View allAll Photos Tagged orchestration
Geese backlit during the big blast off. The sound of them taking off was thunderous. Hagerman Wildlife Refuge, Texas, USA, November 2020
Best viewed large by pressing "L". All rights reserved
We are so lucky in Aberdeen to have the Spectra Festival each February, bringing light installations to brighten the darkness. This is Sky Castle by ENESS - an interactive sound and light installation which responds to the motion of people moving through it. “Light colour and music have been orchestrated to evoke the joy and hope that rainbows bring after every storm.” It’s truly wonderful - as are all the other pieces.
Excerpt from Wikipedia:
The park, located at the feet of the city's ancient acropolis was commissioned by Pope Gregory XVI in 1835 to rebuild the bed of the Aniene River, which had been damaged by the flood of 1826. Since ancient times, the river formed a wide curve around the acropolis, after which it fell from a limestone's spur into the plain below. The river formed originally four falls, now reduced to two. The site had a strategical importance since it commanded the transumanza path from Abruzzo along the path which later became the Via Valeria. The Romans had already built here hydraulic manufacts, 12 of which are known by findings today.
It had fallen into ruins by the end of the 20th century, but was reopened to the public in 2005 thanks to a major landscape recovery project orchestrated by Fondo Ambiente Italiano (FAI), the National Trust of Italy.
Villa Gregoriana consists mainly of thick woodlands with paths that lead to the caves of Neptune and the Sirens, which form part of a series of gorges and cascades, and to the Great Waterfall.
The Aniene river valley and Villa Gregoriana were submitted in 2006 for consideration as a UNESCO World Heritage Site.
Excerpt from Wikipedia:
The park, located at the feet of the city's ancient acropolis was commissioned by Pope Gregory XVI in 1835 to rebuild the bed of the Aniene River, which had been damaged by the flood of 1826. Since ancient times, the river formed a wide curve around the acropolis, after which it fell from a limestone's spur into the plain below. The river formed originally four falls, now reduced to two. The site had a strategical importance since it commanded the transumanza path from Abruzzo along the path which later became the Via Valeria. The Romans had already built here hydraulic manufacts, 12 of which are known by findings today.
It had fallen into ruins by the end of the 20th century, but was reopened to the public in 2005 thanks to a major landscape recovery project orchestrated by Fondo Ambiente Italiano (FAI), the National Trust of Italy.
Villa Gregoriana consists mainly of thick woodlands with paths that lead to the caves of Neptune and the Sirens, which form part of a series of gorges and cascades, and to the Great Waterfall.
The Aniene river valley and Villa Gregoriana were submitted in 2006 for consideration as a UNESCO World Heritage Site.
IMG_1022r
The most notable tomb at Les Invalides is that of Napoleon Bonaparte (1769–1821), a tomb made of red quartzite and resting on a green granite base, was finished in 1861.
The Les Invalides complex has fifteen courtyards, the largest being the cour d'honneur designed for military parades.
Around the Cour d'Honneur are distributed the museums: weapons and ancient armor, Louis XIV and Napoleon room, the two world wars, room of the unusual Cabinets, Historial Charles de Gaulle, Museum of the Order of the Liberation, Museum of plans and reliefs.
The Dome chapel became a military necropolis when Napoleon in September 1800 designated it for the relocation of the tomb of Louis XIV's celebrated general Turenne, followed in 1807–1808 by Vauban. In 1835, the underground gallery below the church received the remains of 14 victims of the Giuseppe Marco Fieschi's failed assassination attempt on Louis-Philippe I. The major development came with the building's designation to become Napoleon's tomb by a law of 10 June 1840, as part of the political project of the retour des cendres orchestrated by king Louis-Philippe I and his minister Adolphe Thiers. The creation of the crypt and of Napoleon's massive sarcophagus took twenty years to complete and was finished in 1861. By then, it was emperor Napoleon III who was in power and oversaw the ceremony of the transfer of his remains from a chapel of the church to the crypt beneath the dome.
Beneath the Cathédrale Saint-Louis-des-Invalides
82 additional military figures, including 28 Governors of Les Invalides, are buried in the Caveau des Gouverneurs, an underground gallery beneath the Cathédrale Saint-Louis-des-Invalides.
