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Material Circulante: UDD 0461
Hora: 15:01
Data: 07-06-2017
Local: Virtudes (PK 52 - Linha do Norte)
Serviço: Comboio Especial n.º 95266 (Entroncamento --» Lisboa - Santa Apolónia)
Varias hileras de coches convencionales, algunas 252, unas pocas ramas Talgo y 3 447s descansan en la playa de viajeros de Can Tunis.
Several conventional carriages, some 252, a few Talgo racks and 3 447s rest in Can Tunis passengers yard.
©All photographs on this site are copyright: ©DESPITE STRAIGHT LINES (Paul Williams) 2011 – 2021 & GETTY IMAGES ®
No license is given nor granted in respect of the use of any copyrighted material on this site other than with the express written agreement of ©DESPITE STRAIGHT LINES (Paul Williams). No image may be used as source material for paintings, drawings, sculptures, or any other art form without permission and/or compensation to ©DESPITE STRAIGHT LINES (Paul Williams)
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Photograph taken at an altitude of Fifty metres at 11:51am on a beautiful springtime morning on Saturday 16th April 2022, off Chessington Avenue in Bexleyheath, Kent.
Here we see a Male and Female Carrion crow (Corvus corone), a passerine bird of the family Corvidae and the genus Raven (Higher classification: Corvus), which is native to western Europe and eastern Asia. It can grow to twenty inches in length with a wingspan of up to thirty nine inches. In the distance are the contrails of two passing aeroplanes.
AN IN DEPTH LOOK AT CORVUS CORONE
LEGEND AND MYTHOLOGY
By Paul Williams
Crows appear in the Bible where Noah uses one to search for dry land and to check on the recession of the flood. Crows supposedly saved the prophet, Elijah, from famine and are an Inuit deity. Legend has it that England and its monarchy will end when there are no more crows in the Tower of London. And some believe that the crows went to the Tower attracted by the regular corpses following executions with written accounts of their presence at the executions of Anne Boleyn and Jane Gray.
In Welsh mythology, unfortunately Crows are seen as symbolic of evilness and black magic thanks to many references to witches transforming into crows or ravens and escaping. Indian legend tells of Kakabhusandi, a crow who sits on the branches of a wish-fulfilling tree called Kalpataru and a crow in Ramayana where Lord Rama blessed the crow with the power to foresee future events and communicate with the souls.
In Native American first nation legend the crow is sometimes considered to be something of a trickster, though they are also viewed positively by some tribes as messengers between this world and the next where they carry messages from the living to those deceased, and even carry healing medicines between both worlds. There is a belief that crows can foresee the future. The Klamath tribe in Oregon believe that when we die, we fly up to heaven as a crow. The Crow can also signify wisdom to some tribes who believe crows had the power to talk and were therefore considered to be one of the wisest of birds. Tribes with Crow Clans include the Chippewa (whose Crow Clan and its totem are called Aandeg), the Hopi (whose Crow Clan is called Angwusngyam or Ungwish-wungwa), the Menominee, the Caddo, the Tlingit, and the Pueblo tribes of New Mexico.
The crow features in the Nanissáanah (Ghost dance), popularized by Jerome Crow Dog, a Brulé Lakota sub-chief and warrior born at Horse Stealing Creek in Montana Territory in 1833, the crow symbolizing wisdom and the past, when the crow had became a guide and acted as a pathfinder during hunting. The Ghost dance movement was originally created in 1870 by Wodziwob, or Gray Hair, a prophet and medicine man of the Paiute tribe in an area that became known as Nevada. Ghost dancers wore crow and eagle feathers in their clothes and hair, and the fact that the Crow could talk placed it as one of the sages of the animal kingdom. The five day dances seeking trance,prophecy and exhortations would eventually play a major part in the pathway towards the white man's broken treaties, the infamous battle at Wounded knee and the surrender of Matȟó Wanáȟtaka (Kicking Bear), after officials began to fear the ghost dancers and rituals which seemed to occur prior to battle.
