View allAll Photos Tagged optimism
Reid Seifer designed limited edition metrocards for the MTA last year. I had never happened upon one of the cards in person until today, when I was surprised to see one, abandoned, lying on a step as I came up from the subway. I went home, grabbed my camera, and went back to take a picture of it.
If there is no time and no space
Then we unravel into each other
If the sun and moon are but a dream
Then you and I play a game
Of hide and seek within ourselves
God crashing into earth…You
God crashing into earth… Me
Out of and into One
We merge in Heaven and flesh
Only to run in opposite directions
In that moment the illusion begins
Grasping at bits of freedom
We ache to find power and strength
We reach for Unity beyond distances
Then another crashing comes
A giant faith flows through us
The same glorious feeling elates us
The same urge for freedom grips us
Then we know why we are
Mother- Daughter- Sister- Friend
Then we see why perhaps
The Seed of Life germinates
In an old familiar womb
We feel ourselves moving closer
Out of earth
Out of flesh
Back Home
In Love
© Ganga Fondan, 2011
…”I finally really see her”. She’s more beautiful than my eyes ever knew before or my ears would hear. We have given each other so much freedom to grow over the years; We now have so much to give each other. I love her with all my heart. I feel grateful to feel this. It is a great, great gift.
(*This image is a layering of a recent photo shoot we did where she reveals her former modeling days and I the love for taking pictures and then playing with them.)
Optimism (from lat .: optimum, "the best") is a way of life in which the world or a thing is viewed at the best; it generally denotes a cheerful, confident and life-affirming foundation, as well as a confident attitude, determined by positive expectation, in the face of a matter of the future.
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Optimismus (von lat.: optimum, „das Beste“) ist eine Lebensauffassung, in der die Welt oder eine Sache von der besten Seite betrachtet wird; er bezeichnet allgemein eine heitere, zuversichtliche und lebensbejahendeGrundhaltung
sowie eine zuversichtliche, durch positive Erwartung bestimmte Haltung angesichts einer Sache hinsichtlich der Zukunft.
At the Birmingham Social Media Cafe on October 29th 2010, we asked people what they were optimistic about.
It's a spin-off from newoptimists.com. We asked scientists 'what are you optimistic about?' — and their answers are now in a brilliant book.
amzn.to/thenewoptimists
“NATIONAL MEMORIES” TRAVELING EXHIBIT TO OPEN AT PACIFIC AVIATION MUSEUM PEARL HARBOR
Traveling photo exhibit shares the legendary friendship of China and the United States during World War II
Honolulu, HI – Pacific Aviation Museum Pearl Harbor will serve as the first stop of the “National Memories” 2015 United States tour, March 14, 2015. The exhibit, which first went on display in the southern Chinese city of Shenzhen in 2010, has toured through Mainland China and Taiwan.
Through the use of imagery and more than 100 historic photos taken by the 164th US Signal Photo Company in the China Burma India Theater, “National Memories” brings to life the unusual and little known camaraderie that existed between Chinese and U.S. soldiers as their countries joined forces during World War II.
During WWII, the U.S. provided military assistance to China. That meant sending U.S. troops to China to train Chinese soldiers. In April 1941, President Franklin D. Roosevelt signed a secret agreement that led to the creation of the famed first American Volunteer Group of the Chinese Air Force -- the Flying Tigers. The story of the Flying Tigers and an actual Curtiss P-40 Warhawk are part of a permanent exhibit at Pacific Aviation Museum Pearl Harbor.
Photos in the “National Memories” Hawaii Exhibit will not only feature renowned historical figures, such as Lt. Gen. Claire Lee Chennault of the Flying Tigers, but will also present a depiction of the soldiers, combat medics, and civilians from both countries. From tropical jungles to arid hinterland, and from populous cities to remote villages, they fought, lived, and won the war with tenacity, bravery, optimism and sacrifices.