Huh? Wait, timeout
It's time we had a conversation
Talk about manipulation
And the string pullin' orchestration
For some third time's the charm
But my third time's a strikeout
Tell 'em sound the alarm
You really thought I wouldn't find out?
I hope that it was worth the energy
I hope you had your fun with the enemy
Dial 9-1-1, 'cause now you're dead to me
You buried yourself alive
When you told me, I was paranoid
But I could taste the lies on your mouth
It's haunted in the heart that you tore out
Paranoid, within the walls that you wore down
Now you're just another shadow in my Ghost Town
@ Sunny's - city pulse - maps.secondlife.com/secondlife/Sunny%20Photo%20Studio/33/...
Mesmeric Landscape.
تتفجر الألوان الرومانسية اللغات ذات الصلة المنعطفات الملذات البصرية والأشجار الأرجوانية الفردية شفرات العشب تأملات منضبطة,
teintes formidables jaunes faisant écho rouges éclaboussés natures véhémentes orchestrations bleus artistiques attentions découvertes beauté naturelle,amour éternel harmonie parfaite énergies décoratives,
balansera djupa nyanser lysande daubs grafisk teater tjocklek texturer oväntade vingar abstraktioner förmedlar viskande nyanser,
βαθιές διαστάσεις αποτυπώσεις ταπισερί που αντανακλούν συναισθηματικές εντάσεις κλασσική ώχρα συνεχείς αναλογίες συμβιβάζοντας την ειρήνη,
cyntefig ffyrnig echelin fertigol elfennau nodedig manylion persbectif goleuadau ariannaidd rhuthriadau clytiau amlinelliadau cynhwysfawr awgrymiadau coeth,
驚くべき野生の花数え切れないほどの倍音重要なコントラスト気まぐれなオレンジ電気体験直感性のおかげで創造力を振りかけるクリーム創造力散水クリーム.
Steve.D.Hammond.
"M91 è il terzo orso ucciso da Fugatti dall’inizio dell’anno. Anche questa volta ha agito col favore delle tenebre ed immediatamente dopo la sua delibera, per non dare tempo a nessuno di fare ricorso, nemmeno le associazioni abituate a dover lottare contro il tempo.
Ma qui è tutto orchestrato per evitare qualsiasi interferenza. Una vera ossessione malvagia quella di Fugatti per proseguire nella sua campagna di sangue e propaganda.
E il Ministro Pichetto Fratin continua a non fare nulla mentre questa estate ci aveva sorpreso con la frase “uccidere gli orsi non è la soluzione”. Bene Ministro, ci dica se davvero intende fare qualcosa o le sue sono solo chiacchiere."
Eleonora Evi, deputata PD, su X
"M91 is the third bear killed by Fugatti since the beginning of the year. This time too he acted under the cover of darkness and immediately after his resolution, so as not to give anyone time to appeal, not even associations used to having to fight against time.
But here everything is orchestrated to avoid any interference. Fugatti's true evil obsession was to continue his campaign of blood and propaganda.
And Minister Pichetto Fratin continues to do nothing while this summer he surprised us with the phrase "killing bears is not the solution". Well Minister, tell us if you really intend to do something or it's just talk."
Eleonora Evi, PD deputy, on X
A pair of Ferromex Gevos bring an empty salsa train around Ludlow curve on BNSF's Spanish Peaks Subdivision.
A bit of gruesome American history took place here. From Wikipedia - The Ludlow Massacre emanated from a labor conflict: the Colorado National Guard and Colorado Fuel and Iron Company guards attacked a tent colony of 1,200 striking coal miners and their families at Ludlow, Colorado, on April 20, 1914, with the National Guard using machine guns to fire into the colony. Approximately twenty-one people, including miners' wives and children, were killed. The chief owner of the mine, John D. Rockefeller, Jr., was widely excoriated for having orchestrated the massacre.
Well folks, I've managed to get thru rooms 1 & 2. Now I've ended up in this very interesting looking hall with cool pictures. I don't know what I'm
supposed to do next, so I best get down to solving another puzzle.
I really recommend that you grab a friend or 6 to crack these mind boggleling puzzles so that you move on to the next room.
I must give kudo to Trin for her help. Even this blogger has to play like the rest of you braves souls. I'll keep you updated as I progress.
