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The Palatine Chapel is the royal chapel of the Norman Palace in Palermo, Sicily. This building is a mixture of Byzantine, Norman and Fatimid architectural styles, showing the tricultural state of Sicily during the 12th century after Roger I and Robert Guiscard conquered the island.
Also referred to as a Palace church or Palace chapel, it was commissioned by Roger II of Sicily in 1132 to be built upon an older chapel (now the crypt) constructed around 1080. It took eight years to build, receiving a royal charter the same year, with the mosaics being only partially finished by 1143. The sanctuary, dedicated to Saint Peter, is reminiscent of a domed basilica. It has three apses, as is usual in Byzantine architecture, with six pointed arches (three on each side of the central nave) resting on recycled classical columns. The muqarnas ceiling of the nave and the chapel's rectilinear form show the Fatimid influence in the building's construction
The mosaics of the Palatine Chapel are of unparalleled elegance as concerns elongated proportions and streaming draperies of figures. They are also noted for subtle modulations of colour and luminance. The oldest are probably those covering the ceiling, the drum, and the dome. The shimmering mosaics of the transept, presumably dating from the 1140s and attributed to Byzantine artists, with an illustrated scene, along the north wall, of St. John in the desert and a landscape of Agnus Dei. Below this are five saints, the Greek fathers of the church, St. Gregory of Nissa, St. Gregory the Theologian, St. Basil, St. John Chrysostom and St. Nicholas. The three central figures, St. Gregory, St. Basil, and St. John Chrysostom, are the Three Great Orthodox Church Fathers referred to as the Three Hierarchs, which originated fifty years earlier. Every composition is set within an ornamental frame, not dissimilar to that used in contemporaneous mosaic icons.
The rest of the mosaics, dated to the 1160s or the 1170s, are executed in a cruder manner and feature Latin (rather than Greek) inscriptions. Probably a work of local craftsmen, these pieces are more narrative and illustrative than transcendental. A few mosaics have a secular character and represent oriental flora and fauna. This may be the only substantial passage of secular Byzantine mosaic extant today.
The structure is influenced by Fatimid art style, with the nave ceiling taking from Fatimid art through the use of muqarnas. The nave is similar to Islamic reception halls with the presence of the muqarnas vaulted ceiling and arches along the colonnade. There is also an indication of Kufic script in the Cappella Palatina, this however, is highly debated by scholars because the inscriptions were removed later. It is thought to be likely that these Kufic inscriptions were intended for the structure due to the presence of Kufic inscriptions in other structures built for or by King Roger II. The Cappella Palatina is also influenced by the Islamic style of having rectilinear patterns, uncommon to European art at the time.
The hundreds of facets of the Muqarnas ceiling were painted, notably with many purely ornamental vegetal and zoomorphic designs but also with scenes of daily life and many subjects that have not yet been explained. Stylistically influenced by Egyptian Fatimid Art, these paintings are innovative in their more spatially aware representation of personages and of animals.
Most muqarnas are made out of stucco or stone but the muqarnas in the Cappella Palatina are molded and carved with wood. There are arch shaped panels as the main construction and hidden panels that help center wood cuts for the small vaults in the muqarnas. The muqarnas has 5 horizontal tiers that allow a smooth transition from the ceiling to the walls of the nave. The ceiling is supported by horizontal cavetto wood moldings that touch the upper part of the windows. There are 8 point stars on the ceiling of the nave that are created with an overlay of two squares at a 45-degree angle. The muqarnas ceiling was built most likely after the mosaics of the nave ordered by William I.
The chapel combines harmoniously a variety of styles: the Norman architecture and door decor, the Arabic arches and ceiling designs and script adorning the roof, the Byzantine dome and mosaics. For instance, clusters of four eight-pointed stars, typical for Muslim design, are arranged on the ceiling so as to form a Christian cross.
The Cappella Palatina is built along an east-west axis. On the west side resides the throne platform and on the east side is the sanctuary with the nave connecting these two sides, with domes over each side. Along the northern wall of the sanctuary is the royal balcony and the northern chapel, where the King would watch and listen to the liturgy on special feast days. Along the nave runs two rows of colonnades, with windows in between each colonnade. The chapel was decorated with gold, pearls, porphyry, silk and marble.