Historically the Vikings are the group who made so many references to the crow, and Ragnarr Loðbrók and his sons used this species in his banner as well as appearances in many flags and coats of arms. Also, it had some kind of association with Odin, one of their main deities. Norse legend tells us that Odin is accompanied by two crows. Hugin, who symbolizes thought, and Munin, who represents a memory. These two crows were sent out each dawn to fly the entire world, returning at breakfast where they informed the Lord of the Nordic gods of everything that went on in their kingdoms. Odin was also referred to as Rafnagud (raven-god). The raven appears in almost every skaldic poem describing warfare.Coins dating back to 940's minted by Olaf Cuaran depict the Viking war standard, the Raven and Viking war banners (Gonfalon) depicted the bird also.
In Scandinavian legends, crows are a representative of the Goddess of Death, known as Valkyrie (from old Norse 'Valkyrja'), one of the group of maidens who served the Norse deity Odin, visiting battlefields and sending him the souls of the slain worthy of a place in Valhalla. Odin ( also called Wodan, Woden, or Wotan), preferred that heroes be killed in battle and that the most valiant of souls be taken to Valhöll, the hall of slain warriors. It is the crow that provides the Valkyries with important information on who should go. In Hindu ceremonies that are associated to ancestors, the crow has an important place in Vedic rituals. They are seen as messengers of death in Indian culture too.
In Germanic legend, Crows are seen as psychonomes, meaning the act of guiding spirits to their final destination, and that the feathers of a crow could cure a victim who had been cursed. And yet, a lone black crow could symbolize impending death, whilst a group symbolizes a lucky omen! Vikings also saw good omens in the crow and would leave offerings of meat as a token.
The crow also has sacred and prophetic meaning within the Celtic civilization, where it stood for flesh ripped off due to combat and Morrighan, the warrior goddess, often appears in Celtic mythology as a raven or crow, or else is found to be in the company of the birds. Crow is sacred to Lugdnum, the Celtic god of creation who gave his name to the city of Lug
In Greek mythology according to Appolodorus, Apollo is supposedly responsible for the black feathers of the crow, turning them forever black from their pristine white original plumage as a punishment after they brought news that Κορωνις (Coronis) a princess of the Thessalian kingdom of Phlegyantis, Apollo's pregnant lover had left him to marry a mortal, Ischys. In one legend, Apollo burned the crows feathers and then burned Coronis to death, in another Coronis herself was turned into a black crow, and another that she was slain by the arrows of Αρτεμις (Artemis - twin to Apollo). Koronis was later set amongst the stars as the constellation Corvus ("the Crow"). Her name means "Curved One" from the Greek word korônis or "Crow" from the word korônê.A similar Muslim legend allegedly tells of Muhammad, founder of Islam and the last prophet sent by God to Earth, who's secret location was given away by a white crow to his seekers, as he hid in caves. The crow shouted 'Ghar Ghar' (Cave, cave) and thus as punishment, Muhammad turned the crow black and cursed it for eternity to utter only one phrase, 'Ghar, ghar). Native Indian legend where the once rainbow coloured crows became forever black after shedding their colourful plumage over the other animals of the world.
In China the Crow is represented in art as a three legged bird on a solar disk, being a creature that helps the sun in its journey. In Japan there are myths of Crow Tengu who were priests who became vain, and turned into this spirit to serve as messengers until they learn the lesson of humility as well as a great Crow who takes part in Shinto creation stories.
In animal spirit guides there are general perceptions of what sightings of numbers of crows actually mean:
1 Crow Meaning: To carry a message from your near one who died recently.
2 Crows Meaning: Two crows sitting near your home signifies some good news is on your way.
3 Crows Meaning: An upcoming wedding in your family.
4 Crows Meaning: Symbolizes wealth and prosperity.
5 Crows Meaning: Diseases or pain.
6 Crows Meaning: A theft in your house!
7 Crows Meaning: Denotes travel or moving from your house.
8 Crows Meaning: Sorrowful events
Crows are generally seen as the symbolism when alive for doom bringing, misfortune and bad omens, and yet a dead crow symbolises potentially bringing good news and positive change to those who see it. This wonderful bird certainly gets a mixed bag of contradictory mythology and legend over the centuries and in modern days is often seen as a bit of a nuisance, attacking and killing the babies of other birds such as Starlings, Pigeons and House Sparrows as well as plucking the eyes out of lambs in the field, being loud and noisy and violently attacking poor victims in a 'crow court'....
