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Another Twirl photo. The starting point this time was a photo of books on shelves.
Stay safe and well everyone.
Thank you to everyone who pauses long enough to look at my photo. Any comments or Faves are very much appreciated
This is what can happen when you are 3 sessions into a photography course and decide that from now on you will set things like aperture and shutter speed manually ... then you forget to do something or other.
Just be glad that I'm not taking classes in surgery ... :-D
To the best of my knowledge - and the advice of experts - this is one of 5 photographs of Cory's Shearwater taken from the good ship Flipper bobbing about off Puerto Tazacorte on La Palma in the Canary Islands. Distinguishing Cory's from Scopoli's Shearwater (Calonectris diomedea) is extremely difficult in the field. With the correct light conditions, the most useful pointer for Scopoli's is the amount of white on the inner tip of the wings (less extensive on Cory's).
Leading birder and recorder on La Palma, Robert Burton, says: "On that basis, your first two photographs seem to correspond to Cory's, judging from the illustation in the field guide. Other differences (body size, bill thickness) are hard to assess in the field, apparently... unless you were able to compare various individuals. But both species do mix when feeding!"
My thanks to Robert (lapalmabirds.blogspot.co.uk) for helping me locate some of the difficult-to-find species of birds and butterflies of La Palma.
Thanks for your visit… Any comment you make on my photographs is greatly appreciated and encouraging! But please do not use this image without permission.
Humboldt County, California
This is the same individual I posted a few days ago. I went back out on Saturday (7/04) and Sunday (7/05). On Saturday I made an effort to count all the Flabellina iodinea I saw. It was not as many as on Saturday... it was more than double!!! I counted 23! I just couldn't and still cannot believe it! They were everywhere.
On Sunday I meet a few other tidepoolers from the Bay area, who's knowledge was impressive. They were able to find the smallest nudies, and they knew what they were too. It was great meeting you Robin and Donna! :)
HB-INR : McDonnell Douglas MD-82 : FlyNordic
Leased from Swiss, and in partial Crossair livery. The aircraft has Avione titles - I have no knowledge of what this refers to.
Arriving with Italian football fans for the Champions' League Final.
Christian Movie Clip - The Rise of the British Empire Driving the Development of Mankind
www.holyspiritspeaks.org/videos/rise-of-the-british-empire/
Watch the full documentary at: Praise and Worship Music "The One Who Holds Sovereignty Over Everything" ( Christian Musical Documentary)
Christian Movie Clip - The Rise of the British Empire Driving the Development of Mankind
During England’s colonial expansion, advanced knowledge and thinking in areas such as Western political systems, culture, religions, education, and medicine were introduced into the colonies. The old ruling orders of the colonized countries were overturned, and the pre-existing feudal ideologies were destroyed. This laid the foundation for the colonies unknowingly embarking upon the path of constitutional democracy …
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The departures entrance to DXB terminal 3 at Dubai. This terminal serves Emirates and Qantas exclusively to my knowledge.
...has many Faces, the Variety of our different Worlds makes Life kolorful. I guess those who are able to participate in the Perspektives of the Friends and People around live an intensive, stirring Life... For me our Thoughts and the so kalled Knowledge isn´t so "real" as we think, it´s like a String we roll around our Head, kapturing ourself until we see Nothing...
Therefore I prefer to know not too much, just the needed Things, Everything furthermore is only "Vanitas" and useless...
About the photographed Subjekt: It´s one of my early Skulptures I´ve done back in the Year 1998 as a Stament for my Girlfriend then: "you bond me"... some kind of Lovemessage...
pART of THINK! (PhotoPhilosophY) Set
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©1999-2006 all Rights reserved, Krystian
My cultural knowledge fails me with this particular photograph. Are the dancers depicting a part of the traditional Kerala dance form or is it something else. The Mallus brethren or sistern ;-) please come to the rescue and tell us what is it that is going on here.
The deep thoughtful visage is something that totally defines the Malayalee. Serious, poignant and always thinking of something heavy is what is my 3 years of experience with the Malayalee people.
Onam in Kerala is the most important festival. This a season of happiness. It would me much like what Diwali is like for the people of North India.
People buy their new clothes, new gadgets, new everything around Onam time.
In short, it is celebration time like no other. There are celebratory feasts called Onam Sadya which are served everywhere. House courtyards are decorated with traditional flower arrangements of geometric symbolism called 'Pookalam' is laid in front of every house to welcome the arrival of the beloved king.
There is a surfeit of agrarian festivities comprising of boat races and bull races and carnivals that are held all over Kerala.
The origins of this great festival of Kerala are steeped in history and centres around a powerful king who became too powerful and loved by his subjects. The jealous Gods of the Hindu pantheon saw to an end to this popularity by a cunning design and confined the king into the bowels of the earth. After some relenting, the Gods allowed the King to visit his subjects once a year and it is that which is celebrated in Onam.