The chapel has been considered a union of a Byzantine church sanctuary and a Western basilica nave. The sanctuary, is of an "Eastern" artistic nature, while the nave reflects "Western" influences.[
The nave, constructed under Roger II, did not contain any Christian images. These were added later by Roger II's successors, William I and William II. The nave's ceiling consists of Arab, Greek and Latin inscriptions.
The frame for the royal throne sets against the west wall of the nave. There are six steps leading up to where the throne would be, along with two heraldic lions in two roundels upon the spandrels over the throne frame gable.
The nave had different forms of decoration from the north and south to the east and west. Intricate lacing from the ceiling mold outline the arches of the nave in the north and South. These outlines are accompanied by oval medallions and cartouches. In the East and West, the decoration is similar to the muqarnas ceiling but is missing some molding for the borders of the ceiling.
Prudish Surface.
Verborum perspicacia notas extendens dinumerans, modulationes vocum, sonos, expositiones, ordines articulationis, diuersarum mentium;
direcionando sílabas regras simples gramática proclama prazeres da história imputando ignorância exibe postura alada movimentos precisos delícias,
messager signifié lignes d'hiver choses rationnelles raisons naturelles pensées significatives questions absurde perfectionné recherches syntaxiques systématisées,
λεπτές ανακαλύψεις πειθαρχία γνώση έμαθες αλήθειες συχνή φώτιση γοητευτική ρητορική προχωρώντας πειθαρχίες στοχασμοί κύμβαλα,
müzikal perküsyonlar düzenlenmiş maddi unsurlar söylem serpiştirilmiş aktörler ölçüler birleşik çağrı ayaklar liberal başarılar,
識別力の数が自分自身を把握している声の発話気が進まない比率死すべき者が曇った前進する次元知性が引き起こした遠い定義比率力.
Steve.D.Hammond.
From a few weeks ago. Testing what was new kit, but I've got sort of bored with it now and bumped the pulse width modulation over to a to my old triple cathode device, but haven't been out to play with it yet, so here's a 12V warm white thing.
Mutability
Shelley
I.
We are as clouds that veil the midnight moon;
How restlessly they speed and gleam and quiver,
Streaking the darkness radiantly! yet soon
Night closes round, and they are lost for ever:
II.
Or like forgotten lyres whose dissonant strings
Give various response to each varying blast,
To whose frail frame no second motion brings
One mood or modulation like the last.
III.
We rest—a dream has power to poison sleep;
We rise—one wandering thought pollutes the day;
We feel, conceive or reason, laugh or weep,
Embrace fond woe, or cast our cares away:
IV.
It is the same!—For, be it joy or sorrow,
The path of its departure still is free;
Man's yesterday may ne'er be like his morrow;
Nought may endure but Mutability.
This large 12 x 8 x 10 foot sculpture hangs above the reception lobby of The Melcher Center For Public Broadcasting at the University Of Houston, Texas. Created by Ralph Helmick and Stuart Schnecter from old electronic parts and assemblies. The inside of the sculpture contains more leftover electronic instruments and components including a map of Texas with LED pinpoint lights indicating the locations of cities and towns.
ИСААК ЛЕВИТАН, 1890-е - Туман над водой
☆📝
Location: The Vasnetsov Brothers Vyatka Art Museum, Vyatka, Russia.
Source: goskatalog.ru/portal/#/collections?id=578627
The picture ‘Fog over the Water’ belongs to the 1890s. Levitan managed to catch the moment when thick fumes are just beginning to cover the ground. One more moment and everything in nature will disappear. In this natural phenomenon, the artist saw for himself a difficult, but interesting task: to convey a damp, foggy atmosphere at nightfall, disappearing space, a slow fading of the color of the earth and the cold light of the moon. There is also a noticeable departure from realism and tendency to general forms. The artist conveyed the mood and state of mind. It is possible that the illness that tormented him, or gloomy thoughts were reflected in this canvas.
