AIA 150: America's Favorite Architecture
View allAll Photos Tagged methodology
Since I haven't figured out the latest public/private "embedding" methodology and have little intention of doing so, both versions are public which allows you to better express your preference anyway.
“According to this methodology, Japan Railway explains that this is what it would feel like as a passenger:”
For Smile on Saturday and the theme "Gemstones".
I must pay credit to Ben Tuxworth at Adaptalux Lighting Studio whose idea and methodology I've followed for this image.
Have a super Saturday and stay safe.
This from my last walkabout in Moabit last December. I saw this last remaining leaf on a branch but also noticed the emergence of the next generation behind it, I was struck by this as it reminded me of those scenes you see, when the hero is about to die but sees before him/her the objective ideal unfolding as they die, their last smile knowing their sacrifice was worth all the pain, suffering and sacrifice, as others shall now survive; I know how awfully dramatic that is, all that over a leaf?
But that's the beauty of photography, to bring to life more than what is there in the just the literal sense. Photography is perhaps the greatest methodology of creating an allegorical imager, well, sometimes!
I hope everyone is well and so as always, thank you! :)
Did my Breeding Bird Survey (BBS) on Sheriffmuir this morning early. Still plenty of these on the road up, but unfortunately none on the square itself. BBS involves walking two 1km transects 500m apart and recording all the species you see and hear. Administered by the British Trust for Ornithology it is our flagship survey and provides trends in bird populations as the survey is carried out with rigorous methodology and is long term - I have been doing this square for 12 years now.
Living History Farms is a 500-acre open-air museum located in Urbandale, Iowa, United States. The museum's mission is to educate visitors and demonstrate the past 300 years of Iowa's agricultural history. As its name implies, the museum follows the methodology of living history in depicting the lives of people living on farms in the years of 1700, 1850, and 1900, engaging in various agricultural activities.
València
© 2023 Salva Benlloch
Without my permission, do not copy, reproduce, distribute, modify, post this image on websites, blogs or other media and do not use it for commercial.
I love this particular methodology for constructing fences. No need for those pesky nails.
Happy Fence Friday everyone.
Grand Teton National Park, Wyoming
Swingin' the bends at MP. 20, El Segundo loads dodge in and out of the fickle winter sun. Having scampered around looking for angles, I opted to stay low and mobile for the sake of being able to adjust locale for sunshine. Though I have no beautiful elevated frames of the Escalante, that methodology at least paid off with a sucker hole here during what would sadly be my last attempt at this classy little operation. I had to run for this one, and the slightly blown out boot heel was well worth it.
There are some 450 authorized gondoliers distributed over the five hundred gondolas in the city, just a few if compared to the 10,000 boatmen who plied the waters of Venice at the time of Goldoni, but a good number considering that there are around 2500 taxis are in Milan. These facts show that in the end, the traffic along the Venetian canals has not changed substantially since the Renaissance, as has happened in other cities instead.
This is why Gondolas and Squeri are so important to Venice’s economy. The squeri are the famous workshops where gondolas are manufactured and undergo maintenance. Originally, these workshops were all located on the Grand Canal, just to make their overriding importance and centrality to the city’s needs, but nowadays only two of them still exist in the center of Venice: San Trovaso and Tramontin.
San Trovaso Squero is even legendary, as its existence is documented since Goldoni’s times, but the oldest is surely the Tramontin Squero, as the Tramontin family has been handing down the art since 1884 and has been the pioneer of the modernization of construction techniques, renewing methodologies used since the 1500s and 1600s.
The construction technique of gondolas is virtually unchanged since the days of Giovanni Tramontin, great- great-grandfather to Roberto, who said he was so skilled in his work that he made a bet with his student Alberto Mingaroni and fashioned a gondola in a single night.
Who knows if it was a legend or a real story, but certainly nowadays his grandchildren need to work for hundreds of hours to build a gondola in a workmanlike manner, as each one is a unique piece. Indeed, each gondolier has his own gondola and each boat is customized to its gondolier, to his weight and height – indeed, it is no coincidence that the weight of the iron bow varies according to the size of the gondolier and serves as a mass balancer. Also the steering position, the oar and the forcola where it rests are designed and manufactured considering the height and the arms of the gondolier. This need to customize gondolas is not an artistic habit, but rather responds to its peculiar navigation technique based on arm strength. This technique is very complex and relies on experience and direct knowledge of the routes, channels and pitfalls, however, quite different from any other traditional navigation mode.
For further information please visit www.thatsvenice.com/travel-guides/squeri/
Venice (Italian: Venezia [veˈnɛttsja] ( listen), Venetian: Venexia [veˈnɛsja]) is a city in northeast Italy which is renowned for the beauty of its setting, its architecture and its artworks. It is the capital of the Veneto region. In 2009, there were 270,098 people residing in Venice's comune (the population estimate of 272,000 inhabitants includes the population of the whole Comune of Venezia; around 60,000 in the historic city of Venice (Centro storico); 176,000 in Terraferma (the Mainland), mostly in the large frazioni of Mestre and Marghera; 31,000 live on other islands in the lagoon). Together with Padua and Treviso, the city is included in the Padua-Treviso-Venice Metropolitan Area (PATREVE) (population 1,600,000).
The name is derived from the ancient Veneti people who inhabited the region by the 10th century B.C. The city historically was the capital of the Venetian Republic. Venice has been known as the "La Dominante", "Serenissima", "Queen of the Adriatic", "City of Water", "City of Masks", "City of Bridges", "The Floating City", and "City of Canals". Luigi Barzini described it in The New York Times as "undoubtedly the most beautiful city built by man". Venice has also been described by the Times Online as being one of Europe's most romantic cities.
The city stretches across 117 small islands in the marshy Venetian Lagoon along the Adriatic Sea in northeast Italy. The saltwater lagoon stretches along the shoreline between the mouths of the Po (south) and the Piave (north) Rivers.