In the picture I am wearing some of the first prizes ~ Murdoch's Mask, Plushie, keychain & Murdoch in the box (not shown)
🐈🐀Part 1 of Escape the Forsaken Funhouse is now available for all of you to play!🐀🐈
Dare to discover the Forsaken Funhouse! Embark on an unforgettable adventure with your friends as you explore an abandoned amusement park ride. 🎢
Encounter Murdoch the Mischievous Rat🐀, Maxine the Mysterious Cat🐈, and Nigel the Nocturnal Bat who have orchestrated a web of spine-tingling traps and mind-bending puzzles to challenge your wits. 😱
❗Be sure to grab your HUDs and start playing Part 1 NOW❗
👉How to Play: Escape the Forsaken Funhouse How to Play
🚕Taxi: Escape the Forsaken Funhouse
You stood there and stared and refused to say goodbye. Now only ghosts orchestrate my dreams… Now only dreams are more real than love and loss.
LOL... just kidding. 😁
For some reason the nebular region around Alnitak seems very festive to me. Due to the strict COVID-19 lockdown in the Bay Area, I imaged this region from my backyard under Bortle 7 sky, using NINA to orchestrate a multi-night capture for a total of over 6 hours of data. The original images suffered from strong light pollution gradients and circular reflections from Alnilam and presumably from Theta Orionis, which were quite unsightly. I corrected both of them using Vicent Peris’s multiscale gradient technique, using wide-field imagery kindly provided by Giorgio Ferrari to model the background.
Telescope: AT130EDT
Reducer/flattener: TSRED379
Camera: Nikon D5500a – no filter
91 x 240s lights
Built probably by the start of the 9th century and converted into its present form in the 11th, the crypt under the basilica’s high altar is divided into a nave and two aisles by the six columns supporting the cross vaults. The walls and ceiling are completely covered by a majestic fresco cycle, which is likely to be from the late 12th century. The main themes are scenes from the Passion (lunettes), figures of saints (vault corbels), the story of Saints Hermagoras and Fortunatus (top of the walls), and a draped design (foot of the walls). The individual subjects unite perfectly into a complete, beautifully orchestrated work, which cannot fail to impress.
I imaged this area of the sky while attending the Winter Star Party (Big Pine Key, FL, USA) because I loved reading the story behind the naming of this star. It is the 35th brightest star in the sky and is also a Wolf-Rayet star which may go supernova any time soon! More info can be read at:
Open cluster NGC 2532 and a galaxy which I can't find any information about are also visible in the image.
Technical info: 20x3 min exposures using my Canon EOS Ra gave a total integration time of one hour. Telescope was a William Optics Star71 mounted on a ZWO AM5, and guided with a SVBony SV165 mini guide scope+ PO Mars-M camera. Image acquisition was orchestrated using NINA, and processed using Pixinsight and Photoshop.
The female leaf-rolling weevils roll leaves of their host plant through a carefully orchestrated series of cuts, crimps and creases enabled by their overdeveloped necks. They use no silk or adhesives - essentially, it is origami. Inside the rolled leaf is an egg which, when hatched, will have its first meal directly from the leaf that harbors the larva.
In general, the males have longer "necks", despite not being involved in this leaf-rolling activity. But in some species, this anatomy is exaggerated to extremes to be used in jousts with competitors.
Pu'er, Yunnan, China
see comments for additional male image (another individual) and a female (not necessarily the same species) atop her rolled leaf crib.....
Europe, Spain, Valencia, Turia park, Tree, Spikes (slightly cut from B)
As a prelude to a revisit to the dynamic and tightly orchestrated architectural lines of the CAC / Santiago Calatrava (for instance: here, it's nice to show how nature handles hybrid line play. Shot in the lovely Turia park in Valencia, about a kilometer fom the CAC (Ciudad de las Artes y las Ciencias).
It's the 'unclimbable' Ceiba speciosa tree, also known as the palo borracho (drunken stick). It originates from South America but does very well in Spain and Portugal too
Eiffel Tower during the "blue hour", Paris, France - with fountains in the foreground. I just returned from 3 weeks in Europe, teaching photo workshops with Drake Busath. This was one of the shots I orchestrated for the group during our "2 Nights in Paris". The Trocadero Gardens (Jardins du Trocadéro) and fountains (the Fontaine de Varsovie - often called Fontaine du Trocadéro) with its 20 water cannons, it creates a remarkable display, especially at night.