Athachamayam is a carnival of sorts that is held in Thripunithra a small town about 10-12 kms away from Cochin.
Camera: Nikon D70
Exposure: 0.002 sec (1/500)
Aperture: f/4.5
Focal Length: 70 mm
ISO Speed: 200
Exposure Bias: 0 EV
Flash: Off, Did not fire
DSC_0804 via ACR from jpeg 2 exp sel cu gr br le TFM VER 2
This is the result of an afternoon spent with friends.
I thank my friends Giulia and Alessandra who helped me in the realization of this photo.
This is part of a series of cyanotypes based on images generated with a prompt referencing Jacques Derrida’s On Grammatology, about the connoction of text to knowledge.
Cyanotype, 21 x 21 cm on 28 x 28 cm sheet og Saunders Waterford 300g HP natural paper, limited edition of 16.
Stable diffusion generated the original image, further post-produced in On1 Resize AI, Affinity Design, and Capture One. PiezoDN produced the digital negative. More information here: hlynur.art/arkifa/not-a-knowledge-at-all/
"from the family album: from right to left: the child is my grandmother Ninitta, then there is her mother and my great grandmother Anna, her sister Concetta, finally their mother and my great-great-grandmother Nina, respectively daughter, wife, sister-in-law, mother-in-law of the photographer Gaetano D'Agata, whom in a photograph of him (location Mazzarò-Taormina)"
“dall'album di famiglia: da destra verso sinistra: la bambina è mia nonna Ninitta, poi c'è la sua mamma e la mia bisnonna Anna, sua sorella Concetta, infine la loro mamma e mia trisavola Nina, rispettivamente figlia, moglie, cognata, suocera del fotografo Gaetano D'Agata, cui in una sua fotografia (location Mazzarò-Taormina)”
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The photographer Baron Wilhelm von Gloeden: and some "secret stories” of Taormina ...
At the age of about 11-12, I made a very particular discovery, I found a fair number of ancient photographs (they had been well hidden by my grandmother) inside an ancient chest of drawers in our house in Taormina, for me it was a huge surprise, the a taste for the forbidden appeared in me for the first time, they were black and white photographs, they portrayed naked boys, or only partially dressed in drapes or sheets, they were posed to imitate certain statues (or drawings) of the Greco-Roman period; I was very intrigued by them, every now and then I went to look at them, without ever feeling discomfort, I did not consider them vulgar photographs. Some of the photos were the size of a postcard, others of various sizes increasingly larger, up to a format similar to A3; on the back there were stamps, there were also, inside small red cardboard boxes, glass plates, not large, looking at them against the light, they let us glimpse images of naked boys, or only partially dressed: they were photographic negatives made on glass plates. What was that particular photographic material hidden by my grandmother in the dresser of our house? Let's take a step back in time let's teleport to April 2, 1787 when the German poet, narrator, playwright Johan Wolfgang von Goethe (1749-1832) lands in Palermo, following his Grand Tour in Italy (the word "tourism" derives from it) he will say of Sicily that it is a place of splendor, beauty and harmony, but at the same time a place of poverty, suffering, misery and social injustice; Goethe wrote the book "Journey to Italy", revealing himself to be one of Italy's most passionate admirers, stating that "Sicily is the key to everything" (the incredible resemblance of thought with the great Sicilian writer and journalist Leonardo Sciascia (1921-1989) who published in 1979 the book entitled “Sicily as a metaphor”). At the time of Goethe (and for a long time to come) the knowledge of Sicily was made up of stereotyped ideas, it was considered a land of mysteries, a den of brigands, which aroused fear in travelers, tourism did not exist, very few knew a foreign language, journeys with carriages were slow, nothing strange therefore that Taormina was an unknown village at the time. Garibaldi, in the year 1860, frees Sicily from the domination of the Bourbons. In February 1863, Count Ottone (Otto) Geleng (1843-1939) arrives in Taormina from Germany, he is a landscape painter, he begins an intense pictorial activity, thus succeeding in making Taormina and its landscapes known in the various cultural circles of Germany and France. Count Otto thus invites the then painter (who later became a photographer) Baron Wilhelm von Gloeden (1856-1931) to come to Taormina to treat his "subtle ache", pulmonary tuberculosis, which would have benefited from the mild climate of Sicily. Von Gloeden, twenty-two, arrived in Taormina in 1878, became passionate about photography by taking lessons from the local engineer and photographer Giuseppe Bruno (1836-1904), perhaps also a teacher of Giovanni Crupi (1859-1925), landscape photographer friend of von Gloeden, Crupi himself could also have contributed to the training as a photographer of the young von Gloeden. Like Otto Geleng's paintings, the photographs of the young Wilhelm also began to entice the then bourgeoisie across the border to come to Sicily: in the last 20 years of the 1800s the foundations were being laid for tourism in Sicily. The photographs taken by von Gloeden had as their subject young Sicilian adolescents dressed in the old-fashioned way with