The Republic of Venice was a major maritime power during the Middle Ages and Renaissance, and a staging area for the Crusades and the Battle of Lepanto, as well as a very important center of commerce (especially silk, grain, and spice) and art in the 13th century up to the end of the 17th century. This made Venice a wealthy city throughout most of its history. It is also known for its several important artistic movements, especially the Renaissance period. Venice has played an important role in the history of symphonic and operatic music, and it is the birthplace of Antonio Vivaldi.
Please visit en.wikipedia.org/wiki/Venice for further information...
Floater - This beautiful Barn Owl popped out of a dense willow stand and floated by me full frame, allowing for some cool shots. The SEOW's seemed to start their hunt first, followed by the Barn Owls.
I really had to push the ISO and reduce my shutter speed here, but the electronic shutter really helped me with the spray and pray methodology and I came away with some sharp frames.
Species: Barn Owl (Tyto alba)
Location: Central California, CA, USA
Equipment: Canon EOS R5 + EF 100-400 IS II, Handheld
Settings: 1/400s, ISO: 6400, f/5.6 @400mm, Electronic Shutter
Un viatge al passat. (Carcassona - França).
Un viaje al pasado. ( Carcasona - Francia).
A trip to the past. (Carcassonne - France)
Català:
Benvolguts amics / es, em veig obligat a dedicar menys temps del desitjat a Flickr, de manera que només comentaré les fotos que siguin del meu grat i donaré com a favorites a les que realment siguin molt bones.
A causa de tot això sou lliures de comentar les meves fotos o no i de marcar-les com a favorites o no.
Sempre he estat amable i respectuós amb tots vosaltres i us he tornat les vostres visites i comentaris. Sento haver de canviar la meva metodologia pel que no podré visitar tan sovint les vostres galeries, per que no puc destinar el temps que venia fent fins ara. Espero el comprendreu ..... una abraçada estimats amics i amigues. Antoni.
Español:
Apreciados amigos/as, me veo obligado a dedicar menos tiempo del deseado en Flickr, por lo que solamente comentaré las fotos que sean de mi agrado y daré como favoritas a las que realmente sean muy buenas.
Debido a todo ello sois libres de comentar mis fotos o no y de marcarlas como favoritas o no.
Siempre he sido amable y respetuoso con todos vosotros y os he devuelto vuestras visitas y comentarios. Siento tener que cambiar mi metodología por lo que no podré visitar tan a menudo vuestras galerias, por que no puedo destinar el tiempo que venia haciendo hasta ahora. Espero lo comprendereis.....un abrazo queridos amigos y amigas. Antoni.
English:
Dear friends, I am forced to spend less time than I want on Flickr, so I will only comment on the photos that are to my liking and I will give as favorites those that are really good.
Because of all this you are free to comment my photos or not and mark them as favorites or not.
I have always been kind and respectful to all of you and I have returned your visits and comments. I'm sorry to have to change my methodology so I will not be able to visit your galleries so often, because I can not use the time I've been doing so far. I hope you will understand ... a hug dear friends. Antoni
Floater II - This beautiful Barn Owl popped out of a dense willow stand and floated by me full frame, allowing for some cool shots. The SEOW's seemed to start their hunt first, followed by the Barn Owls.
I really had to push the ISO and reduce my shutter speed here, but the electronic shutter really helped me with the spray and pray methodology and I came away with some sharp frames.
Species: Barn Owl (Tyto alba)
Location: Northern California, CA, USA
Equipment: Canon EOS R5 + EF 100-400 IS II, Handheld
Settings: 1/400s, ISO: 6400, f/5.6 @400mm, Electronic Shutter
So much happening right now, so many pieces being moved about the chess board of the ever-expanding realm of human consciousness. And yet so few actually now what is going on. That’s why they call it Esoteric.
The invasion of soldier age Islamist illegal migrants onto western shores, all attacking with knives (ever noticed that?) modus operandi of the field of battle, yet, they’re as much pawns in this game as the victims are, of course I don’t expect a nation’s society to stand idly by when rape and murder is beset upon them, however, after two world wars (Imperialist) then the desecration of Palestine by Israel (Zionist) and now the aforementioned activities (Wahhabism), neatly allowing Israel to re-adjust the narrative making themselves look to be good guys now, aided by the Bondi Beach incident (Interesting timing) this is a slow motion methodology of “Poisoning the Well” a CIA narrative altering strategy and method of pursuing propaganda. So thus, the final initiative for the oil pipeline and reserves can be tapped into beyond Palestinian shores. And beyond the 3 aforementioned factions are the ones who really pull the strings, not your governments.
In recent history: First it was the money (Federal Reserve / Central Banking), second it was the territory and central bank implementation (Middle East Wars), then it’s the minerals (Oil and Agricultural take over) then it’s population control (Constant Fear, Vaccines, Digital ID’s and Internet “Safety” Bills, etc). Marching toward a world central government, single world currency and one world religion.
If you still think it’s Left vs Right, you haven’t got a clue, if you still blame your world “Leaders” and Government than you haven’t got a clue, if you listen to “Alternative” news agencies who only steer the hate and division, then your attention is in the wrong place and you haven’t got a clue. The two great time lines have become very apparent, the kicker is that the ones on the lower time line won’t even realise it, somewhat akin to a patient with Alzheimer’s who won’t realise they are dying from Alzheimer’s, and those at the higher time line look down at the lowers and despair for them!
For those of the higher realm, do not engage with the lower realities, you can only retain a higher vibration, equip oneself with knowledge and go forward (transcend consciousness). If you don’t, you’re just amongst the people of echopraxia!
I hope everyone is finally waking the fuck up and so as always, thank you! 😊
Garraf liegt zwischen Barcelona und Sitges in Katalunien, Spanien
Lafarge (Holcim) zeigt internationalen Experten seine wegweisende Methodik im Bereich des nachhaltigen Steinbruchmanagements.