There is even a classic horror film called 'THE CROW' released in 1994 by Miramax Films, directed by Alex Proyas and starring Brandon Lee in his final film appearance as Eric Draven, who is revived by a Crow tapping on his gravestone a year after he and his fiancée are murdered in Detroit by a street gang. The crow becomes his guide as he sets out to avenge the murders. The only son of martial arts expert Bruce Lee, Brandon lee suffered fatal injuries on the set of the film when the crew failed to remove the primer from a cartridge that hit Lee in the abdomen with the same force as a normal bullet. Lee died that day, March 31st 1993 aged 28.
The symbolism of the Crow resurrecting the dead star and accompanying him on his quest for revenge was powerful, and in some part based on the history of the carrion crow itself and the original film grossed more than $94 Million dollars with three subsequent sequels following.
TAKING A CLOSER LOOK
So let's move away from legend, mythology and stories passed down from our parents and grandparents and look at these amazing birds in isolation.
Carrion crow are passerines in the family Corvidae a group of Oscine passerine birds including Crows, Ravens, Rooks, Jackdaws, Jays, Magpies, Treepies, Choughs and Nutcrackers. Technically they are classed as Corvids, and the largest of passerine birds. Carrion crows are medium to large in size with rictal bristles and a single moult per year (most passerines moult twice). Carrion crow was one of the many species originally described by Swedish naturalist Carl Linnaeus (Carl Von Linne after his ennoblement) in his 1758 and 1759 editions of 'SYSTEMA NATURAE', and it still bears its original name of Corvus corone, derived from the Latin of Corvus, meaning Raven and the Greek κορώνη (korōnē), meaning crow.
Carrion crow are of the Animalia kingdom Phylum: Chordata Class: Aves Order: Passeriformes Family: Corvidae Genus: Corvus and Species: Corvus corone
Corvus corone can reach 45-47cm in length with a 93-104cm wingspan and weigh between 370-650g. They are protected under The Wildlife and Countryside Act 1981 in the United Kingdom with a Green UK conservation status which means they are of least concern with more than 1,000,000 territories. Breeding occurs in April with fledging of the chicks taking around twenty nine days following an incubation period of around twenty days with 3 to 4 eggs being the average norm. They are abundant in the UK apart from Northwest Scotland and Ireland where the Hooded crow (Corvus cornix) was considered the same species until 2002. They have a lifespan of around four years, whilst Crow species can live to the age of Twenty years old, and the oldest known American crow in the wild was almost Thirty years old. The oldest documented captive crow died at age Fifty nine. They are smaller and have a shorter lifespan than the Raven, which again is used as a symbol in history to live life to the full and not waste a moment!
They are often mistaken for the Rook (Corvus frugilegus), a similar bird, though in the UK, the Rook is actually technically smaller than the Carrion crow averaging 44-46cm in length, 81-99cm wingspan and weighing up to 340g. Rooks have white beaks compared to the black beaks of Carrion crow, a more steeply raked ratio from head to beak, and longer straighter beaks as well as a different plumage pattern. There are documented cases in the UK of singular and grouped Rooks attacking and killing Carrion crows in their territory. Rooks nest in colonies unlike Carrion crows. Carrion crows have only a few natural enemies including powerful raptors such as the northern goshawk, the peregrine falcon, the Eurasian eagle-owl and the golden eagle which will all readily hunt them.
Regarded as one of the most intelligent birds, indeed creatures on the planet, studies suggest that Corvids cognitive abilities can rival that of primates such as chimpanzees and gorillas and even provide clues to understanding human intelligence. Crows have relatively large brains for their body size, compared to other animals. Their encephalization quotient (EQ) a ratio of brain to body size, adjusted for size because there isn’t a linear relationship is 4.1. That is remarkably close to chimps at 4.2 whilst humans are 8.1. Corvids also have a very high neuronal density, the number of neurons per gram of brain, factoring in the number of cortical neurons, neuron packing density, interneuronal distance and axonal conduction velocity shows that Corvids score high on this measure as well, with humans scoring the highest.
A corvid's pallium is packed with more neurons than a great ape's. Corvids have demonstrated the ability to use a combination of mental tools such as imagination, and anticipation of future events. They can craft tools from twigs and branches to hook grubs from deep recesses, they can solve puzzles and intricate methods of gaining access to food set by humans., and have even bent pieces of wire into hooks to obtain food. They have been proven to have a higher cognitive ability level than seven year old humans. Communications wise, their repertoire of wraw-wraw's is not fully understood, but the intensity, rhythm, and duration of caws seems to form the basis of a possible language. They also remember the faces of humans who have hindered or hurt them and pass that information on to their offspring.