The landscape ‘Fog over the Water’ is deeply lyrical, even elegiac. The artist managed to subtly relay the nuances of the environment and the modulation of light in the atmosphere of evening nature. The color fades away while retaining its certainty. The restrained coloring of the landscape projects perfectly the mood of quiet sadness. It should be noted that the artist also used various techniques to achieve the desired effects. Microscopic examination showed that the soil in the painting is two-layer: the lower layer is red-brown, while the upper one is white, dense, completely overlapping with the lower one. In some places, you can see how the author tried to remove the already dried paint. Probably, the artist originally had another version of the same composition, where the half of the moon was to the left, and then a new moon appeared, but somewhat smaller.
Unusable Reserves.
Борьба с загадками, утренний свет, сильные ангелы, путешествия паломников привлекали веские причины, по которым определенные места представляют грехи, наказывающие насильственные формы,
menaces loups symboles bêtes inventé des histoires compositions profondes traduire des formes structures lourdes modulations chargées,
metus tempus satisfecit pentameters versibus avoiding renditions imperfectus principes illustraverat syllabis inconveniens praecessi mechanica,
متطلبات مخالفة تشير إلى أن الشاعر يحجب الأسود الشرسة التي تجوب القوانين المريرة مسارات الشياطين الشياطين الجشع العميق,
αμείλικτη δουλειές που εξηγούν τα πλάσματα λανθασμένες φωνές δύσκολες γλώσσες χυδαίες κλήσεις κηρύγματα διατάγματα τραχιές διόδους πνευματικές περιοχές,
球体デッドプレイス究極の山への躊躇海を取り囲む心を混乱させるは不信に苦しんでいる弱点を旋回回転中のレッスン旋風旋回するレッスンの中で旋風が吹く.
Steve.D.Hammond.
Jpeg straight from the camera, no post processing or suchlike.
Reproducing a shot I did last week, when I had to be limited to 4s exposure time, so I went back and did it in bulb mode, just for peace of mind's sake.
First met Sash in 2011, but I'd actually been trying to shoot her since 2010, had hit her up on Model Mayhem but we couldn't get our schedules aligned...wasn't until I was photographing a friend of hers that we actually met, hit it off.
It all started because I'd met up with a SuicideGirls photographer, Zoetica, and we'd become friends. Gave me the idea of attempting to shoot SuicideGirls models...but with their clothes on. Figured they'd see it as an intriguing alternative. Figured they got loads of requests for nude shots, thought I'd stand out by offering a different experience.
And it worked! Probably shot with damn near a dozen SG models, over the years. Sash, though, she was one of the site's early breakout stars. She was at the top of my list, because I just saw so much potential. She'd been photographed so much, but it was all in one style, one mode, was certain I could come up with a fresh angle.
That urge to compete, creatively, it can be a bit toxic. But at the right modulation, it can inspire.
At the the bottom of the picture is a young boy looking up at the world, we hold the world in our hand, we listen to hear the Ocean in seashells, this is a composition of being young and getting lost in the waves of youth and how we have the whole world and life ahead of us, and how we have to believe ( which is the shea shell metaphor for listening for the ocean ... like children so often do) 5/30/20
Cadence: a modulation or inflection of the voice
klick!
There is a moment of silence after the connection is ended.* Then...
C-3PO: R2, did you hear that? Miss SFS1 called me 'handsome'. And 'golden'!
R2D2: ReePIPI~...
C-3PO: Well, I must say it is a pleasure to meet someone who appreciates fine protocol. And Miss SFS1 is quite delightful herself! I shall look forward to conversing with her on our return engagement.
R2D2: BeeZhweurPiPi
C-3PO: Oh, don't be silly, R2. It's all very professional. Hm, perhaps if I had a new polish before I see her again. And it certainly wouldn't hurt to have my voice modulation recalibrated…
R2D2: pruuuuu~~…
______________________________________________
* See the connection, sure to become a classic in the Paprihaven-Coopers Town lore, here!
www.flickr.com/photos/135742756@N07/49938215627
This was a photo collaboration with Sky at CooperSky! Co-scripted and imagined. 😊 😊
© Blue Perez 2009 all rights reserved.
location | tarifa, andalucia, spain
photography | blue
prints | available
blogged | here
If I'm being honest, it's more like half a million to the lightpollution and one or maybe two to me.