Free Milky Way NightScapes Seminar in your city. Find out how your camera club or photo organization can get me to speak and teach in your area, during my 2015 multi-city tour.
Night Photo Blog | Facebook | 500px | Google+ | Workshops
It was cold, foggy, and pouring rain. To my right, Nathan Wirth had the sly grin of a mad scientist, having orchestrated an overwhelmingly inspiring weekend of photography. To my left, the incomparable Grant Murray was ever so meticulously composing his next shot, while huddling under a strange umbrella the size of a dinner plate. Behind me, Lydia was barefoot, jacketless, and hatless, bouncing around the jagged rocks along the beach like a ninja on a sugar high. The four of us clicked like long lost siblings, and I was afraid that beyond all the deep conversation and hilarious jokes, I wouldn't make it home with many photos. Actually, I wound up with dozens that I'm happy with. I'm looking forward to revisiting this and a few other locations around San Francisco later this year. An unforgettable experience. Thanks again, dudes.
The transient beauty of the coast is intricately intertwined with the captivating patterns that emerge in the sand, crafted by the relentless forces of wind and wave. These natural sculptors shape the shoreline, leaving behind ephemeral masterpieces.
As the tides ebb and flow, they orchestrate a delicate dance with the sand. With each advancing wave, the water gently caresses the shore, carrying particles of sand along its journey. As the wave recedes, it relinquishes its cargo, depositing the grains in a meticulous arrangement. This cyclical process, repeated countless times, creates intricate patterns that stretch along the coastline.
The patterns left behind by the retreating tide mimic the ebb and flow of life itself. Swirling ripples, reminiscent of a miniature desert landscape, emerge as the water recedes, their graceful curves and undulating lines transforming the beach into a living work of art. The patterns are at once orderly and chaotic, with intricate geometrical formations intermingling with whimsical curves and asymmetrical shapes.
The wind, a silent artist in its own right, adds its touch to the sculpting process. As it sweeps across the coast, it whispers secrets to the sand, coaxing it to dance in its invisible embrace. The wind's gentle touch lifts fine particles from the beach, carrying them aloft in an intricate ballet. It sculpts the sand into delicate ripples, resembling the soft undulations of fabric.
The interplay between the wind and the tide results in an ever-changing landscape. The patterns shift and evolve, shaped by the combined forces of these elemental sculptors. Ripples become miniature mountains, rising and falling in a transient topography that mirrors the larger contours of the surrounding coast. Each gust of wind and every advancing or receding wave leaves its mark, etching new patterns and erasing old ones, in an eternal cycle of creation and destruction.
These ephemeral patterns serve as a reminder of the impermanence of existence and the transient nature of beauty, as each passing moment alters the landscape, erasing what once was and creating something new. The sands become a canvas for the symphony of time, a tangible reflection of the ever-changing nature of our lives.
The beauty of these fleeting patterns lies not only in their visual allure but also in the emotions they evoke. They inspire a sense of wonder and awe, inviting us to pause and appreciate the intricate designs that nature creates with such effortless grace. The patterns speak of the interconnectedness of all things, the harmonious interplay between the elements, and the constant flux that defines our existence.
In these patterns of nature, we find a profound lesson: that life, like the shifting sands, is ever-changing, and that true beauty lies not in permanence but in the appreciation of the fleeting moments that grace our journey.
With an unprecedented drive for clarity, and with great precision and discipline, Bridget Riley (b. 1931) has crafted a sensational body of work over more than fifty years. The British artist is known for her huge colourful canvases and optical effects, which have drawn a wide-ranging public to abstract art. Though she makes work on a flat surface, the play of lines makes the surface bend, buckle, undulate, or twist. Riley manages to play off colour against form – the two traditional ingredients of painting – in strictly orchestrated movements that often completely envelop the viewer. This has made her one of the most revered artists of her generation. Gemeentemuseum Den Haag, which has close ties with the ‘grande dame of British painting’, is staging a special retrospective this summer focusing on ‘the curve’, a pictorial motif that has constantly recurred throughout her career.