Aesop's fable of 'The Crow and the Pitcher, tells of a thirsty crow which drops stones into a water pitcher to raise the water level and enable it to take a drink. Scientists have conducted tests to see whether crows really are this intelligent. They placed floating treats in a deep tube and observed the crows indeed dropping dense objects carefully selected into the water until the treat floated within reach. They had the intelligence to pick up, weigh and discount objects that would float in the water, they also did not select ones that were too large for the container.
Pet crows develop a unique call for their owners, in effect actually naming them. They also know to sunbathe for a dose of vitamin D, regularly settling on wooden garden fences, opening their mouths and wings and raising their heads to the sun. In groups they warn of danger and communicate vocally. They store a cache of food for later if in abundance and are clever enough to move it if they feel it has been discovered. They leave markers for their cache. They have even learned to place walnuts and similar hard food items under car tyres at traffic lights as a means of cracking them!
Crows regularly gather around a dead fellow corvid, almost like a funeral, and it is thought they somehow learn from each death. They can even remember human faces for decades.Crows group together to attack larger predators and even steal their food, and they have different dialects in different areas, with the ability to mimic the dialect of the alpha males when they enter their territory!
They have a twenty year life span, the oldest on record reaching the age of Fifty nine. Crows can leave gifts for those who feed them such as buttons or bright shiny objects as a thank you, and they even kiss and make up after an argument, having mated for life.
In mythology they are associated with good and bad luck, being the bringers of omens and even witchcraft and are generally reviled for their attacks on baby birds and small mammals. They have an attack method of to stunning smaller birds before consuming them, tearing violently at smaller, less aggressive birds, which is simply down to the fact that they are so highly intelligent, and also the top of the food chain. Their diet includes over a thousand different items: Dead animals (as their name suggests), invertebrates, grain, as well as stealing eggs and chicks from other birds' nests, worms, insects, fruit, seeds, kitchen scraps. They are highly adaptable when food sources grow scarce. I absolutely love them, they are magnificent, bold, beautiful and incredibly interesting to watch and though at times it is hard to witness attacks made by them, I cannot help but adore them for so many other and more important reasons.
OBSERVATIONS ON THE PAIR IN MY GARDEN
Crows have been in the area for a while, but rarely had strayed into my garden, leaving the Magpies to own the territory. Things changed towards the end of May when a beautiful female Carrion crow appeared and began to take some of the food that I put down for the other birds. Within a few days she began to appear regularly, on occasions stocking up on food, whilst other times placing pieces in the birdbath to soften them. She would stand on the birdbath and eat and drink and come back over the course of the day to eat the softened food.
Shortly afterwards she brought along her mate, a tall and handsome fella, much larger than her who was also very vocal if he felt she was getting a little too close to me. By now I had moved from a seated position from the patio as an observer, to laying on a mat just five feet from the birdbath with my Nikon so that I could photograph the pair as they landed, scavenged and fed. She was now confident enough to let me be very close, and she even tolerated and recognized the clicking of the camera. At first I used silent mode to reduce the noise but this only allowed two shooting frame rates of single frame or continuous low frame which meant I was missing shots. I reverted back to normal continuous high frames and she soon got used to the whirring of the mechanisms as the mirror slapped back and forth.
The big fella would bark orders at her from the safety of the fence or the rear of the garden, whilst she rarely made a sound. That was until one day when in the sweltering heat she kept opening her beak and sunning on the grass, panting slightly in the heat. I placed the circular water sprayer nearby and had it rotating so that the birdbath and grass was bathed in gentle water droplets and she soon came back, landed and seemed to really like the cooling effect on offer. She then climbed onto the birdbath and opened her wings slightly and made some gentle purring, cooing noises....
I swear she was expressing happiness, joy....
On another blisteringly hot day when the sprayer was on, she came down, walked towards it and opened her wings up running into the water spray. Not once, but many times.