But hey, sod it. I'm chuffed. Got a new RGB LED that's bright enough to combat the light pollution in my garden, and hence, should work under most streetlights. There are 3 around the house, all closer than the one visible in the shot.
I don't often get so pleased with a shot that I have the urge to upload it straight away, but it's taken a while to get this thing working, so I feel I am allowed a modest amount of 'Muhahargh'-ing.
Jpeg straight out of the camera, no post processing.
More testing of the close spaced LED arrays.
It's not desaturated, just colder white balance than usual.
There are places in Valley Forge where the road and the sky collide (as the song goes). I like to set up in those places when there is an interesting sky and wait for something to happen. I'll admit I have not developed the patience to wait for hours yet, but I'm working on it.
The sky was breaking up after a 3-day storm and provided some drama.
It was a cold, raw morning and fortunately I did not have to wait long. I noticed a few deer to camera right. They were feeding at the time but I felt they might be crossing over to the other meadow to feed there. I was correct (for once!).
One by one they crossed, first the females, then the young ones followed by this buck. He was the last to cross. I used this frame because I felt his rack added a little something.
The sky was almost as you see it. I provided a little more contrast and a slight modulation thanks to a texture from Telzey www.flickr.com/photos/telzey/ Also thought I'd have some fun and hide a turkey vulture in the tree. Kind of like "Where's Waldo."
And as usual: View it this way for detail. Thanks!
Explored
When leaving their parental home our children took their instruments along. Only my old keyboard is left. It is a modern musical instrument and quite boring compared classical instruments. But it is all I have.
Raphael (Urbino, 28 March or 6 April 1483 - Rome, 6 April 1520) - Woman with a Veil (1512-15) - oil on panel size 82 x 60,5 cm - Palatine Gallery, Palazzo Pitti - Florence
Il velo posato sui capelli, da cui deriva il titolo con cui è noto questo splendido ritratto di Raffaello, indica la condizione di donna maritata, ma rimane incerta l’identità della protagonista. Secondo Giorgio Vasari (1550, 1568), che vide il dipinto quando si trovava nella casa del mercante Matteo Botti a Firenze, si tratterebbe del ritratto della donna amata da Raffaello fino alla morte, Margherita Luti detta la Fornarina, ma il sontuoso abito della donna e i gioielli portano piuttosto a supporre che si tratti del ritratto di una giovane nobildonna, eseguito da Raffaello su commissione.
La donna è posta di tre quarti, con una spalla arretrata come già aveva sperimentato per i ritratti Leonardo da Vinci, ampliando la profondità spaziale e la modulazione delle luci e delle ombre. Lo sfondo scuro fa risaltare gli incarnati rosati della giovane e la luminosità della veste chiara di seta. Il gesto che la donna compie portandosi la mano destra al cuore è forse un’espressione di devozione e amore, ma la posa dell’altro braccio che si protende in primo piano è un escamotage per mettere in risalto la ricchezza materica della manica e i raffinati giochi di luce sulle pieghe. A guardar bene, è proprio la veste che diventa protagonista della raffigurazione attraverso gli eccezionali virtuosismi pittorici di Raffaello, mentre il volto della donna, leggermente arretrato e parzialmente in penombra, ci racconta, attraverso i profondi e vibranti occhi scuri, del mondo interiore della protagonista. L’effetto complessivo è straordinario.
Eseguito da Raffaello dopo il suo trasferimento da Firenze a Roma, dove era giunto nel 1512, il dipinto costituisce uno degli apici della ritrattistica del maestro urbinate.
The veil over the hair, from which the name of this splendid work by Raphael is derived, indicates that the woman is married, yet her precise identity is unknown. According to Giorgio Vasari (1550, 1568), who observed the painting in the house of the merchant Matteo Botti in Florence, the work features Margherita Luti, known as La Fornarina, a woman who Raphael loved throughout his life, but the exquisite gown and jewels are more indicative of a commissioned portrait of a young noblewoman.