drapes, or completely naked, at most adorned with wreaths of flowers or laurel leaves placed on their heads, the young models assumed well-studied poses under the directed by the photographer baron, designed to create scenes that wanted to reconstruct the atmosphere of the mythical Arcadia (bucolic landscape of ancient Greece). In his poetics we can find the interest in disguise and transvestism, the young fisherman is made ambiguous by making him wear a wig, made resembling a young Sicilian girl; the images are not produced for the sole and mere trade, they are works that will be published in various famous magazines (such as "The National Geographic Magazine" or "the photographic progress", A. Stieglitz publishes his nudes on “Camera Notes"), also participating in international photographic exhibitions. The young models are filmed among ancient ruins, in rocky environments, outdoors, eliciting a spiritual feeling full of nostalgia, which follows pictorial models of German romanticism. In the photographic book "Verga photographer" (created on the discovery of 327 glass plates and 121 celluloid frames), in Giovanni Verga (1840-1922) great Sicilian narrator, it is possible to observe his photographs interwoven with "realism", while in the photographs of von Gloeden the symbolism andthe spiritualism predominate, however Wilhelm will also produce documentary-type photographs, photographing the terrible earthquake (and tsunami) of Messina (and Reggio Calabria) of 1908. Von Gloeden seems fully integrated into the Taormina society , nevertheless suffers heavy homophobic attacks from the local press and from important characters from Taormina, including Otto Geleng himself, who will be sued by the baron, which will then be withdrawn upon payment of 896 lire, and a restorative declaration published in the "Gazzetta di Messina" . Von Gloeden worked in his house-studio in front of the Hotel San Domenico Palace, with him lived his sister Sofia Raabe (1847-1930), daughter of his mother's first husband, who helped him manage the house-studio, and in the to receive the illustrious guests who visited him (such as Oscar Wilde, FA Krupp, Richard Strauss, the German emperor Wilhelm II, Eleonora Duse). Von Gloeden died on February 16, 1931 at the age of 74, he was buried in the non-Catholic cemetery of Taormina, his heir was his all-around assistant Pancrazio Buciunì known as "il moro" (1879-1963) ("u 'moru", family nickname), which continues the activity, selling the prints: he undergoes two searches in full fascist regime with partial seizure and destruction of the photographic material that belonged to von Gloeden (fascism persecuted homosexuals, the repression of homosexuality was entrusted to the fascist police, which confined many homosexuals to the islands of the Mediterranean, Lipari was one of these, see the beautiful film by Ettore Scola "a special day"), Buciunì undergoes two trials for detention of obscene material, and, despite an adverse appraisal by the appointed expert prof. Stefano Bottari, holder of the chair of history of medieval and modern art at the University of Messina, who declares much of the seized material obscene, the Court of Messina, demonstrating tolerance and open-mindedness, acquits Buciunì. At this point in the story we return to my grandmother's dresser and reveal the little mystery: the hidden photographs belonged to my great-grandfather Don Gaetano D'Agata (1883-1949), von Gloeden's assistant photographer, also on the baron's teaching, he made nude photographs, as well as landscape or portrait photographs; Don Gaetano was a globetrotter, in our family album he is portrayed in various parts of the world, always in the company of beautiful women: but I will never know if those "forbidden photos" were taken by my great-grandfather Gaetano or by Von Gloeden himself, because my grandmother, having understood that I was going to peek at them in secret, made them disappear permanently, and I never heard anymore of that photographic material. For my part, it is only right to mention other figures who contributed to making Taormina the current destination for international tourism. Lady Florence Trevelyan (1852-1907), was Queen Victoria's lady-in-waiting, she was then sent into exile in various parts of the world by Queen herself, she arrived in Taormina and stayed there forever, she was a woman of exceptional gifts, endowed with great sensitivity and humanity, animal rights activist, philanthropist, passionate about esotericism, she was married to the then mayor and doctor of Taormina dr. Salvatore Cacciola, she were one of the first women admitted to world Freemasonry (her husband Cacciola also belonged to Freemasonry): I have already talked about it previously in one of my photographic stories. On the occasion of the XXI festival of the two worlds in Spoleto, in 1978, the essayist and literary critic Roland Barthes (1915-1980) curated an exhibition entitled "Wilhelm von Gloeden", with interventions by artists such as Andy Warhol, M. Pistoletto and J. Beuys. Finally, Raffaella Perna, Researcher in History of Contemporary Art at the University of Catania, underlines in her book on "Wilhelm von Gloeden, disguises, portraits, tableaux vivants", of how LaChapelle, Witkin, Mapplethorpe are the contemporary artists who they are indicated as heirs of von Gloeden's poetics.