Der Link (kann mit einem Rechtsklick übersetzt werden)
Garraf is located between Barcelona and Sitges in Catalonia, Spain
Lafarge (Holcim) is showing international experts its pioneering methodology in the field of sustainable quarry management.
The link (can be translated with a right click)
El Garraf está situado entre Barcelona y Sitges en Cataluña, España.
Lafarge (Holcim) está mostrando a los expertos internacionales su metodología pionera en el campo de la gestión sostenible de canteras.
www.lafargeholcim.es/lafarge-muestra-su-metodologia-pione...
Bitte respektiere mein Copyright. Keine Verwendung des Fotos ohne meine ausdrückliche Genehmigung.
Please respect my copyright. No use of the photo without my expressly permission.
Por favor, respete mis derechos de autor. Ningún uso de la foto sin mi permiso explícito.
macro / water, leaves, spoon / found object
youtu.be/6lYuqiHYwDY?si=aUhFgf2_hDTP3v5y
Remembering: Professor Fred Woell
"Art, like life, is a challenge. It challenges all our resources, mentally and physically. It can't be predictably created from a linear didactic formula. It eludes methodology, technology, or ritual. It is, like life, more about being human, being vulnerable, being imperfect, and about things unexplainable. It is not a science. Art is about surprise, about the unexpected, about letting go and risking. It is about taking steps towards places where there may not be any footholds, and falling and failing.” – J. Fred Woell (2)
www.metalmuseum.org/post/2018/04/19/inside-the-collection...
A couch made from strips and blocks of turf sits in a bayside park in Keflavík on the Reykjanes Peninsula, Iceland. Turf cut from the Icelandic landscape has long been used in construction on the Island. From the Age of Settlement up until the turn of the 20th Century, turf houses dominated Icelandic housing design. These abodes were in essence timber houses, methodologically based upon the longhouse designs of Norway, Sweden, Denmark and the Scottish Isles, but adjusted to specific Icelandic conditions.
The foundation of turf houses was usually one or more layers of rock, but with a wooden structural base. The walls were double-stacked and lined with compressed soil for isolation; before an outer layer of turf, cut into strings, diamonds or squares got pressed together; creating the grassy surface of these original and iconic Icelandic homes.
An isolated barn on a deserted farm site stands with its lower door open giving an almost human expression of being aghast at all the changes around it. This past decade of my life has been a battle to accept generational changes without betraying a sense of being aghast. Technology advances and changes in methodology can be bewildering to older folks yet positive. Changes in morality and a breakdown in genteelness is more difficult to accept.
Garraf liegt zwischen Barcelona und Sitges in Katalunien, Spanien
Lafarge (Holcim) zeigt internationalen Experten seine wegweisende Methodik im Bereich des nachhaltigen Steinbruchmanagements.
Der Link (kann mit einem Rechtsklick übersetzt werden)
Garraf is located between Barcelona and Sitges in Catalonia, Spain
Lafarge (Holcim) is showing international experts its pioneering methodology in the field of sustainable quarry management.
The link (can be translated with a right click)
El Garraf está situado entre Barcelona y Sitges en Cataluña, España.
Lafarge (Holcim) está mostrando a los expertos internacionales su metodología pionera en el campo de la gestión sostenible de canteras.
www.lafargeholcim.es/lafarge-muestra-su-metodologia-pione...
Bitte respektiere mein Copyright. Keine Verwendung des Fotos ohne meine ausdrückliche Genehmigung.
Please respect my copyright. No use of the photo without my expressly permission.
Por favor, respete mis derechos de autor. Ningún uso de la foto sin mi permiso explícito.
Après des centaines d'heures d'entraînement, des chercheurs ont réussi à faire comprendre à une intelligence artificielle le « langage » des poules 🤔
Et, le potentiel serait plus important qu'il n'y paraît !!!
« Notre méthodologie utilise une technique d'IA de pointe que nous appelons Deep Emotional Analysis Learning (DEAL) », explique Cheok, « une approche innovante et hautement mathématique qui permet de comprendre de manière nuancée les états émotionnels à partir de données auditives ». Et les résultats semblent positifs, puisque dans 80 % des cas, ils correspondent aux observations des chercheurs.
En attendant de savoir si les ragondins disent « pain au chocolat » ou « chocolatine », l'équipe de Cheok envisage de créer une application gratuite permettant aux éleveurs de mieux identifier les émotions de leurs poulets …
Un outil bien utile, car ces bêtes ne sont pas “aussi “stupides" qu'elles en ont l'air, et seraient même "des animaux très sociaux", selon les chercheurs
_________________________________________PdF______
After hundreds of hours of training, researchers managed to make an artificial intelligence understand the “language” of chickens 🤔
And, the potential would be greater than it seems !!!
“Our methodology uses a cutting-edge AI technique we call Deep Emotional Analysis Learning (DEAL),” explains Cheok, “an innovative and highly mathematical approach that provides nuanced understanding of emotional states from auditory data.” And the results seem positive, since in 80% of cases, they correspond to the researchers' observations.
While waiting to know whether coypu say “pain au chocolat” or “chocolatine”, Cheok’s team plans to create a free application allowing breeders to better identify the emotions of their chickens…
A very useful tool, because these animals are not “as stupid as they seem, and are even “very social animals”, according to the researchers
________________________________________PdF_______
We always used as much machinery as possible to do the harvesting (indeed all aspects of farming) instead of our competitor's methodology....
Of course it's about impossible to actually hire a legal person to work the farms so thank god for those H2A Work Programs we have with Mexico....
The pay back when I was there 5 years ago, averaged some $17 to $ 18 per hour, god only knows how much they need to pay now along with the housing that must be provided under the program.