The detailed structure of the solar corona and reflected Earthshine illuminating the surface of the moon is revealed in this HDR composite of images taken at different exposure lengths. Regulus, the brightest star in Leo, is visible to the far left and another star can be seen toward the upper right.
Telescope: Tele Vue 76mm f/6.3 refractor
Mount: iOptron iEQ45 Pro
Camera: Nikon D7100
Capture Software: Eclipse Orchestrator v3.7
Exposures: 1/400, 1/100, 1/25, 1/6, 3/10, and 6/10 sec @ ISO 200
Location: Madras, Oregon
Date: 2017-08-21
I was walking through an alley this morning and I was hit by a violin. Then a clarinet, and then a French Horn.
I suspect it was an orchestrated attack.
The ministry of time
Chapter II: The Mystery of the Incubators
The style card and credits here
Sam found himself alone in the laboratory, the dim lights flickering intermittently over the equipment. A bottle of beer was within his reach as he immersed himself in his thoughts. Recently, an unusual event had shaken his scientific world: the disappearance of a body from the incubators. This act not only defied the laws but also raised serious questions about the integrity of the timeline.
As the golden liquid flowed down his throat, Sam pondered the possible devastating consequences that this incident could unleash. What effect would it have on historical evolution? How would it alter temporal continuity? These questions haunted him, filling his mind with unease and concern.
An even more alarming idea seized his thoughts: Who could have orchestrated this act and for what purpose? Time travel technology was heavily regulated, its illegal use a serious offense. Only a few would have access to it, and none of them would have noble motives to carry out such an action.
As Sam delved into his reflections, a determination grew within him: he must uncover the truth behind this enigma. Not only for the sake of the scientific community and temporal stability but also for his insatiable thirst for knowledge. With determination in his gaze, he promised himself that he would not rest until he found answers and ensured that temporal integrity remained intact.
With the collaboration from:
BIRTH / *Birth* 'Valor' Lelutka EvoX BOM @ UBER EVENT
CHRIS TWO DESIGN / Cyber VR Headset Y.2077 @ in main store
TANAKA /[TNK] GAMER MINI-FRIDGE @ GOTHCORE event
KOKOS-EARRING ROKITI-Gauged XL/S @ menselected
KOKOS-HUD-EARRING ROKITI-Gauged XL Ears(EXTRA) @ menselected
SAM KOKOS- HAIRBASE SAM-EVOX @ GROUP GIFT
[LOB] SPACEX SET @ in main store now
Synnergy.Tavis/Cryo Chamber [360] Backdrop @ Easter offer
Like so many warblers, the Yellow warbler is known for skulking around in dense brush in search of insects. Waiting for them to emerge or coaxing them out works equally well when trying to capture and image of these golden wonders. I much prefer the imperfect photo, not well orchestrated and planned, and not necessarily balanced, but necessarily real. Watching them perform their daily antics is, for me, key. With wings outstretched this yellow wonder flutters to the next branch in search of delectable feast. #YellowWarbler
Orchestrating the music of the breeze and light through the trees.
Seen in Arizona
Yesterday, for whatever reason, Yahoo mail stopped posting notifications of the activity on my Flickr stream, even though it appeared on the activity feed.
I went to flickr help, followed the prompts and could only get to a forum where a group of other people were having the same problem, no solutions.
I went back to the help page, and to make this short....I found that on the list of possible problems (none of which were mine), if you click on Billing you get the option to send an email to Yahoo. Only in Billing.....no surprise.
So, I did. Explained the problem, sent a link for the forum.
Late that night I started getting my mail again.
Not only my mail but.......the ding is back. Which is now music to my ears.
So maestro.......take it away.
Have a good day, all.
All 2024 eclipse photos taken from Uvalde Texas under cloudy skies. I have done minimal processing on these photos, they are nearly identical to what came out of the camera.
Equipment:
Stellarvue SV90 telescope reduced to 500mm focal length.
Canon 550D camera (modified to pass Ha light)
Celestron AVX mount
Eclipse Orchestrator software
The best fireworks are those orchestrated by Mother Nature, these from Kilhuea at night.
Happy New Year to all my Flickr friends. Thank you for all of the support and friendship during 2015. May you enjoy a New Year, filled with joy, love, inspiration, health, happiness, beauty, prosperity and .