P.S. Von Gloeden's photographs were made by photographing both the large panels with gigantographic reproductions of von Gloeden's works, which are located at the entrance of the Mocambo bar in Taormina, and in the shop-bazaar of the photographer from Taormina, my late friend, Nino Malmbrì (owner of the baron's original photographic material). The photographs of Gaetano D’Agata, were taken from my family album: in a photo a little damaged, but exceptional for its historical and emotional value, my great-grandfather, the photographer Gaetano D'Agata, here very young, holds his daughter "Ninitta" (a of the four children, had by three wives), she is my paternal grandmother; in another photo, the photographer Gaetano D'Agata poses next to her a few years later, with my grandmother already a young girl; always made by great-grandfather D'Agata there is both a portrait photo, a close-up, of my very young grandmother "Ninitta", and there is a photo of her posing as a peasant girl, with a painted backdrop behind her, as if used in studio photos; finally I put two photos taken by my great-grandfather Gaetano "en plein air" of bathers, "the location" is the beach of Mazzarò (Taormina). The photographs of the tombstones of the characters mentioned in the story were taken in the Catholic and non-Catholic cemetery of Taormina; the monumental funerary complex of Count Otto Geleng at the top presents the bust of his son Ermanno, the presence of symbolisms such as the hourglass, the rooster, the book (the Holy Bible) and the god mercury, makes me believe that Count Otto was part of the Masonic lodge of Taormina, at the time the mayor of Taormina was also part of it, dr. Cacciola and his wife Lady Florence Trevelyan: in his palace, Dr. Cacciola, built a temple, which became the first Masonic lodge in Taormina: the "Renaissance" (1904).
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Il barone fotografo Wilhelm von Gloeden: ed alcune “storie segrete” di Taormina …
Io, all’età di circa 11-12 anni, feci una scoperta molto particolare, trovai un discreto numero di antiche fotografie (erano state ben nascoste da mia nonna) dentro un antico comò in casa nostra a Taormina, per me fu una enorme sorpresa, il gusto del proibito si affacciò in me per la prima volta, erano fotografie in bianco e nero, ritraevano ragazzi nudi, o solo in parte vestiti con drappi o lenzuoli, messi in posa imitavano certe statue (o disegni) del periodo greco-romano; io ne ero rimasto molto incuriosito, ogni tanto le andavo a riguardare, senza mai provare disagio, non le consideravo fotografie volgari. Alcune foto erano della grandezza di una cartolina, altre di varie dimensioni sempre più grandi, fino ad arrivare ad un formato assimilabile all’A3; sul retro c’erano impressi dei timbri, c’erano anche, dentro dei piccoli scatoli in cartoncino di colore rosso, delle lastrine in vetro, non grandi, guardandole in controluce, lasciavano intravedere immagini di ragazzi nudi, o poco vestiti: erano i negativi fotografici realizzati su vetro. Cosa ci faceva quel materiale fotografico, così particolare, nascosto da mia nonna nel comò di casa nostra? Facciamo un salto indietro nel tempo teletrasportiamoci al 2 aprile 1787 quando a Palermo sbarca il poeta, narratore, drammaturgo tedesco Johan Wolfgang von Goethe (1749-1832), in seguito al suo Grand Tour in Italia (turismo deriva da esso) dirà della Sicilia che essa è luogo di splendore, bellezza ed armonia, ma al tempo stesso luogo di povertà, sofferenza, miseria ed ingiustizia sociale; Goethe scrive il libro “Viaggio in Italia”, rivelandosi uno dei più appassionati ammiratori dell’Italia, affermando che “la Sicilia è la chiave di tutto” (incredibile la rassomiglianza di pensiero col grande scrittore e giornalista siciliano Leonardo Sciascia (1921-1989) che pubblica nel 1979 il libro dal titolo “la Sicilia come metafora”). Ai tempi di Goethe (e per molto tempo ancora) la conoscenza della Sicilia era fatta di idee stereotipate, era considerata terra di misteri, covo di briganti, il che incuteva timore nei viaggiatori, il turismo non esisteva, pochissimi conoscevano una lingua straniera, i viaggi con carrozze ertano lenti, nulla di strano quindi che Taormina fosse all’epoca un villaggio sconosciuto. Garibaldi, nell’anno 1860, libera la Sicilia dalla dominazione dei Borboni. Nel febbraio del 1863, dalla Germania giunge a Taormina il conte Ottone (Otto) Geleng (1843-1939), egli è un pittore paesaggista, inizia una intensa attività pittorica, riuscendo in tal modo a far conoscere Taormina ed i suoi paesaggi nei vari circoli culturali della Germania e