A further revelation into the unseen sides to these beautiful birds came with the male and female on the rear garden fence. They sat together, locked beaks like a kiss and then the male took his time gently preening her head feathers and the back of her neck as she made tiny happy sounds. They stayed together like that for several minutes, showing a gentle, softer side to their nature and demonstrating the deep bond between them. Into July and the pair started to bring their three youngsters to my garden, the nippers learning to use the birdbath for bathing and dipping food, the parents attentive as ever. Two of the youngsters headed off once large enough and strong enough.
I was privileged to be in close attendance as the last juvenile was brought down by the pair, taught to take food and then on a night in July, to soar and fly with it's mother in the evening sky as the light faded. She would swoop and twirl, and at regular intervals just touch the juvenile in flight with her wing tip feathers, as if to reassure it that she was close in attendance. What an amazing experience to view. A few days later, the juvenile, though now gaining independence and more than capable of tackling food scraps in the garden, was still on occasions demand feeding from it's mother who was now teaching him to take chicken breast, hotdogs or digestive biscuits and bury them in the garden beds for later delectation. The juvenile also liked to gather up peanuts and bury them in the grass. On one occasion I witnessed a pair of rumbunctious Pica Pica (Magpies), chasing the young crow on rooftops, leaping at him no matter how hard he tried to get away. He defended himself well and survived the attacks, much to my relief.
Into August and the last youngster remained with the adults, though now was very independent even though he still spent time with his parents on rooftops, and shared food gathering duties with his mum.Hotdog sausages were their favourite choice, followed by fish fingers and digestive biscuits which the adult male would gather up three at a time. In October, the three Crows were still kings of the area, but my time observing them was pretty much over as I will only put food out now for the birds in the winter months. The two adults are still here in December and now taking the food that I put out to help all birds survive in the winter months. They also have a pair of Magpies to compete with now.
Late February 2022 and Cheryl and Russell and their youngster are still with me, still dominant in the area and still taking raw chicken, hotdogs, biscuits and fatballs that I put out for them. Today I saw them mating for the first time this year in the tree and the cycle continues.
Corvus Corone.... magnificently misunderstood by some!
Paul Williams June 4th 2021 (Updated in April 2022)
Nikon D850 Focal length: 460mm Shutter speed: 1/1250s (Electronic front curtain enabled) Aperture: f/6.3 iso160 Hand held with Tamron VC Vibration control set to ON (Position 1) 14 Bit uncompressed RAW NEF file size L (8256 x 5504 pixels) FX (36 x 24) Focus mode: AF-C AF-Area mode: 3D-tracking AF-C Priority Selection: Release. Nikon Back button focusing enabled 3D Tracking watch area: Normal 55 Tracking points Exposure mode: Manual exposure mode Metering mode: Matrix metering White balance on: Auto1, 0, 0 (5080k) Colour space: RGB Picture control: Neutral (Sharpening +2) Active D-lighting: Low
Tamron SP 150-600mm F/5-6.3 Di VC USD G2. Nikon GP-1 GPS module. Lee SW150 MKII filter holder. Lee SW150 95mm screw in adapter ring. Lee SW150 circular polariser glass filter.Lee SW150 Filters field pouch. Hoodman HEYENRG round eyepiece oversized eyecup.Mcoplus professional MB-D850 multi function battery grip 6960.Two Nikon EN-EL15a batteries (Priority to battery in Battery grip). Black Rapid Curve Breathe strap. My Memory 128GB Class 10 SDXC 80MB/s card. Lowepro Flipside 400 AW camera bag.
LATITUDE: N 51d 28m 28.19s
LONGITUDE: E 0d 8m 10.66s
ALTITUDE: 52.00m
RAW (TIFF) FILE: 130.00MB NEF FILE: 89.4MB
PROCESSED (JPeg) FILE: 46.10MB
PROCESSING POWER:
Nikon D850 Firmware versions C 1.10 (9/05/2019) LD Distortion Data 2.018 (18/02/20) LF 1.00
HP 110-352na Desktop PC with AMD Quad-Core A6-5200 APU 64Bit processor. Radeon HD8400 graphics. 8 GB DDR3 Memory with 1TB Data storage. 64-bit Windows 10. Verbatim USB 2.0 1TB desktop hard drive. WD My Passport Ultra 1tb USB3 Portable hard drive. Nikon ViewNX-1 64bit Version 1.4.1 (18/02/2020). Nikon Capture NX-D 64bit Version 1.6.2 (18/02/2020). Nikon Picture Control Utility 2 (Version 2.4.5 (18/02/2020). Nikon Transfer 2 Version 2.13.5. Adobe photoshop Elements 8 Version 8.0 64bit.