PS my favorite thing is the foreman intently playing on his phone while the workers do their thing....
It has been a while but last night I went out to Coopers Lagoon beach (west of Lake Ellesmere) to shoot the aurora. The forecast looked kind of promising but it didn't really eventuate as I had hoped. As the aurora wasn't the most exciting, I decided to do a 120-image star trail stack combined with the aurora. I think I got a pretty pleasing result due to the stacking methodology. Each image was a 30 sec exposure, f/2.8, ISO 4000, 17mm lens and the Sony A7R V.
Excerpt from www.bwst.ca/the-artists/duggan:
Brendan Duggan
Location: W5 - The Buzz Barber & Co., 359 Brant St.
Title: Infestation
Material: Metal
Artist Statement:
My work shifts between design, craft and art. Combining elements from a broad scope of metalsmithing methodology that includes commercial fabrication and machinist skills as well as traditional blacksmithing techniques. My work can include found art, constructivist assassemblages, and free form linear monoliths.
The city of Le Havre, on the English Channel in Normandy, was severely bombed during the Second World War. The destroyed area was rebuilt according to the plan of a team headed by Auguste Perret, from 1945 to 1964. The site forms the administrative, commercial and cultural centre of Le Havre. Le Havre is exceptional among many reconstructed cities for its unity and integrity. It combines a reflection of the earlier pattern of the town and its extant historic structures with the new ideas of town planning and construction technology. It is an outstanding post-war example of urban planning and architecture based on the unity of methodology and the use of prefabrication, the systematic utilization of a modular grid, and the innovative exploitation of the potential of concrete.
Rovingian Council - Nomad Monks - Introduction, Organization, Methodology and Activities by Daniel Arrhakis (2025)
Nomad Monks - A Personal Quest
Introduction, Organization, Methodology and Activities
Introduction
The Rovingian Council has, since its inception, endeavored to formalize its foundational philosophy and research methodologies. Among these are the study and analysis of sacred geometries, rites, and diverse cultures. The organization’s structure has evolved through regular annual regional gatherings and multi-year assemblies, specifically the Rovingian Council itself. This systematic approach is organized into distinct phases, each marked by strategic planning, deep reflection, rigorous scholarship, and collaborative discussion among members.
Methodology and Activities
The Council’s process incorporates a range of deliberate practices. These include a variety of rites, exploratory journeys, and searches that involve the collection and analysis of significant elements. Scholarly investigation plays a central role, supported by visual documentation through photography, drawing, and painting. These activities are further enriched by the sharing of experiences across different cultures and regions. An essential component is the support extended to individuals or communities encountered during these endeavors, whether that assistance is spiritual, social, or humanitarian in nature.
Distinctiveness of the Nomad Monks
Unlike conventional religious orders or typical mystical movements, the Nomad Monks enjoy autonomy in their spiritual development. Each member is empowered to determine their own path of formation and discovery. While guidance remains continuously available, it is facilitated through an open dialogue that emphasizes reciprocal learning and mutual growth.
Experiential Learning and Individual Growth
The core methodology centers on experiential discovery. This approach allows each participant to progress at their own pace, with their unique aspirations recognized and encouraged. The journey is valued above the destination, and the process of exploration itself is considered paramount. Although the study of sacred geometries, rites, and diverse cultures is a central objective, the organization places its principal value on the personal enrichment experienced by each individual.
Impact on Council Activities
These academic pursuits, collections, explorations, and intercultural travels are integral to shaping the agenda of the annual regional meetings. Ultimately, they inform the Rovingian Council, which convenes every five years to share and discuss the expertise and insights acquired by participants. In this way, the collective and individual journeys contribute directly to the ongoing evolution and enrichment of the Council and its members.
____________________________________________________
Monges Nómadas - Uma Busca Pessoal
Introdução, Organização, Metodologia e Atividades
Introdução
Desde a sua fundação, o Conselho Rovingiano tem-se empenhado em formalizar a sua filosofia e metodologias de investigação. Entre estas, destacam-se o estudo e a análise de geometrias sagradas, ritos e diversas culturas. A estrutura da organização evoluiu através de encontros regionais anuais regulares e assembleias plurianuais, especificamente o próprio Conselho Rovingiano. Esta abordagem sistemática está organizada em fases distintas, cada uma marcada por um planeamento estratégico, reflexão profunda, rigor académico e discussão colaborativa entre os membros.
Metodologia e Atividades
O processo do Conselho incorpora um conjunto de práticas deliberadas. Estas incluem uma variedade de ritos, viagens exploratórias e buscas que envolvem a recolha e análise de elementos significativos. A investigação académica desempenha um papel central, apoiada pela documentação visual através da fotografia, desenho e pintura. Estas atividades são ainda enriquecidas pela troca de experiências entre diferentes culturas e regiões. Uma componente essencial é o apoio oferecido a indivíduos ou comunidades encontrados durante estas jornadas, seja esta assistência de natureza espiritual, social ou humanitária.
Características distintivas dos Monges Nómadas
Ao contrário das ordens religiosas convencionais ou dos movimentos místicos típicos, os Monges Nómadas gozam de autonomia no seu desenvolvimento espiritual. Cada membro é capacitado para determinar o seu próprio percurso de formação e descoberta. Embora a orientação esteja sempre disponível, é facilitada através de um diálogo aberto que enfatiza a aprendizagem recíproca e o crescimento mútuo.
Aprendizagem Experiencial e Crescimento Individual
A metodologia central baseia-se na descoberta experiencial. Esta abordagem permite que cada participante progrida ao seu próprio ritmo, com as suas aspirações únicas reconhecidas e encorajadas. A viagem é valorizada acima do destino, e o próprio processo de exploração é considerado primordial. Embora o estudo das geometrias sagradas, dos ritos e das diversas culturas seja um objetivo central, a organização valoriza principalmente o enriquecimento pessoal vivenciado por cada indivíduo.