della Francia. Il conte Otto invita così l’allora pittore (poi divenuto fotografo) barone Wilhelm von Gloeden (1856-1931) a venire a Taormina per curare il suo “mal sottile”, la tubercolosi polmonare, che avrebbe tratto giovamento dal clima mite della Sicilia. Von Gloeden, ventiduenne, nel 1878 giunge a Taormina, si appassiona alla fotografia prendendo lezioni dall’ingegnere e fotografo locale Giuseppe Bruno (1836-1904), forse anche insegnante di Giovanni Crupi (1859-1925), fotografo paesaggista amico di von Gloeden, il quale Crupi stesso potrebbe anche aver contribuito alla formazione come fotografo del giovane von Gloeden. Così come i dipinti di Otto Geleng, anche le fotografie del giovane Wilhelm incominciarono ad invogliare l’allora borghesia d’oltre confine, a venire in Sicilia: negli ultimi 20 anni dell’800 si stavano gettando le basi per il turismo in Sicilia. Le fotografie realizzate da von Gloeden avevano come soggetto giovani adolescenti siciliani vestiti all’antica con drappi, o completamente nudi, tutt’al più adornati da coroncine di fiorellini o foglie d’alloro messi sul capo, i giovani modelli assumevano pose ben studiate sotto la regia del barone fotografo, atte a realizzare scene che volevano ricostruire l’atmosfera della mitica Arcadia (paesaggio bucolico dell’antica Grecia). Nella sua poetica possiamo riscontrare l’interesse per il travestimento ed il travestitismo, il giovane pescatore viene reso ambiguo facendogli indossare una parrucca, reso somigliante ad una giovane ragazza siciliana; le immagini non vengono prodotte per il solo e mero commercio, sono opere che verranno pubblicate su varie riviste famose (come “The National Geographic Magazine” o “Il Progresso fotografico”, A. Stieglitz pubblica i suoi nudi su “Camera Notes”), partecipando anche ad esposizioni fotografiche internazionali. I giovani modelli sono ripresi tra antichi ruderi, in ambienti rupestri, all’aperto, elicitando un sentimento spirituale carico di nostalgia, il che ricalca modelli pittorici del romanticismo tedesco. Nel libro fotografico “Verga fotografo” (realizzato su ritrovamento di 327 lastre in vetro e 121 fotogrammi in celluloide), in Giovanni Verga (1840-1922) grande narratore siciliano, è possibile osservare le sue fotografie intessute di “verismo”, mentre nelle fotografie di von Gloeden predomina il simbolismo e lo spiritualismo, purtuttavia Wilhelm produrrà anch’egli fotografie di tipo documentaristico, andando a fotografare il terribile terremoto (e maremoto) di Messina (e di Reggio Calabria) del 1908. Von Gloeden sembra pienamente integrato nella società taorminese, ciononostante subisce pesanti attacchi omofobi dalla stampa locale e da importanti personaggi taorminesi, incluso lo stesso Otto Geleng, i quali verranno querelati dal barone, querela che verrà poi ritirata dietro pagamento di 896 lire, ed una dichiarazione riparatoria pubblicata sulla “Gazzetta di Messina”. Von Gloeden lavorava nella sua casa-studio di fronte l’Hotel San Domenico Palace, con lui viveva sua sorella Sofia Raabe (1847-1930), figlia del primo marito di sua madre, che lo aiutava a governare la casa-studio, e nel ricevere gli illustri ospiti che lo andavano a trovare ( come Oscar Wilde, F.A. Krupp, Richard Strauss, l’imperatore tedesco Guglielmo II, Eleonora Duse). Von Gloeden muore il 16 febbraio 1931 all’età di 74 anni, viene sepolto nel cimitero acattolico di Taormina, il suo erede è il suo assistente tutto fare Pancrazio Buciunì detto “il moro” (1879-1963) (“u’ moru”, soprannome di famiglia), che ne prosegue l’attività, vendendone le stampe: il quale subisce in pieno regime fascista due perquisizioni con parziale sequestro e distruzione del materiale fotografico che apparteneva a von Gloeden (il fascismo perseguitò gli omosessuali, la repressione dell’omosessualità fu affidata alla polizia fascista, che confinò molti omosessuali nelle isole del mediterraneo, Lipari fu una di queste, vedi il bellissimo film di Ettore Scola “una giornata particolare”), Buciunì subisce due processi per detenzione di materiale osceno, e, nonostante una perizia avversa da parte del nominato perito prof. Stefano Bottari, titolare della cattedra di storia dell’arte medioevale e moderna dell’Università di Messina, che dichiara osceno gran parte del materiale sequestrato, il Tribunale di Messina dimostrando tolleranza ed apertura mentale, assolve il Buciunì. A questo punto del racconto ritorniamo al comò di mia nonna e sveliamo il piccolo mistero: le fotografie nascoste appartenevano al mio bisnonno don Gaetano D’Agata (1883-1949), assistente fotografo di von Gloeden, anch’egli