“The historic friendship between China and the U.S. in WWII was significant for the outcome of the war, and continues to resonate with citizens of both countries,” said Pacific Aviation Museum Pearl Harbor Director of Education Shauna Tonkin. “This exhibit portrays the events and emotions of that era through remarkable photographs that bring this history to life.”
“National Memories” is supported by China Overseas Exchange Association in cooperation with Pacific Aviation Museum Pearl Harbor, Rhythm Media Group, Inc., and Chinese Chamber of Commerce of Hawaii, and partnered with National Committee on United States – China Relations, Committee of 100, Dr. Sun Yat-sen Hawaii Foundation, East West Center, Stilwell Scholarship, US China Peoples Friendship Association – Western Region, Hawaii Chinese Tourism Association and Sino US Performing Arts Organization.
Admission to “National Memories” is free with Museum admission and free to Museum Members. To purchase general admission tickets online, go to www.PacificAviationMuseum.org. Board the free Ford Island shuttle from the Pearl Harbor Visitor Center.
For more information, call 808-441-1007 or email Education@PacificA viationMuseum.org.
Coventry's Cathedral is a unique synthesis of old a new, born of wartime suffering and forged in the spirit of postwar optimism, famous for it's history and for being the most radically modern of Anglican cathedrals. Two cathedral's stand side by side, the ruins of the medieval building, destroyed by incendiary bombs in 1940 and the bold new building designed by Basil Spence and opened in 1962.
It is a common misconception that Coventry lost it's first cathedral in the wartime blitz, but the bombs actually destroyed it's second; the original medieval cathedral was the monastic St Mary's, a large cruciform building believed to have been similar in appearance to Lichfield Cathedral (whose diocese it shared). Tragically it became the only English cathedral to be destroyed during the Reformation, after which it was quickly quarried away, leaving only scant fragments, but enough evidence survives to indicate it's rich decoration (some pieces displayed nearby in the Priory Visitors Centre). Foundations of it's apse were found during the building of the new cathedral in the 1950s, thus technically three cathedrals share the same site.
The mainly 15th century St Michael's parish church became the seat of the new diocese of Coventry in 1918, and being one of the largest parish churches in the country it was upgraded to cathedral status without structural changes (unlike most 'parish church' cathedrals created in the early 20th century). It lasted in this role a mere 22 years before being burned to the ground in the 1940 Coventry Blitz, leaving only the outer walls and the magnificent tapering tower and spire (the extensive arcades and clerestoreys collapsed completely in the fire, precipitated by the roof reinforcement girders, installed in the Victorian restoration, that buckled in the intense heat).
The determination to rebuild the cathedral in some form was born on the day of the bombing, however it wasn't until the mid 1950s that a competition was held and Sir Basil Spence's design was chosen. Spence had been so moved by experiencing the ruined church he resolved to retain it entirely to serve as a forecourt to the new church. He envisaged the two being linked by a glass screen wall so that the old church would be visible from within the new.
Built between 1957-62 at a right-angle to the ruins, the new cathedral attracted controversy for it's modern form, and yet some modernists argued that it didn't go far enough, afterall there are echoes of the gothic style in the great stone-mullioned windows of the nave and the net vaulting (actually a free-standing canopy) within. What is exceptional is the way art has been used as such an integral part of the building, a watershed moment, revolutionising the concept of religious art in Britain.
Spence employed some of the biggest names in contemporary art to contribute their vision to his; the exterior is adorned with Jacob Epstein's triumphant bronze figures of Archangel Michael (patron of the cathedral) vanquishing the Devil. At the entrance is the remarkable glass wall, engraved by John Hutton with strikingly stylised figures of saints and angels, and allowing the interior of the new to communicate with the ruin. Inside, the great tapestry of Christ in majesty surrounded by the evangelistic creatures, draws the eye beyond the high altar; it was designed by Graham Sutherland and was the largest tapestry ever made.