Impacto nas atividades do Conselho
Estas atividades académicas, coleções, explorações e viagens interculturais são essenciais para moldar a agenda dos encontros regionais anuais. Em última análise, servem de base ao Conselho Rovingiano, que se reúne de cinco em cinco anos para partilhar e debater a experiência e os conhecimentos adquiridos pelos participantes. Desta forma, as jornadas coletivas e individuais contribuem diretamente para a evolução e enriquecimento contínuos do Conselho e dos seus membros.
Yeegads, it's come to this. Always on the lookout for macro-sized creatures in my yard, I got excited when I saw these guys mating. I have to keep reminding myself where I see them often - on my daily rounds of possum poop detail in the back yard. Yup, decaying trash and scat lovers and carriers of disease. Yuk. Where's a Robber Fly when you need one?
About the photography: Camera was already set up with macro and ring light, so I grabbed it for some handheld shots. Then, just for fun, I did an unplanned focus stack of 2 - they were pretty sharp all the way through to begin with, but Bernie inspired me to try the stack. I used Lightroom to Photoshop as the methodology - my first successful attempt.
Methodology. Tedium Warning!
I make a folder for each calendar year. Inside are folders for each of the twelve months. Inside each of those are folders for each of the days I do any photography. A very nested folder array.
I don't do any labeling of photos in the folders, or categorizing. A daily folder may be labeled "Oct 16 Woods" or similar, but that's as far as it goes. Clearly in very short order I no longer know where particular types of photos can be found, other than by opening folders and looking. When I come back from a day's shooting with many hundreds of exposures, I have not found a way to title or catalog so many shots.
It isn't a great way to organize, but I have managed to make it work...mostly. What doesn't work so well is when I get a lot of good shots on a particular outing. I choose a couple or a few of the ones I like and process them for Flickr. In many cases, other equally good ones get forgotten or overlooked in the ongoing daily addition of ever more files in increasing numbers of folders.
All of that leads to this. It is a quite nice photo of a juvenile Bald Eagle. I just found it again, checked to ensure that I had not used it previously. Had not...so here it is now.
Incidentally, significant of NOTHING, I just passed 3.5 million views. One might suspect that in a very large percentage of the cases no one even opened a photo page to view the image.
[Enlarge to see the textures.]
Well the methodology is different, but the result is similar. We accept abstraction in modern art. Isn't that what these young people are doing?
My whole family will be away for a few days for Eid al-Adha celebrations. We intend to start our journey early in the morning Saturday. It’s gonna be a long drive back to the place where I belong, over in the east coast of the Malaysian Peninsular - Kota Bharu, Kelantan, some 450 km from Kuala Lumpur.
The mosque in the picture above is a small mosque in my village I took a few months ago when I was there for my Eid al-Fitr celebrations. This mosque is only to cater to the people in “pondok”. (Pondok is a religious learning institution that would normally follow less formal learning methodology and yet regimented in nature - Psantren, the Indonesian term for it). We have another bigger one as an official mosque for the village.
Anyway, this is the place where it holds part of my childhood story, and I'd like to relate through my HDR version of it.
I often will try to return to the same location for photography again and again in the hope of capturing the place in the best light possible. Well, the methodology seems to work. Mt. Washington, part of the Cascade Range of the Pacific Northwest, USA at sunrise. The forested area in the foreground was scorched years ago by a devastating wildfire in the Mt. Washington Wilderness near Sisters, Oregon.
Nature's own way of recycling. witnessed this methodological dismemberment of this bee 10 times bigger than the red ants.
Matthew 12:33 “A good tree produces good fruit, and a bad tree produces bad fruit. You can tell what a tree is like by the fruit it produces.”
Fatal Post COVID mRNA-Vaccine Associated Cerebral Ischemia (Cerebral ischemia is a common mechanism of acute brain injury that results from impaired blood flow to the brain):
www.ncbi.nlm.nih.gov/pmc/articles/PMC10091442/
www.youtube.com/watch?v=OLD3JIWqr6w&t=1092s
Methodological Considerations Regarding the Quantification of DNA Impurities in the COVID-19 mRNA Vaccine Comirnaty:
“The available information and data indicate that the ready-to-use mRNA vaccine Comirnaty contains DNA impurities that exceed the permitted limit value by several hundred times and, in some cases, even more than 500 times, and that this went unnoticed because the DNA quantification carried out as part of batch testing only at the active substance level appears to be methodologically inadequate when using qPCR, as explained above.”
Rose Seidler House is one of Australia's most famous buildings and one of its most unusual. The house is the work of architect Harry Seidler, who had the idea already sketched before he even set foot on Australian soil.
Completed in 1950, Rose Seidler House immediately created a sensation. The house featured glass walls, asymmetrical composition, cubic shapes and a flat roof; this was architecture unlike anything built in Australia before.
Rose Seidler House won the RAIA Sir John Sulman Medal for 1951, one of the most prestigious awards in Australian architecture and the first of five he won. Harry Seidler was 28 years old. Bringing international modernist ideas and methodology, he almost immediately influenced the shape of local architecture to come.
Wahroonga, Sydney
July, 2020
This is a VERY small blossom. It would hide behind a honeybee. These grow in bunches...I photographed a single bloom.
The honorary (and imaginary) trophy for figuring out the flower goes to Laurie Frisch. LOBELIA SIPHILITICA. Laurie either REALLY knows her flowers, or is top tier in search methodology!
Apparently also known as Blue Cardinal Flower.
The State Historical Museum, Red Square, Moscow, Russia at night.
The State Historical Museum in Moscow The imposing building that stands to your right if you enter Red Square through the Resurrection Gate is the State Historical Museum. The museum was opened in 1894, to mark the coronation of Aleksander III, and was the result of a 20-year-long project to consolidate various archaeological and anthropological collections into a single museum that told the story of the history of Russia according to the latest scientific methodology.
