestal virgins to offer annual sacrifices” (Aug. RG 12).
The Ara Pacis is, at its simplest, an open-air altar for blood sacrifice associated with the Roman state religion. The ritual slaughtering and offering of animals in Roman religion was routine, and such rites usually took place outdoors. The placement of the Ara Pacis in the Campus Martius (Field of Mars) along the Via Lata (now the Via del Corso) situated it close to other key Augustan monuments, notably the Horologium Augusti (a giant sundial) and the Mausoleum of Augustus.
The significance of the topographical placement would have been quite evident to ancient Romans. This complex of Augustan monuments made a clear statement about Augustus’ physical transformation of Rome’s urban landscape. The dedication to a rather abstract notion of peace (pax) is significant in that Augustus advertises the fact that he has restored peace to the Roman state after a long period of internal and external turmoil.
The altar (ara) itself sits within a monumental stone screen that has been elaborated with bas relief (low relief) sculpture, with the panels combining to form a programmatic mytho-historical narrative about Augustus and his administration, as well as about Rome’s deep roots. The altar enclosure is roughly square while the altar itself sits atop a raised podium that is accessible via a narrow stairway.
The best preserved external relief panel of the east wall of the Ara Pacis depicts a seated female figure who has been variously interpreted as Tellus (the Earth), Italia (Italy), Pax (Peace), as well as Venus. The panel depicts a scene of human fertility and natural abundance. Two babies sit on the lap of the seated female, tugging at her drapery. Surrounding the central female is the natural abundance of the lands and flanking her are the personifications of the land and sea breezes. In all, whether the goddess is taken as Tellus or Pax, the theme stressed is the harmony and abundance of Italy, a theme central to Augustus’ message of a restored peaceful state for the Roman people—the Pax Romana.
-- Excerpts of an essay by Dr. Jeffrey A. Becker, SmartHistory.com
At the Oregon Trail Interpretive Center in Baker City with Nimiipuu Experience, interactive storytelling, song, drum, and dance from the Nez Perce
A fun day at the Oregon Trail Interpretive Center, in Baker City Oregon exploring the Oregon Trail, pioneer and gold rush history and enjoying a special interpretive demonstration including music and storytelling of the Nez Perce.
The Center is currently operating with Covid 19 precautions in place. The interior exhibits remain closed and redesigned interpretive experiences have been moved outside and take place every Thursday through Sunday with a combination of visiting interpreter performances and Ranger led activities. The Center’s outdoor trails and exhibits remain open to the public including the iconic wagon encampment.
The National Historic Oregon Trail Interpretive Center sits high atop Flagstaff Hill outside Baker City Oregon, overlooking the ruts of the Oregon Trail still visible today in the Baker valley below. Located along the Hells Canyon Scenic Byway, an outdoor wagon encampment is the first sights visitors see when they arrive at the National Historic Oregon Trail Interpretive Center. Other outdoor exhibits include a gold panning exhibit, a recreated Lode Mine, a historic stamp mill, and an operating blacksmith shop.
Costumed narrators from the BLM staff and Trail Tenders volunteer group provide interpretation and narration for the exhibits. For more information about the Oregon Trail Interpretive Center including a list of upcoming events and activities visit www.blm.gov/or/oregontrail
For more information about other Baker County heritage sites, attractions and museums, visit the Baker County Tourism website at www.travelbakercounty.com or become a fan at www.facebook.com/travelbakercounty