Materials: oil on canvas. Dimensions: 96 x 163 cm. Source: pp.userapi.com/c636530/v636530023/15bfc/OCcgNhJ5unk.jpg. I have changed the light and contrast of the original photo.
For several years Shelly Materials SD18M No. 321 was used to bring Santa Claus into town in Kent, Ohio. Shelly engineer Robert Rohal would deck out the locomotive, known as Flash, in holiday lights, including reindeer as seen on the top of the cab. That tradition ended when the Wheeling & Lake Erie declined to allow the locomotive to operate on its tracks in Kent.
Materials: woodblock print. Dimensions: 42.4 x 28 cm. Nr.: 52.44. Source: www.mfa.org/collections/object/kinry%C3%BBzan-temple-at-a.... I have changed the light and contrast of the original photo.
Material Circulante: CP 4722 + 5 Sggmrss + 7 Sgnss + 4 Sgmms + 1 Lgnss
Hora: 12:48
Data: 12-09-2015
Local: Estação de Santarém (PK 74 - Linha do Norte)
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Ameliorate and painted L FIG BRO waistcape
Ameliorate and painted TLG hood
Painted TLG malvolence padme's hair
Lots of work on torso and waistcape
Cpmments and favorites are truly appreciate thanks to all the guys that are there for me and encourage me :D
Gonna order those arms soon :D
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Thanks
H.D.
Latest edition of my transparent materials.
Yellow brick is my reference to ensure lighting is the same as my real set up on my desk.
Material Circulante: Fergrupo 030 + Material de Obras do Fergrupo
Hora: 11:07
Data: 29-07-2014
Local: Estação da Régua (PK 103 - Linha do Douro)
The bird is made from all natural materials and is part of the holiday display at the Krohn Conservatory, Cincinnati, OH
Materials: woodblock print. Dimensions: 18.7 x 35.5 cm. Source: www.hanga.com/artists/kawase-hasui/ks/uenopark.jpg
Notes: map showing existing and abandoned railway lines, buildings, tunnels and roadways including Cox's Old Road
Format: printed map 42 cm x 29 cm, CC Singleton cartographer
Date Range: 1957
Location: Lapstone - Glenbrook
Licensing: Attribution, share alike, creative commons
Repository: Blue Mountains Library library.bmcc.nsw.gov.au
Part of: Local Studies Collection - Maps
Provenance: BMCC
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This advert appears in the November - December 1952 issue of the excellent Sales Appeal trade journal. The magazine dealt with matters relating to packaging, display, marketing and industrial design.
I'd be the first to say that Abram Games was a remarkable and, deservedly, much respected graphic designer but - it is grand to see another poster/press advert in this remarkable series issued by British Aluminium in the early 1950s by an artist other than Games! And it is by another of the greats of the time; Frederick Henri Kay Henrion. The already established German born designer moved to the UK in 1938 and here became both a teacher and practioner. He is noted as being responsible for some of the most noted and long lasting corporate identities for numerous companies as well as for advertising and publciity materials.
Material necessário:
Malha
estilete
cola quente
tesoura
1 recorte o copo de requeijão com estilete ao meio
2 corte a malha em um circulo de 16 cm e utilizando a cola quente por dentro vá colando a malha.
Você pode usar esta mesma base para muitas outras lembrancinhas como por exemplo agulheiro também.
One of my passions about photography is SURPRISE. Often I see a composition which grabs me so profoundly I just shoot. Recently someone asked me if I "set up" my still life material! "Never," I said. (Then I remembered my piece with the rock which I "did" place on the railing . . . see below for this exception!)
Now here is an example of something that would take up pages in my visual journal. I LOVED the contrast of the thin, relatively new (comparatively speaking) "Solomon's" book leaning against the old row of ragged books.
C L I C K
Now, I am NO scholar, but fascinated with research! When I began to read about the The Song of Solomon I was totally blown away by the controversies which abound from this piece. Now I'm wondering if someone did, indeed, set up this still life with the juxtaposition between the torn covers and the newness of the Solomon book!
My dear grandmother's favorite saying was:
“A merry heart doeth good like medicine.”
And I love:
“All the rivers run into the sea; yet the sea is not full.”