The building, which prompts mixed aesthetic reactions, is undeniably impressive. A mass of jagged towers and cornices, it is a typical example of Russian Revivalism, the Eastern equivalent of the Neo-Gothic movement. It was built by architect Vladimir Sherwood (whose father was an English engineer, hence the very un-Russian surname) on the site of the old Pharmacy Building, which was the original home of the Moscow University.
Excerpt from www.bwst.ca/the-artists/duggan:
Brendan Duggan
Location: W5 - The Buzz Barber & Co., 359 Brant St.
Title: Infestation
Material: Metal
Artist Statement:
My work shifts between design, craft and art. Combining elements from a broad scope of metalsmithing methodology that includes commercial fabrication and machinist skills as well as traditional blacksmithing techniques. My work can include found art, constructivist assassemblages, and free form linear monoliths.
The State Historical Museum, Red Square, Moscow, Russia at night.
The State Historical Museum in Moscow The imposing building that stands to your right if you enter Red Square through the Resurrection Gate is the State Historical Museum. The museum was opened in 1894, to mark the coronation of Aleksander III, and was the result of a 20-year-long project to consolidate various archaeological and anthropological collections into a single museum that told the story of the history of Russia according to the latest scientific methodology.
The building, which prompts mixed aesthetic reactions, is undeniably impressive. A mass of jagged towers and cornices, it is a typical example of Russian Revivalism, the Eastern equivalent of the Neo-Gothic movement. It was built by architect Vladimir Sherwood (whose father was an English engineer, hence the very un-Russian surname) on the site of the old Pharmacy Building, which was the original home of the Moscow University.
Excerpt from scotiabankcontactphoto.com/2022/core/vid-ingelevics-ryan-...:
Since 2019, Toronto-based artists Vid Ingelevics and Ryan Walker have charted the progression of the Port Lands Flood Protection Project, one of the most ambitious civil works projects in North America. This third series of photographs, presented on wooden structures along the Villiers Street median, focuses on the extraordinary operation of building a new mouth for the Don River and the careful methodology employed in the naturalization of a massive industrial brownfield.
The first photographic series that Ingelevics and Walker produced about this site, titled Framework (2020), captured the buildings and structures demolished to make way for the river excavation. This demolition allowed for the massive movement of soil captured in the second series, A Mobile Landscape (2021). How to Build a River documents how this soil removal made way for the river to be constructed using bio-engineering practices. It reveals the innovative bioengineering techniques used to construct this complex ecology and its multiple engineering layers, which will soon be invisible—either submerged underwater or beneath park surfaces—when the project is finished.
As the excavation has proceeded and workers have brought materials to the site and carefully categorized, prepared, and positioned them, Ingelevics and Walker have witnessed the river’s path quickly taking shape. The images in this series follow the rigorous steps taken to protect the new riverbed and future ecosystem, with multiple layers of sand, charcoal, and impermeable geosynthetic clay liner added to block contaminants caused by almost a century of housing fuel storage tanks in the Port Lands. The photographs capture the ways in which the new riverbanks (known as “crib walls”) were stabilized with logs, tree trunks, rocks, and coconut fibre material, and track the meticulous creation of future habitats for fish and birds.
Fish Habitat (2019) shows the development of a new riparian habitat, which includes coloured streamers strung across the water to deter geese from landing and eating vegetation that will provide food for fish. In Stratified River Ingredients (2021) a worker strides past stepped blankets of biodegradable coconut fabric, which will help hold the riverbank soil together until plant root systems are in place. In this series the new river comes to life. Its plants and banks, its roots and rocks and sands can all be seen coming together in Meander (2021). All of these innovative bioengineering techniques have been employed in similar projects around the world where nature is fast-tracked, but it’s unusual to have so many techniques applied simultaneously, and on such a vast scale.
At times during this massive project, something as small as an unidentified plant can halt construction. Transplanting #1 and #2 (2021) show crews salvaging plants for storage after strange, bulrush-like plants sprouted unexpectedly after 100 years of dormancy underground. These were likely remnants of the site’s original wetlands, which germinated when sunlight hit the excavated mud. Some of the plants were taken to a greenhouse laboratory at the University of Toronto, and others were transplanted to the Leslie Street Spit, located nearby along the waterfront. Even with the most meticulously planned naturalization processes, nature can still surprise us.
Following their documentation of the processes of destruction and removal required to prepare the site, this third series of work in Ingelevics and Walker’s multi-year project allows viewers to witness the construction of these new, interconnected habitats and structures. Their photographs offer glimpses into the makings of a highly creative built ecology, one that has looked to nature in order to artificially recreate it.
El Paradís de nit. (El trabucador - Delta de l'Ebre - Catalunya).
El paraiso de noche. (El trabucador - Delta del Ebro - Cataluña).
The Paradise nat night. ( The trabucador - Delta de l'Ebre - Catalonia).
English:
Dear friends, I am forced to spend less time on Flickr, so I will only comment on the pictures of my liking and the favorites that are very good.
I have always tried to be kind and respectful to all of you and I have returned your visits and comments. I am sorry to have to change my methodology so I will not be able to visit your galleries so often, as I have been doing so far.
Although I will continue making photos and uploading them on Flickr. I await your understanding.
A hug dear friends. Antoni
Català:
Benvolguts amics / es, em veig obligat a dedicar menys temps del desitjat a Flickr, de manera que només comentaré les fotos del meu grat i les favorites que siguin molt bones.
Sempre he intentat ser amable i respectuós amb tots vosaltres i us he tornat les vostres visites i comentaris.
Sento haver de canviar la meva metodologia pel que no podré visitar tan sovint les vostres galeries com venia fent fins ara.
Continuaré fent fotografies i pujant-les a Flickr.
Espero la vostra comprensió.
Una abraçada estimats amics i amigues. Antoni.