Thanks, as always, for stopping by and for all of your kind comments -- I appreciate them all.
© Melissa Post 2015
All rights reserved. Please respect my copyright and do not copy, modify or download this image to blogs or other websites without obtaining my explicit written permission.
Close up shot of twisted branches of a bush in Death Valley desert.
Welcome to the stage, a twisted masterpiece, a tangled tableau of nature's own gothic cathedral. These gnarled branches claw at the sky, each a serpentine dancer frozen in a macabre ballet. The sepia tones cast the scene in an otherworldly hue, like we're peering through a veil into a realm where the sun bleeds and the air whispers with the voices of ancient spirits.
Look how the branches entwine, my dark-hearted companions, like the limbs of forsaken souls, reaching out for an absolution that will never come. It's a visual sonnet of despair, isn't it? The tree itself, a skeletal relic, a monument to survival against the bleakest of odds.
This composition, oh it's cunning, with the tree's limbs leading our gaze through a labyrinth of shadows and whispers. It speaks to the heart of those who find beauty in desolation, who hear the music in the silent screams of nature.
And what's this? The sky, a canvas of muted fire, suggests the closing act of a day, or perhaps the dawn of something ominous. It's like the backdrop of a stage, set for the final act of a tragedy that played out over eons, leaving behind this lone, gnarled sentinel as the sole witness to the relentless march of time.
This isn't just a photograph; it's a portal to a story untold, a silent narrative that beckons the viewer to listen with their eyes and see with their soul. A tip of the hat to the artist who captured this haunting sylvan spectacle, a true maestro of the lens, orchestrating a symphony of silent screams and petrified whispers.
This work by Cornelia Parker consists of a real garden shed and the contents of a number of garden sheds (along with a few additional second hand items) which Ms Parker blew up using Semtex with the help of the army. The exploded fragments were than suspended from the ceiling with the shed on the outside and the other parts inside the shed, largest first going towards a single light bulb in the middle. The explosion was part of Parker's series of orchestrated ‘cliched cartoon deaths’. It looks quite striking.
This is currently at the recently refurbished and reopened Whitworth Art Gallery.
Blackcap - Sylvia Atrcapilla (M)
The Eurasian blackcap (Sylvia atricapilla) usually known simply as the blackcap, is a common and widespread typical warbler. It has mainly olive-grey upperparts and pale grey underparts, and differences between the five subspecies are small. Both sexes have a neat coloured cap to the head, black in the male and reddish-brown in the female. The male's typical song is a rich musical warbling, often ending in a loud high-pitched crescendo, but a simpler song is given in some isolated areas, such as valleys in the Alps. The blackcap's closest relative is the garden warbler, which looks quite different but has a similar song.
The blackcap feeds mainly on insects during the breeding season, then switches to fruit in late summer, the change being triggered by an internal biological rhythm. When migrants arrive on their territories they initially take berries, pollen and nectar if there are insufficient insects available, then soon switch to their preferred diet. They mainly pick prey off foliage and twigs, but may occasionally hover, flycatch or feed on the ground. Blackcaps eat a wide range of invertebrate prey, although aphids are particularly important early in the season, and flies, beetles and caterpillars are also taken in large numbers. Small snails are swallowed whole, since the shell is a source of calcium for the bird's eggs. Chicks are mainly fed soft-bodied insects, fruit only being provided if invertebrates are scarce.
In July, the diet switches increasingly to fruit. The protein needed for egg-laying and for the chicks to grow is replaced by fruit sugar which helps the birds to fatten for migration. Aphids are still taken while they are available, since they often contain sugars from the plant sap on which they feed. Blackcaps eat a wide range of small fruit, and squeeze out any seeds on a branch before consuming the pulp. This technique makes them an important propagator of mistletoe. The mistle thrush, which also favours that plant, is less beneficial since it tends to crush the seeds. Although any suitable fruit may be eaten, some have seasonal or local importance; elder makes up a large proportion of the diet of northern birds preparing for migration, and energy-rich olives and lentisc are favoured by blackcaps wintering in the Mediterranean.