However one of the greatest features of Coventry is it's wealth of modern stained glass, something Spence resolved to include having witnessed the bleakness of Chartres Cathedral in wartime, when all it's stained glass had been removed. The first window encountered on entering is the enormous 'chess-board' baptistry window filled with stunning abstract glass by John Piper & Patrick Reyntiens, a symphony of glowing colour. The staggered nave walls are illuminated by ten narrow floor to ceiling windows filled with semi-abstract symbolic designs arranged in pairs of dominant colours (green, red, multi-coloured, purple/blue and gold) representing the souls journey to maturity, and revealed gradually as one approaches the altar. This amazing project was the work of three designers lead by master glass artist Lawrence Lee of the Royal College of Art along with Keith New and Geoffrey Clarke (each artist designed three of the windows individually and all collaborated on the last).
The cathedral still dazzles the visitor with the boldness of it's vision, but alas, half a century on, it was not a vision to be repeated and few of the churches and cathedrals built since can claim to have embraced the synthesis of art and architecture in the way Basil Spence did at Coventry.
The cathedral is generally open to visitors most days, but now charges an entry fee (a fix for recent financial worries; gone are the frequent days I used to wander around it in search of inspiration!)and sadly visitors are also encouraged to enter by the far end of the building, contrary to Spence's intentions.
For more see below:-
With the wirst behind them, people in Myanmar are now hoping that nature will be less ferocious the next time a cyclone strikes. Photo: Myanmar Red Cross Society (p18465).
To find out more, go to www.ifrc.org/myanmar.
"Your Bright Future: 12 Contemporary Artists from Korea"
"June 28–September 20, 2009
LACMA and the Museum of Fine Arts, Houston (MFAH) will present the first major museum exhibition in the United States to focus on contemporary art from South Korea. The exhibition features work by a generation of artists who have emerged since the mid-1980s—some well-known and others on the brink of recognition—working on the cutting edge of international art trends and within a distinctly Korean context."
I do not think this was part of the show or intentional.
At the Birmingham Social Media Cafe on October 29th 2010, we asked people what they were optimistic about.
It's a spin-off from newoptimists.com. We asked scientists 'what are you optimistic about?' — and their answers are now in a brilliant book.
amzn.to/thenewoptimists
I previously found and photographed the stone on the right intact a few days ago, and then saw it in two pieces the next day. Apparently someone needed to destroy something. Tonight I found it again on a park bench near the start of my walk with a new stone I had not seen before. The cracked stone with the other one with the CF Strong message seems so appropriate in these trying times. If you see art, or something nice, try to leave it alone and let others enjoy it.
Optimism is a very powerful tool. When we create a vibrant image of good things surrounding us, it is much more likely that our reality will follow suit.
THINK GOOD THOUGHTS!
Detail of one of the second pair of nave windows, predominantly red in colour and designed by Lawrence Lee. The red windows symbolise the soul's journey into maturity.
Coventry's Cathedral is a unique synthesis of old a new, born of wartime suffering and forged in the spirit of postwar optimism, famous for it's history and for being the most radically modern of Anglican cathedrals. Two cathedral's stand side by side, the ruins of the medieval building, destroyed by incendiary bombs in 1940 and the bold new building designed by Basil Spence and opened in 1962.
It is a common misconception that Coventry lost it's first cathedral in the wartime blitz, but the bombs actually destroyed it's second; the original medieval cathedral was the monastic St Mary's, a large cruciform building believed to have been similar in appearance to Lichfield Cathedral (whose diocese it shared). Tragically it became the only English cathedral to be destroyed during the Reformation, after which it was quickly quarried away, leaving only scant fragments, but enough evidence survives to indicate it's rich decoration (some pieces were displayed nearby in the Priory Visitors Centre, sadly since closed). Foundations of it's apse were found during the building of the new cathedral in the 1950s, thus technically three cathedrals share the same site.
The mainly 15th century St Michael's parish church became the seat of the new diocese of Coventry in 1918, and being one of the largest parish churches in the country it was upgraded to cathedral status without structural changes (unlike most 'parish church' cathedrals created in the early 20th century). It lasted in this role a mere 22 years before being burned to the ground in the 1940 Coventry Blitz, leaving only the outer walls and the magnificent tapering tower and spire (the extensive arcades and clerestoreys collapsed completely in the fire, precipitated by the roof reinforcement girders, installed in the Victorian restoration, that buckled in the intense heat).