sull’insegnamento del barone, realizzò fotografie di nudo, oltre che di paesaggio o ritratto; don Gaetano era un giramondo, nel nostro album di famiglia lui è ritratto in varie parti del mondo, sempre in compagnia di belle donne: ma io non saprò mai se quelle “foto proibite” erano realizzate dal mio bisnonno Gaetano o da Von Gloeden stesso, perché mia nonna, avendo capito che le andavo a sbirciare di nascosto, le fece sparire definitivamente, e di quel materiale fotografico non ne seppi più nulla. Da parte mia, è doveroso citare altre figure che contribuirono a rendere Taormina l’attuale meta del turismo internazionale. Lady Florence Trevelyan (1852-1907), era dama di corte della regina Vittoria, dalla stessa regina Lady Florence fu poi mandata in esilio in varie parti del mondo, giunse a Taormina e qui vi restò per sempre, era una donna dalle doti eccezionali, dotata di grande sensibilità ed umanità, animalista, filantropa, appassionata di esoterismo, fu sposa dell’allora sindaco e medico di Taormina dott. Salvatore Cacciola, fu una delle prime donne ammesse alla massoneria mondiale (apparteneva alla massoneria anche il marito Cacciola): ne ho già parlato in precedenza in un mio racconto fotografico. Robert Hawthorn Kitson (1873-1947) era un pittore britannico omosessuale, egli lasciò l’Inghilterra a causa dell’emendamento Labouchere, che rendeva illegale qualsiasi atto omosessuale nel Regno Unito (1885), giunse a Taormina e qui si stabilì, costruendo nel 1905 Casa Cusani, una villa con vista sull’Etna, oggi casa museo; nella sua sala da pranzo si trovano gli affreschi “proibiti” realizzati da Frank Brangwyn, essi narrano dell’amore omosessuale tra Kitson ed il suo compagno Carlo Siligato: nel 1908 in seguito al terremoto che distrusse Messina (e Reggio Calabria), essi adottarono un bambino che era rimasto orfano, divenendo di fatto una famiglia omosessuale, all’epoca assolutamente proibita; gli affreschi di Casa Cuseni sono ispirati alle fotografie di von Gloeden, così come nella villa, si trova una “autocromia a colori” del 1910, realizzata da von Gloeden, documento eccezionale che testimonia la volontà del barone di sperimentare nuove tecniche. In occasione del XXI festival dei due mondi di Spoleto, nel 1978, il saggista e critico letterario Roland Barthes (1915-1980) cura una mostra intitolata “Wilhelm von Gloeden”, con interventi di artisti quali Andy Warhol, M. Pistoletto e J. Beuys. Infine, Raffaella Perna, Ricercatrice in Storia dell'arte contemporanea all'Università degli Studi di Catania, sottolinea nel suo libro su “Wilhelm von Gloeden, travestimenti, ritratti, tableaux vivants”, di come LaChapelle, Witkin, Mapplethorpe siano gli artisti contemporanei che vengono indicati come eredi della poetica di von Gloeden.
P.S. le fotografie di Von Gloeden sono state realizzate fotografando sia i grandi pannelli con gigantografiche riproduzioni delle opere di von Gloeden, che si trovano all’ingresso del bar Mocambo di Taormina, sia nel negozio-bazar del fotografo taorminese, compianto mio amico, Nino Malmbrì (possessore di materiale fotografico originale del barone). Le fotografie di Gaetano D’Agata, sono state prese dal mio album di famiglia: in una foto un pò rovinata, ma eccezionale per il suo valore storico e per me affettivo, il mio bisnonno, il fotografo Gaetano D'Agata, qui molto giovane, tiene in braccio sua figlia "Ninitta" (una dei quattro figli, avuti da tre mogli), lei è la mia nonna paterna; in un'altra foto, il fotografo Gaetano D'Agata posa accanto a lei qualche anno dopo, con mia nonna già ragazzina; sempre realizzate dal bisnonno D'Agata c'è sia un foto-ritratto, un primo piano, di mia nonna "Ninitta" molto giovane, e c'è la foto di lei mentre posa come contadinella, con dietro un fondale dipinto, come si usava nelle foto da studio; infine ho messo, due foto realizzate dal mio bisnonno Gaetano "en plein air" a delle bagnanti, "la location" è la spiaggia di Mazzarò (Taormina). Le fotografie delle tombe dei personaggi menzionati nel racconto, sono state fatte nel cimitero cattolico ed acattolico di Taormina; il complesso monumentale funerario del conte Otto Geleng in alto presenta il mezzobusto del figlio Ermanno, la presenza di simbolismi come la clessidra, il gallo, il libro (la Sacra Bibbia) ed il dio mercurio, mi fa ritenere che il conte Otto facesse parte della loggia massonica di Taormina, all’epoca ne faceva parte anche il sindaco di Taormina, dott. Cacciola e sua moglie Lady Florence Trevelyan: nel suo palazzo il dott. Cacciola, realizzò un tempio, che divenne la prima loggia massonica di Taormina : la "Rinascimento"(1904).