It is a three-quarter portrait where one of the shoulder set behind, as already explored by Leonardo da Vinci, emphasizes the spatial depth and modulations of light and shade. The dark background highlights the pink skin tones of the young woman and the luminosity of her pale silk clothing. The gesture of placing her right hand to her heart is perhaps an expression of devotion and love, but the position of the other arm extended in the foreground is a device to spotlight the sumptuous material of the sleeve and the exquisite interplay of light in the folds. Indeed, on closer inspection, the gown is the central focus of the painting, created through extraordinarily masterful skill, while the woman's face, set back slightly and partly in shade, and in particular her deep and penetrating dark eyes, express the subject's inner thoughts. The overall effect is both complex and extraordinary.
Executed by Raphael after moving from Florence to Rome in 1512, the painting represents one of the apexes of the master painter's portrait work.
Abstract clarting about to test the efficacy of the thing I made.
It could do with a better switch so that the pulse width modulation can be further modulated.
More soldering and re-jigging is called for.
Nihilus is definitely spooky as all hell but, you can't understand him at all! I think KOTOR went overboard with his voice modulation.
A regular location for taking photos at. I cross this point twice on bicycle commuting days.
Note that some red lights appear as a dashed line. These are LED rear lights that derive their tail lamp illumination setting via pulse width modulation control (they are turned on/off at a high frequency). The LEDs are operated 'full on' when used as a brake light.
Further reading here:
e2e.ti.com/blogs_/b/powerhouse/archive/2016/08/26/led-bri...
Analog Groove Modulation - The stars remind me of an old LP (vinyl record)
Making the best of the clear, dry weather this winter with a 40 minute moonless long exposure.
Chosen for the light polluted highway, and open dark space past that, I sat and read while this 40 minute exposure was made.
Hasselblad 500 C/M
Zeiss 150mm CF @ f/8
40 minutes (2400 sec)
Kodak Tmax 100
Ilfosol 3 (1:14) 10 minutes
Ceramic +845
The 845 power triode is a radio transmitting vacuum tube which can also be used as an audio amplifier and modulation tube. Typically, the plate is machined from solid graphite in order to accommodate high current dissipation (up to 100 watts) and voltage. Some current production 845 tubes have metal plates.
The 845 tube has a bayonet mount and thoriated filaments which glow like lightbulbs when powered up. The glass envelope is about 2-5/16" in diameter and 6 inches tall, with the a total tube height of about 7-7/8 inches. It was first released by RCA in 1931. It saw extensive use in RCA AM radio transmitters
HARMONY:
Concord or agreement in facts, opinions, manners, interests, etc.; good correspondence; peace and friendship; things intended to form a connected whole; composition of differenct parts as to produce unity, as harmony of the universe.
In music, harmony is the succession of chords according to the rules of progression and modulation.
Peace, friendship and harmony. The beautiful elements of life =)
Another test shot from a newly bodged LED stick. Fancy-schmantzy programmable LEDs. Much fun.
No post processing, but lots of pre-processing.
camera → " Firth of Clyde "
6X6 pinhole F136 (Betty 2eyes)
film → Kodak Ektar 100
exposure → 8sec. with Sverdlovsk 4, "the Owl Edvige" soviet lightmeter
development → Tetenal Colortec C41 - 30 °C
scanned → Epson V600
A trio of veteran EMD road units slug out of the Red River Valley. Even though the train just departed Dilworth, the crew is already running into problems with the rear of train equipment. The lack of a need for throttle modulation gives the engineer some time to make some adjustments to the FRED antenna connections in the cab.
On the way up the ladder of status within the administration, language becomes rigid and technical. It gets intricate and specialized, a jargon seemingly devoted to confuse the outsider, the profane, a jargon which the newbie up that ladder is eager to pretend to master. Even more important than the language itself is the screenplay of such, its practical side - the speaker will show his control of the tool (language) and of the media (stage), while delivering a speech punctuated with well-trained pauses, little jokes, and voice modulations, providing emphasis where needed. A pure play, a professional plot.
Jpeg straight out of the camera, no Photoshop, post processing or suchlike.
More testing of the newly improved DLW with the SD card reader and LCD screen. It's a little more robust now, but perhaps not enough to take it out and about.