The determination to rebuild the cathedral in some form was born on the day of the bombing, however it wasn't until the mid 1950s that a competition was held and Sir Basil Spence's design was chosen. Spence had been so moved by experiencing the ruined church he resolved to retain it entirely to serve as a forecourt to the new church. He envisaged the two being linked by a glass screen wall so that the old church would be visible from within the new.
Built between 1957-62 at a right-angle to the ruins, the new cathedral attracted controversy for it's modern form, and yet some modernists argued that it didn't go far enough, after all there are echoes of the Gothic style in the great stone-mullioned windows of the nave and the net vaulting (actually a free-standing canopy) within. What is exceptional is the way art has been used as such an integral part of the building, a watershed moment, revolutionising the concept of religious art in Britain.
Spence employed some of the biggest names in contemporary art to contribute their vision to his; the exterior is adorned with Jacob Epstein's triumphant bronze figures of Archangel Michael (patron of the cathedral) vanquishing the Devil. At the entrance is the remarkable glass wall, engraved by John Hutton with strikingly stylised figures of saints and angels, and allowing the interior of the new to communicate with the ruin. Inside, the great tapestry of Christ in majesty surrounded by the evangelistic creatures, draws the eye beyond the high altar; it was designed by Graham Sutherland and was the largest tapestry ever made.
However one of the greatest features of Coventry is it's wealth of modern stained glass, something Spence resolved to include having witnessed the bleakness of Chartres Cathedral in wartime, all it's stained glass having been removed. The first window encountered on entering is the enormous 'chess-board' baptistry window filled with stunning abstract glass by John Piper & Patrick Reyntiens, a symphony of glowing colour. The staggered nave walls are illuminated by ten narrow floor to ceiling windows filled with semi-abstract symbolic designs arranged in pairs of dominant colours (green, red, multi-coloured, purple/blue and gold) representing the souls journey to maturity, and revealed gradually as one approaches the altar. This amazing project was the work of three designers lead by master glass artist Lawrence Lee of the Royal College of Art along with Keith New and Geoffrey Clarke (each artist designed three of the windows individually and all collaborated on the last).
The cathedral still dazzles the visitor with the boldness of it's vision, but alas, half a century on, it was not a vision to be repeated and few of the churches and cathedrals built since can claim to have embraced the synthesis of art and architecture in the way Basil Spence did at Coventry.
The cathedral is generally open to visitors most days. For more see below:-
background here with thanks
www.flickr.com/photos/woolamaloo_gazette/9566569892/in/fa...
Photoshop Contest Week 563
Original photo by: Jaci XIII
Alternativamente, alguno optimistas creen que a pesar del mundo exterior o situación, uno elige sentirse bien al respecto y a sacar lo mejor.Este tipo de optimismo no dice nada sobre la calidad del mundo exterior; es un optimismo interno sobre los sentimientos propios.
Alternatively, some optimists believe that regardless of the external world or situation, one should choose to feel good about it and make the most of it. This kind of optimism doesn't say anything about the quality of the external world; it's an internal optimism about one's own feelings
© Todos los derechos reservados.
No use esta foto sin permiso
© All rights reserved.
Do not use this picture without permission
Mentally challenged children present a play at Navjivini School of Special Education, Patiala, India www.navjivini.org
© Gurbir Singh Brar 2008 all rights reserved. Unauthorized use or reproduction for any reason is prohibited.
Detail of one of the fourth pair of nave windows, predominantly purple in colour and designed by Geoffrey Clarke. The dark purple/blue windows symbolise the soul reaching old age.