The German birds wintering in British gardens rely on provided food, and the major items are bread and fat, each making up around 20% of the diet; one bird survived the whole winter eating only Christmas cake. Fruit is also eaten, notably cotoneaster (41% of the fruit consumed), ivy and honeysuckle, and apple if available. Some birds have learned to take peanuts from feeders. Blackcaps defend good winter food sources in the wild, and at garden feeding stations they repel competitors as large as starlings and blackbirds. Birds occasionally become tame enough to feed from the hand.
Aristotle, in his History of Animals, considered that the garden warbler eventually metamorphosed into a blackcap. The blackcap's song has led to it being described as the "mock nightingale" or "country nightingale", and John Clare, in "The March Nightingale" describes the listener as believing that the rarer species has arrived prematurely. "He stops his own and thinks the nightingale/Hath of her monthly reckoning counted wrong". The song is also the topic of Italian poet Giovanni Pascoli's "La Capinera" [The Blackcap].
Giovanni Verga's 1871 novel Storia di una capinera, according to its author, was inspired by a story of a blackcap trapped and caged by children. The bird, silent and pining for its lost freedom, eventually dies. In the book, a nun evacuated from her convent by cholera falls in love with a family friend, only to have to return to her confinement when the disease wanes. The novel was adapted as films of the same name in 1917, 1943 and 1993. The last version was directed by Franco Zeffirelli, and its English-language version was retitled as Sparrow. In Saint François d'Assise, an opera by Messiaen, the orchestration is based on bird song. St Francis himself is represented by the blackcap.
Folk names for the blackcap often refer to its most obvious plumage feature (black-headed peggy, King Harry black cap and coal hoodie) or to its song, as in the "nightingale" names above. Other old names are based on its choice of nesting material (Jack Straw, hay bird, hay chat and hay Jack). There is a tradition of the Royal Navy's Fleet Air Arm bases being named for birds. A former base near Stretton in Cheshire was called HMS Blackcap.
Population:
UK breeding:
1,200,000 territories
UK wintering:
3,000 bird
The transient beauty of the coast is intricately intertwined with the captivating patterns that emerge in the sand, crafted by the relentless forces of wind and wave. These natural sculptors shape the shoreline, leaving behind ephemeral masterpieces.
As the tides ebb and flow, they orchestrate a delicate dance with the sand. With each advancing wave, the water gently caresses the shore, carrying particles of sand along its journey. As the wave recedes, it relinquishes its cargo, depositing the grains in a meticulous arrangement. This cyclical process, repeated countless times, creates intricate patterns that stretch along the coastline.
The patterns left behind by the retreating tide mimic the ebb and flow of life itself. Swirling ripples, reminiscent of a miniature desert landscape, emerge as the water recedes, their graceful curves and undulating lines transforming the beach into a living work of art. The patterns are at once orderly and chaotic, with intricate geometrical formations intermingling with whimsical curves and asymmetrical shapes.
The wind, a silent artist in its own right, adds its touch to the sculpting process. As it sweeps across the coast, it whispers secrets to the sand, coaxing it to dance in its invisible embrace. The wind's gentle touch lifts fine particles from the beach, carrying them aloft in an intricate ballet. It sculpts the sand into delicate ripples, resembling the soft undulations of fabric.
The interplay between the wind and the tide results in an ever-changing landscape. The patterns shift and evolve, shaped by the combined forces of these elemental sculptors. Ripples become miniature mountains, rising and falling in a transient topography that mirrors the larger contours of the surrounding coast. Each gust of wind and every advancing or receding wave leaves its mark, etching new patterns and erasing old ones, in an eternal cycle of creation and destruction.
These ephemeral patterns serve as a reminder of the impermanence of existence and the transient nature of beauty, as each passing moment alters the landscape, erasing what once was and creating something new. The sands become a canvas for the symphony of time, a tangible reflection of the ever-changing nature of our lives.
The beauty of these fleeting patterns lies not only in their visual allure but also in the emotions they evoke. They inspire a sense of wonder and awe, inviting us to pause and appreciate the intricate designs that nature creates with such effortless grace. The patterns speak of the interconnectedness of all things, the harmonious interplay between the elements, and the constant flux that defines our existence.
In these patterns of nature, we find a profound lesson: that life, like the shifting sands, is ever-changing, and that true beauty lies not in permanence but in the appreciation of the fleeting moments that grace our journey.