~ King Solomon ~
______________________________________________________________________________________
a bit of trivia from the New World Encyclopedia:
"The Song of Solomon (Hebrew title שיר השירים, Shir ha-Shirim), also known as the Song of Songs, is a book of the Tanakh (and Christian Old Testament), which celebrates and interprets human sexuality within a religious framework. The book consists of a cycle of poems about erotic love, largely in the form of a dialogue between a man and a woman (often labeled a "bride" and a "bridegroom" by conservative translators).
While the nature and function of the Song as a religious document remain controversial, it is undeniable that it is, first and foremost, an inspiring and moving example of poetic art.
Through its use of various poetic and literary devices, it manages to create a vivid and compelling world, one that is inhabited by two (unnamed) characters onto which readers are invited to project themselves.
An intriguing element of this text as poetry is that, in spite of the efforts of various scholars and commentators over the centuries, it simply does not require a single discrete interpretation. As such, any ambiguities, double meanings or circular references could have been intentional elements of the poet's overall purpose in composing the text.
Some of the devices used to great effect include symbolism, sensory imagery, and other line-and strophe-level devices (including alliteration and paronomasia)."
Pillado en Matapozuelos (Valladolid) donde la línea de alta velocidad y la convencional están a pocos metros. Lugar de gran tráfico ferroviario.
Más de los trenes 130 en mi nuevo artículo:
suite101.net/article/tren-de-la-serie-130-de-renfe-operad...
Gracias por vuestras visitas.
Material Circulante: CP E214 + CEyf 4169 + CEyf 4178 + CEyf 466
Hora: 08:57
Data: 14-12-2019
Local: Estação de Aveiro - Vouga (PK 34 - Linha do Vouga)
Serviço: Comboio Especial n.º 20801 (Aveiro - Vouga --» Macinhata) [Comboios Históricos na Linha do Vouga]
Materials: oil on canvas. Dimensions: 31.7 x 47 cm. Source: www.rauantiques.com/images/products/30-0155/zoom/full/30-....
Materials: oil on canvas. Dimensions: 91.6 x 135.3 cm. Nr.: ? Source: pinacoteca-agnelli.it/visit/wp-content/uploads/2012/07/Ca.... I have changed the contrast of the original photo.
President Barack Obama talks with King Abdullah II of Jordan during a bilateral meeting in the Oval Office, April 26, 2013. (Official White House Photo by Pete Souza)
This official White House photograph is being made available only for publication by news organizations and/or for personal use printing by the subject(s) of the photograph. The photograph may not be manipulated in any way and may not be used in commercial or political materials, advertisements, emails, products, promotions that in any way suggests approval or endorsement of the President, the First Family, or the White House.
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Mercado Municipal y Polideportivo Barceló y Biblioteca Pública Municipal Mario Vargas Llosa
Calle Barceló 4-6, c/v a Mejía Lequerica 9 y a Beneficencia 7-9 Madrid,
Nieto Sobejano Arquitectos: Fuensanta Nieto y Enrique Sobejano. Proyecto Concurso: 2007. Arquitecto de proyecto: Alfredo Baladrón, Alexandra Sobral. Coordinación de proyecto: Patricia Grande. 2008
Dirección de obra: Nieto Sobejano Arquitectos. Construcción: 2009–14
La intervención realizada sobre el área del Mercado Barceló comprende espacios públicos, edificios e instalaciones temporales que forman parte de un mismo conjunto. Los autores comentan acerca del proyecto:
Su denominación múltiple -mercado/polideportivo/biblioteca- anuncia ya un protagonismo colectivo y revela la condición social del programa: un mercado compacto sobre el que se eleva un pabellón deportivo enmarcando la ciudad y frente al que se ubica una biblioteca volada por encima del patio de un colegio. Se asume así la coexistencia de tres concepciones simultáneas (contenedor, marco, puente) que responden a distintas variantes estructurales (pórtico, voladizo, viga) y generan a su vez diferentes espacios cívicos alrededor: una calle cubierta, una plaza longitudinal, una terraza elevada. En esta matriz combinatoria, equilibrio de necesidades funcionales, sistemas estructurales y espacios urbanos, radica la condición densa e híbrida que caracteriza la actuación. En el límite entre el centro antiguo de Madrid y su posterior ensanche, rodeado de edificaciones históricas y construcciones contemporáneas, calles estrechas, plazas y ensanchamientos, el mercado -cuyo interior no se ha construido respetando el proyecto original de los autores- se expresa como un cuerpo autónomo, situado en la confluencia de las calles Mejía Lequerica y Beneficencia a las que se abre en sus distintas fachadas. Separado por una estrecha una calle-galería interior de acusada proporción vertical, el pabellón polideportivo se asoma en voladizo por encima del mercado, cuya cubierta es en realidad una gran terraza pública elevada desde la que se divisan los tejados de Madrid. La biblioteca, situada al otro lado de una nueva plaza longitudinal, sobrevuela el patio del colegio al que se adosa para formar un conjunto relacionado formalmente con los otros edificios. La definición geométrica y la expresión material de sus cerramientos anuncian que -pese a sus diferentes usos- las nuevas edificaciones pertenecen a un mismo tiempo y lugar. Una piel formada por piezas de vidrio moldeado de grandes dimensiones -blanco y opalino- unifica su apariencia exterior transmitiendo ligereza y unidad al conjunto.