Español:
Apreciados amigos/as, me veo obligado a dedicar menos tiempo del deseado en Flickr, por lo que solamente comentaré las fotos de mi agrado y las favoritas que sean muy buenas.
Siempre he intentado ser amable y respetuoso con todos vosotros y os he devuelto vuestras visitas y comentarios. Siento tener que cambiar mi metodología por lo que no podré visitar tan a menudo vuestras galerias, como venia haciendo hasta ahora.
Continuaré realizando fotos y subiendolas en Flickr. Espero vuestra comprensión.
Un abrazo queridos amigos y amigas. Antoni.
I use blank of a book as memo. Same four icon methodology is applied. Circle for Records, Electric Bulb for Discovery (my own opinion), Square for ToDo (e.g. buy a reference book of the book), Hat for Citation.
The bookshelf filled by such books become "external data storage" in the PoIC system. The number of Cite Cards in the dock is reduced naturally.
As for the Fieldnote, I use a mechanical pencil as a bookmark.
Excerpt from scotiabankcontactphoto.com/2022/core/vid-ingelevics-ryan-...:
Since 2019, Toronto-based artists Vid Ingelevics and Ryan Walker have charted the progression of the Port Lands Flood Protection Project, one of the most ambitious civil works projects in North America. This third series of photographs, presented on wooden structures along the Villiers Street median, focuses on the extraordinary operation of building a new mouth for the Don River and the careful methodology employed in the naturalization of a massive industrial brownfield.
The first photographic series that Ingelevics and Walker produced about this site, titled Framework (2020), captured the buildings and structures demolished to make way for the river excavation. This demolition allowed for the massive movement of soil captured in the second series, A Mobile Landscape (2021). How to Build a River documents how this soil removal made way for the river to be constructed using bio-engineering practices. It reveals the innovative bioengineering techniques used to construct this complex ecology and its multiple engineering layers, which will soon be invisible—either submerged underwater or beneath park surfaces—when the project is finished.
As the excavation has proceeded and workers have brought materials to the site and carefully categorized, prepared, and positioned them, Ingelevics and Walker have witnessed the river’s path quickly taking shape. The images in this series follow the rigorous steps taken to protect the new riverbed and future ecosystem, with multiple layers of sand, charcoal, and impermeable geosynthetic clay liner added to block contaminants caused by almost a century of housing fuel storage tanks in the Port Lands. The photographs capture the ways in which the new riverbanks (known as “crib walls”) were stabilized with logs, tree trunks, rocks, and coconut fibre material, and track the meticulous creation of future habitats for fish and birds.
Fish Habitat (2019) shows the development of a new riparian habitat, which includes coloured streamers strung across the water to deter geese from landing and eating vegetation that will provide food for fish. In Stratified River Ingredients (2021) a worker strides past stepped blankets of biodegradable coconut fabric, which will help hold the riverbank soil together until plant root systems are in place. In this series the new river comes to life. Its plants and banks, its roots and rocks and sands can all be seen coming together in Meander (2021). All of these innovative bioengineering techniques have been employed in similar projects around the world where nature is fast-tracked, but it’s unusual to have so many techniques applied simultaneously, and on such a vast scale.
At times during this massive project, something as small as an unidentified plant can halt construction. Transplanting #1 and #2 (2021) show crews salvaging plants for storage after strange, bulrush-like plants sprouted unexpectedly after 100 years of dormancy underground. These were likely remnants of the site’s original wetlands, which germinated when sunlight hit the excavated mud. Some of the plants were taken to a greenhouse laboratory at the University of Toronto, and others were transplanted to the Leslie Street Spit, located nearby along the waterfront. Even with the most meticulously planned naturalization processes, nature can still surprise us.
Following their documentation of the processes of destruction and removal required to prepare the site, this third series of work in Ingelevics and Walker’s multi-year project allows viewers to witness the construction of these new, interconnected habitats and structures. Their photographs offer glimpses into the makings of a highly creative built ecology, one that has looked to nature in order to artificially recreate it.
Excerpt from scotiabankcontactphoto.com/2022/core/vid-ingelevics-ryan-...:
Since 2019, Toronto-based artists Vid Ingelevics and Ryan Walker have charted the progression of the Port Lands Flood Protection Project, one of the most ambitious civil works projects in North America. This third series of photographs, presented on wooden structures along the Villiers Street median, focuses on the extraordinary operation of building a new mouth for the Don River and the careful methodology employed in the naturalization of a massive industrial brownfield.
The first photographic series that Ingelevics and Walker produced about this site, titled Framework (2020), captured the buildings and structures demolished to make way for the river excavation. This demolition allowed for the massive movement of soil captured in the second series, A Mobile Landscape (2021). How to Build a River documents how this soil removal made way for the river to be constructed using bio-engineering practices. It reveals the innovative bioengineering techniques used to construct this complex ecology and its multiple engineering layers, which will soon be invisible—either submerged underwater or beneath park surfaces—when the project is finished.
As the excavation has proceeded and workers have brought materials to the site and carefully categorized, prepared, and positioned them, Ingelevics and Walker have witnessed the river’s path quickly taking shape. The images in this series follow the rigorous steps taken to protect the new riverbed and future ecosystem, with multiple layers of sand, charcoal, and impermeable geosynthetic clay liner added to block contaminants caused by almost a century of housing fuel storage tanks in the Port Lands. The photographs capture the ways in which the new riverbanks (known as “crib walls”) were stabilized with logs, tree trunks, rocks, and coconut fibre material, and track the meticulous creation of future habitats for fish and birds.