Coventry's Cathedral is a unique synthesis of old a new, born of wartime suffering and forged in the spirit of postwar optimism, famous for it's history and for being the most radically modern of Anglican cathedrals. Two cathedral's stand side by side, the ruins of the medieval building, destroyed by incendiary bombs in 1940 and the bold new building designed by Basil Spence and opened in 1962.
It is a common misconception that Coventry lost it's first cathedral in the wartime blitz, but the bombs actually destroyed it's second; the original medieval cathedral was the monastic St Mary's, a large cruciform building believed to have been similar in appearance to Lichfield Cathedral (whose diocese it shared). Tragically it became the only English cathedral to be destroyed during the Reformation, after which it was quickly quarried away, leaving only scant fragments, but enough evidence survives to indicate it's rich decoration (some pieces displayed nearby in the Priory Visitors Centre). Foundations of it's apse were found during the building of the new cathedral in the 1950s, thus technically three cathedrals share the same site.
The mainly 15th century St Michael's parish church became the seat of the new diocese of Coventry in 1918, and being one of the largest parish churches in the country it was upgraded to cathedral status without structural changes (unlike most 'parish church' cathedrals created in the early 20th century). It lasted in this role a mere 22 years before being burned to the ground in the 1940 Coventry Blitz, leaving only the outer walls and the magnificent tapering tower and spire (the extensive arcades and clerestoreys collapsed completely in the fire, precipitated by the roof reinforcement girders, installed in the Victorian restoration, that buckled in the intense heat).
The determination to rebuild the cathedral in some form was born on the day of the bombing, however it wasn't until the mid 1950s that a competition was held and Sir Basil Spence's design was chosen. Spence had been so moved by experiencing the ruined church he resolved to retain it entirely to serve as a forecourt to the new church. He envisaged the two being linked by a glass screen wall so that the old church would be visible from within the new.
Built between 1957-62 at a right-angle to the ruins, the new cathedral attracted controversy for it's modern form, and yet some modernists argued that it didn't go far enough, afterall there are echoes of the gothic style in the great stone-mullioned windows of the nave and the net vaulting (actually a free-standing canopy) within. What is exceptional is the way art has been used as such an integral part of the building, a watershed moment, revolutionising the concept of religious art in Britain.
Spence employed some of the biggest names in contemporary art to contribute their vision to his; the exterior is adorned with Jacob Epstein's triumphant bronze figures of Archangel Michael (patron of the cathedral) vanquishing the Devil. At the entrance is the remarkable glass wall, engraved by John Hutton with strikingly stylised figures of saints and angels, and allowing the interior of the new to communicate with the ruin. Inside, the great tapestry of Christ in majesty surrounded by the evangelistic creatures, draws the eye beyond the high altar; it was designed by Graham Sutherland and was the largest tapestry ever made.
However one of the greatest features of Coventry is it's wealth of modern stained glass, something Spence resolved to include having witnessed the bleakness of Chartres Cathedral in wartime, when all it's stained glass had been removed. The first window encountered on entering is the enormous 'chess-board' baptistry window filled with stunning abstract glass by John Piper & Patrick Reyntiens, a symphony of glowing colour. The staggered nave walls are illuminated by ten narrow floor to ceiling windows filled with semi-abstract symbolic designs arranged in pairs of dominant colours (green, red, multi-coloured, purple/blue and gold) representing the souls journey to maturity, and revealed gradually as one approaches the altar. This amazing project was the work of three designers lead by master glass artist Lawrence Lee of the Royal College of Art along with Keith New and Geoffrey Clarke (each artist designed three of the windows individually and all collaborated on the last).
The cathedral still dazzles the visitor with the boldness of it's vision, but alas, half a century on, it was not a vision to be repeated and few of the churches and cathedrals built since can claim to have embraced the synthesis of art and architecture in the way Basil Spence did at Coventry.
The cathedral is generally open to visitors most days, but now charges an entry fee (a fix for recent financial worries; gone are the frequent days I used to wander around it in search of inspiration!)and sadly visitors are also encouraged to enter by the far end of the building, contrary to Spence's intentions.
For more see below:-