Mercado: El eje del nuevo mercado es una elevada galería cubierta de gran de altura, donde esbeltas escaleras mecánicas suben y bajan hacia la terraza y los comercios de las plantas superiores, invitando a los paseantes a atravesar el edificio desde la calle Mejía Lequerica hacia la nueva plaza posterior. Grandes paños de vidrio dejan ver los puestos de mercado que se disponen en bandas paralelas de amplias calles interiores. Tanto si se entra al mercado desde la calle como si se hace desde la plaza, un vacío vertical hace percibir al usuario la dimensión espacial en las tres plantas que abarca el local. Un conjunto de escaleras paralelas a la galería conecta los diferentes niveles, mientras que un núcleo compacto de montacargas, ascensores y aseos comunica las plantas en toda su altura, incluso hasta los sótanos de almacenes, carga/descarga y aparcamiento. El cerramiento exterior está formado por piezas lineales de vidrio moldeado blanco en U, de 50 cm de anchura, formando una piel continua opalina que envuelve todos los edificios del conjunto.
Polideportivo: El nuevo polideportivo está situado sobre los tejados de Madrid. La cubierta del mercado es en realidad una gran plaza de 1500 m2 en la que los niños juegan, los jóvenes hacen deporte, los mayores toman el sol, o simplemente se asoman a observar el perfil de la ciudad. Un núcleo de comunicación independiente y una larga rampa mecánica han permitido llegar directamente a este nivel, donde también se ubican vestuarios, aseos, control y acceso a la zona deportiva. Los escolares del colegio vecino acceden directamente desde el patio de la escuela por medio de una conexión subterránea. Un café acristalado queda bajo una gran losa sobre la que se sitúa el pabellón cubierto. El núcleo de comunicaciones llega hasta el último nivel dividiendo el espacio en dos áreas: las salas de gimnasia hacia la calle Barceló y el pabellón polideportivo propiamente dicho, abierto a través de un gigantesco ventanal de 32 metros de longitud hacia las azoteas de la ciudad.
Biblioteca: La biblioteca configura en su volumen lineal una nueva manzana con el colegio existente al que complementa. Concebida como un edificio-puente, libera el espacio inferior para ampliar el patio de juegos del colegio, apoyándose en dos cuerpos que albergan los núcleos de comunicación, acceso y servicios. De este modo, las dos plantas superiores longitudinales permiten la ubicación de los espacios de lectura y reunión del programa, con distintas configuraciones posibles. Comparte materiales de cerramiento con el mercado y polideportivo, admitiendo de este modo la presencia de una luz natural tamizada en las áreas interiores de lectura.
europaconcorsi.com/projects/276602
www.baunetz.de/meldungen/Meldungen-Mercado_de_Barcelo_in_...
www.metalocus.es/content/es/blog/nuevo-mercado-barcel%C3%... hicarquitectura.com/2013/12/nieto-sobejano-mercado-barcelo/ arqa.com
Nieto Sobejano Arquitectos:
Materials: oil on canvas. Dimensions: 15.9 x 21.3 cm. Nr. : 2004.166.4. Source: www.nga.gov/content/ngaweb/Collection/art-object-page.130.... I have changed the light and contrast of the original photo.