TRADITON AND ANTITRADITION
291. Tradition means a handing over: the handing over of a supertemporal circle of principles here in time.
292. Tradition is the atemporal thrown into temporality.
293. Knowledge of the origin, knowledge of the path, knowledge of the all-transcending, ultimate goal: this is metaphysical realisation.
294. Tradition springs forth from the eternal, points at the eternal, and in the human modality of being represents the aspiration towards the eternal.
295. Metaphysical tradition is at the same time solar and polar: polar for though it appears in the earthly-human sphere, yet it is of heavenly origin and for this reason its origin is not subject to the whirlpool of existence (samsara), it is solar for the powers characteristic of my self-awareness which provide the rule of the auton are present in it.
296. There is only one primordial tradition for there is only one metaphysics, and there is only one metaphysics for there is only one being.
297. Tradition can never be identified simply with metaphysical doctrines or with symbology bearing a doctrinal value, and even less with the archaic documents that present these. Tradition is the total acceptance of a world and the total denial of another.
298. Metaphysically speaking, tradition is nothing other than »remembrance«, and the bearing of the connection with the origin. Modernity, however, is not only the lack of this »remembrance«, but at the same time the denial of this metaphysical »remembrance« and aims at the destruction of every kind of representation of remembrance.
299. The most sinister thing is forever if something subsists, but not truly; this is really much worse than if it disappeared. Since if something does not truly subsist, it will sooner or later come to function as a caricature and antithesis of the original.
[It especially refers to those legitimate traditional, spiritual and initiatory organisations which have maintained their continuity, but whose original features have gradually faded away or turned directly to their opposites.]
Leley Noronha © All rights reserved.
Amarelo eh a cor da sabedoria. Aprenda sempre.
Mesmo que voce seje o instrutor. Abracose bom fim de semana..
Yellow is known to be the color of knowledge. I hope you are learning
every day. Even if you're your own instructor.
Make it a perfect week..
Palatine Chapel, Aachen, begun c. 792, consecrated 805 (thought to have been designed by Odo of Metz), significant changes to the architectural fabric 14–17th centuries (Gothic apse, c. 1355; dome rebuilt and raised in the 17th century, etc), mosaics and revetment scream 19th century, and are indeed 19th century, columns were looted by French troops in the 18th century though many were later returned, they were added back without knowledge as to their original locations in the 19th century. Finally, the structure was also heavily damaged by allied bombing during WWII and significantly restored again in the second half of the twentieth century.
With Dan Mackey's extreme knowledge of the area we quickly raced to get the Santa Fe's again a few blocks down. I call this the "Super Man" and it turned out very nice.
Energy is light
and light is knowledge.
Berlin, "Straße des 17. Juni"
heading west to the "Ernst-Reuter-Platz" at sunset.
Three Months left till 17th of June.
"I am sure it is a great mistake always to know enough to go in when it rains. One may keep snug and dry by such knowledge, but one misses a world of loveliness."
~Adeline Knapp
"I keep six honest serving-men
They taught me all I knew;
Their names are What and Why and When
And How and Where and Who."
Rudyard Kipling (1865–1936), Indian-born British writer and poet.
Just So Stories "The Elephant's Child".
On 3 September 2016, we had a fungi morning, which was quite rewarding and definitely fun. Our leader and friend, Karel, is very knowledgeable about fungi and he took 14 of us (plus Karel's two beautiful Beagles) on a foray to West Bragg Creek, maybe an hour's drive west of the city. We had been here a few times over the years, either looking for fungi or on botany outings.
Photographing our findings usually means that I am way at the back of the group or have fallen back with a friend or two. Consequently, the mushrooms have often already been plucked/cut by the time we catch up to the rest of the participants. I also miss a lot of what is being said about IDs and details. It would take far too long to write down the name of each find - each photo taken would have to be carefully numbered so that the right name could be attached and this would be such a hassle when out with a group. Since this outing, Karel has sent an email containing several photos along with IDs. The rest of my photos will have to be just nameless 'pretty pictures' : ) I must add here that any IDs that I give are always tentative, as I know so little about fungi. Another thing to add is that I never, ever pick and eat wild mushrooms!! Too many look similar, some edible, others poisonous. If you are not a fungi expert, never take the risk of eating any of them.
I met up with friend, Sandy, at 8:15 am and she drove us out to the meeting place. My drive from home was done with my windshield wipers on my new car working non-stop - was it raining? No, it had rained the day before - hail, too, on my gleaming new vehicle that I had only had for five days! I needed to clean the windshield, but, once again, I couldn't for the life of me figure out how to turn the wipers off. Amazes me how complicated the wiper options are!