Fish Habitat (2019) shows the development of a new riparian habitat, which includes coloured streamers strung across the water to deter geese from landing and eating vegetation that will provide food for fish. In Stratified River Ingredients (2021) a worker strides past stepped blankets of biodegradable coconut fabric, which will help hold the riverbank soil together until plant root systems are in place. In this series the new river comes to life. Its plants and banks, its roots and rocks and sands can all be seen coming together in Meander (2021). All of these innovative bioengineering techniques have been employed in similar projects around the world where nature is fast-tracked, but it’s unusual to have so many techniques applied simultaneously, and on such a vast scale.
At times during this massive project, something as small as an unidentified plant can halt construction. Transplanting #1 and #2 (2021) show crews salvaging plants for storage after strange, bulrush-like plants sprouted unexpectedly after 100 years of dormancy underground. These were likely remnants of the site’s original wetlands, which germinated when sunlight hit the excavated mud. Some of the plants were taken to a greenhouse laboratory at the University of Toronto, and others were transplanted to the Leslie Street Spit, located nearby along the waterfront. Even with the most meticulously planned naturalization processes, nature can still surprise us.
Following their documentation of the processes of destruction and removal required to prepare the site, this third series of work in Ingelevics and Walker’s multi-year project allows viewers to witness the construction of these new, interconnected habitats and structures. Their photographs offer glimpses into the makings of a highly creative built ecology, one that has looked to nature in order to artificially recreate it.
This is getting to be more me than the previous ones of late.The idea and files ain't mine, but the methodology is from stuff I've managed to learn lately.
The original idea is from Jason Kim. The methodology is mostly from the stuff I've learned in the last several days.
This one is a work in progress sort of and I'll be updating it from time to time as I get tired of working on it. So far way too many hours of my life are in it. But it is fun.
www.youtube.com/watch?v=SGGHAjr8zRA
Published on 28 Aug 2016
Deviantart:http://fav.me/dafo73y
Cape png: goo.gl/BpjpGZ
Door: pixabay.com/photo-983783/
Dead Tree png: goo.gl/MXzRWm
Cloud: pixabay.com/photo-847072/
Lamp png: goo.gl/K2bJsR
Wall: pixabay.com/photo-1475318/
Step png: fav.me/d5kvomt
Flare: goo.gl/GUZpdR
Cloud Brush: goo.gl/fImaUY
Crack brushes: goo.gl/F9QauP
Stone BG: goo.gl/HVrYiK
Crow png: goo.gl/HGCyBS
Original File: My Door.psb
VWS5436 © VW Selburn 2016: Taken through a coach window. I was fascinated by the simple irrigation methodology in the apple farms in the Trentino region of Italy. It just happened that the sun was catching the sprays of water as they fell.
See all of the Italy (Leger) trip in my album www.flickr.com/photos/vwselburn/albums/72157672693117891
”This follows because they assume that what exist for us only in intention is actually realized somewhere; namely, a system of absolutely true thoughts capable of coordinating all phenomena, a geometrical plan that makes sense of all perspectives, and a pure object onto which all subjectivities open.” M. Merleau-Ponty
aka "This Time Out"
Excerpt from scotiabankcontactphoto.com/2022/core/vid-ingelevics-ryan-...:
Since 2019, Toronto-based artists Vid Ingelevics and Ryan Walker have charted the progression of the Port Lands Flood Protection Project, one of the most ambitious civil works projects in North America. This third series of photographs, presented on wooden structures along the Villiers Street median, focuses on the extraordinary operation of building a new mouth for the Don River and the careful methodology employed in the naturalization of a massive industrial brownfield.
The first photographic series that Ingelevics and Walker produced about this site, titled Framework (2020), captured the buildings and structures demolished to make way for the river excavation. This demolition allowed for the massive movement of soil captured in the second series, A Mobile Landscape (2021). How to Build a River documents how this soil removal made way for the river to be constructed using bio-engineering practices. It reveals the innovative bioengineering techniques used to construct this complex ecology and its multiple engineering layers, which will soon be invisible—either submerged underwater or beneath park surfaces—when the project is finished.
As the excavation has proceeded and workers have brought materials to the site and carefully categorized, prepared, and positioned them, Ingelevics and Walker have witnessed the river’s path quickly taking shape. The images in this series follow the rigorous steps taken to protect the new riverbed and future ecosystem, with multiple layers of sand, charcoal, and impermeable geosynthetic clay liner added to block contaminants caused by almost a century of housing fuel storage tanks in the Port Lands. The photographs capture the ways in which the new riverbanks (known as “crib walls”) were stabilized with logs, tree trunks, rocks, and coconut fibre material, and track the meticulous creation of future habitats for fish and birds.
Fish Habitat (2019) shows the development of a new riparian habitat, which includes coloured streamers strung across the water to deter geese from landing and eating vegetation that will provide food for fish. In Stratified River Ingredients (2021) a worker strides past stepped blankets of biodegradable coconut fabric, which will help hold the riverbank soil together until plant root systems are in place. In this series the new river comes to life. Its plants and banks, its roots and rocks and sands can all be seen coming together in Meander (2021). All of these innovative bioengineering techniques have been employed in similar projects around the world where nature is fast-tracked, but it’s unusual to have so many techniques applied simultaneously, and on such a vast scale.
At times during this massive project, something as small as an unidentified plant can halt construction. Transplanting #1 and #2 (2021) show crews salvaging plants for storage after strange, bulrush-like plants sprouted unexpectedly after 100 years of dormancy underground. These were likely remnants of the site’s original wetlands, which germinated when sunlight hit the excavated mud. Some of the plants were taken to a greenhouse laboratory at the University of Toronto, and others were transplanted to the Leslie Street Spit, located nearby along the waterfront. Even with the most meticulously planned naturalization processes, nature can still surprise us.
Following their documentation of the processes of destruction and removal required to prepare the site, this third series of work in Ingelevics and Walker’s multi-year project allows viewers to witness the construction of these new, interconnected habitats and structures. Their photographs offer glimpses into the makings of a highly creative built ecology, one that has looked to nature in order to artificially recreate it.