Our morning walk started off by going across the small bridge not far from the parking lot, then part way up the hill and then bush-whacking our way through the forest. This walk, which ended around lunch time, was the main one, but we did stop at a small, gravel parking area a few minutes along the main road, to do a second walk to check for any different mushrooms. This extra walk has yielded a few beauties in past years. Perhaps the most interesting find was a very small twig that had several tiny, turquoise coloured fungi cups on it. The colour looks so out of place in a natural area. My photos of them did not turn out very well, but I did eventually post one of them, just for the very unusual colour.
From here, a few of us stopped at the Cinnamon Spoon cafe in Bragg Creek for lunch. Always a most enjoyable way to finish any outing. Before we climbed into the car for our return drive to Calgary, Sandy and I wandered into the beautiful Art Gallery, owned and run by Bob and Candy Cook. Named Branded Visuals Inc.(Printing Services/Wildlife Gallery), this small store is overflowing with Bob's absolutely amazing photographic works of art. Thanks so much, Bob and Candy, for remembering our chance meeting a number of years ago, down in Fish Creek Park, and for your overly generous words about my own photography.
www.brandedvisuals.com/index.html
Thanks so much, Karel, for giving us a great morning! We really appreciate your passing on your knowledge to us. The same thanks go to Suzanne, the mushroom specialist in Calgary. Sandy, really appreciated the ride there and back!
Inspired by its Catholic and Lasallian heritage, Lewis University (seen in the upper portion of the photograph above along with the Lewis University Airport) offers a values-centered curriculum, rich in the Mission values of knowledge, fidelity, wisdom, and justice and guided by the spirit of association which fosters community in all teaching, learning and service. Founded in 1932 under the direction of the Chicago Archdiocese and Bishop Bernard J. Sheil, Lewis began as the Holy Name Technical School, a school for boys which opened with 15 students. The school was established on a campus of 170 acres of farmland that was donated to the archdiocese by Michael and Frances Fitzpatrick of Lockport, Illinois. During these early days, aviation technology courses were chosen as the special emphasis of instruction, becoming the origin of today’s highly regarded College of Aviation, Science and Technology. The school was incorporated in 1934 under the name Lewis Holy Name Technical School. In 1935, it became Lewis Holy Name School of Aeronautics, a name which is engraved in stone on the building now known as the Oremus Fine Arts Center.
In the lower portion of the photograph is the Prairie Bluff Golf Course featuring an 18-hole championship designed course decorated with water, prairie grass and manicured bent grass fairways covering 230 acres.
This photo was taken in 2013 during my previous Project 365 while landing in Chicago, Illinois on a business trip…please visit my album for this “REMASTERED” Project 365 as I revisit each day of 2013 for additional photos to share!!
Technical Information (or Nerdy Stuff):
Camera - Nikon D5200 (handheld)
Lens – Nikkor 18-300mm Zoom
ISO – 100
Aperture – f/7.1
Exposure – 1/30 second
Focal Length – 40mm
The original RAW file was processed with Adobe Camera Raw and final adjustments were made with Photoshop CS6.
"For I know the plans I have for you,” declares the LORD, “plans to prosper you and not to harm you, plans to give you hope and a future." ~Jeremiah 29:11
The best way to view my photostream is through Flickriver with the following link: www.flickriver.com/photos/photojourney57/
September of 2018 the British Car Fest. Over the past four or five years I have attended these events; taking pictures, talking to the various exhibitors and hopefully gaining a little more knowledge of British made cars …….or whatever British made vehicles might show up at these events.
As I was making my way out of the exhibit area back to my car in the parking lot, I spotted a very unusual looking car sitting up on a small hill. Arousing my interest, I went for a look-see. Definitely unusual car and equally confusing identification sign in its window (as seen in the picture I posted.) Identified as a 1948 Morgatti (Morgan Aerline Coupe)……..whatever the hell that is!
Talked to the owner of this car for a while. He never said a thing about this being a home made custom. Guess he was trying to take advantage of my ignorance of British cars. Like some fool I did a lot of research, both on-line and off-line to see if I found anything matching this description. Of course I didn’t because no such thing exists except what he built in his back yard or garage. The body is obviously some fiberglass configuration that he found somewhere …..or had custom made. As you can see he stuck an old Ford flathead V-8 under the hood. The only real thing I learned from speaking to this guy was never believe anything especially when the hood ornament is basically indicating, “when pigs fly”. I have taken to calling this a 1948 Bulldung (for obvious reasons) but all-in-all, (if) he built this thing he did a pretty good job of doing it.
Since the microscope was first used for scientific purpose's in the 17th century, it has made invaluable contribution's to the fields of biology, chemistry, physics and micro electronics.