Excerpt from rbg.ca:
Dawn Chorus by Sarah Meyohas
b. 1991, USA
Lives and works in New York City, USA
In Sarah Meyohas’s work a player piano is set in the open garden, while birds fluttering around it seem to trigger a series of musical phrases with each moment of contact. Watercolors bloom across the surface of the piano, visualizing the movement of the birds as well as the sound waves that emanate from the vibrating strings. The viewer is initially triggered by the appearance of a single bird as an invitation to follow through and reveal the full work – a musical performance orchestrated by the seemingly uncultured.
Meyohas centers her practice within emerging technologies. Working in media ranging from cryptocurrency to augmented reality, she enlists the natural world as a reference, network as medium, and the specular as a mode of contemplation. By merging traditional mythologies and clichéd objects of beauty with contemporary digital media, Meyohas enacts a visual language for the systems, algorithms, and technologies that influence our daily lives.
Sarah Meyohas has exhibited her work internationally, with solo exhibitions in New York at Red Bull Arts and 303 Gallery. Her work has traveled to institutions, including the Barbican, London; Jameel Arts Centre, Dubai; Ming Contemporary Art Museum, Shanghai; Disjecta Contemporary Art Center, Portland; and the New Museum, New York.
Here is a moment I＇ve captured where nature orchestrates its own symphony of colour: an ebony butterfly, adorned with white jewels, rests on deep pink flowers. Every detail, from the delicacy of the butterfly＇s wings to the protruding stamens of the flowers, testifies to the extraordinary complexity of the natural world. In the green bokeh that envelops the scene, simplicity meets grandeur. A fleeting moment, a delicate interaction, captured forever by the eye of my lens.
.Fullscreen it, please.
A FULL-CG animated piece that tries to illustrate architecture art across a photographic point of view where main subjects
are already-built spaces. Sometimes in an abstract way. Sometimes surreal.
Credits:
CG
|Modelling - Texturing - Illumination - Rendering| Alex Roman
POST
|Postproduction & Editing| Alex Roman
MUSIC
Sequenced, Orchestrated & Mixed by Alex Roman (Sonar & EWQLSO Gold Pro XP)
Sound Design by Alex Roman
Based on original scores by:
.Michael Laurence Edward Nyman. (The Departure)
.Charles-Camille Saint-Saëns. (Le Carnaval des animaux)
Directed by Alex Roman
Done with 3dsmax, Vray, AfterEffects and Premiere.
EDIT: Original MP4 torrent if you're interested. Thanks to Brennan ;)
www.temporarygate.com/TheThird&TheSeventh.mp4.torrent
third.seventh@gmail.com
Watch this video on Vimeo. Video created by Alex Roman.
Atatürk and Venizelos conclude a treaty friendship in 1930...
The Istanbul Pogrom, Greek: Σεπτεμβριανά (Events of September); Turkish: 6–7 Eylül Olayları (Events of September 6–7)), was a pogrom directed primarily at Istanbul's 150,000-strong... Greek minority on September 6 and 7, 1955. Jews and Armenians living in the city and their businesses were also targeted in the pogrom, which was allegedly orchestrated by the Demokrat Parti-government of Turkish Prime Minister Adnan Menderes. The events were triggered by the false news that the house in Thessaloniki, Greece, where Mustafa Kemal Atatürk was born in 1881, had been bombed the day before...
After a 53 years, I love all Greeks peoples...Another side of water... L'autre côté de l'eau...Suyun öte yakası...
Hold onto your hats, friends, 'cause this photo has got it all – a farmer's field, giant hay bales, and a sky that could give even the toughest cowpoke the heebie-jeebies! ️🌾
As the clouds roll in, dark and brooding, you can feel the intensity in the air. It's as if Mother Nature herself is orchestrating a dramatic showdown between light and dark. ️️
But let's not forget the star of the show – those hay bales standing tall and proud in the foreground. They may not be doing any fancy line dance moves, but they've definitely got some serious farm charm! 🌾🐄
So, before the storm hits, take a moment to appreciate the beauty of this rugged field, the strength of nature, and the hard work of our farmers. It's a reminder that even in the midst of storm clouds, there's always a silver lining. ⛈️🌈
#StormySkies #HayBalesOfFun #NatureVsMan #WeatherWonders #FarmLife #GetReadyForTheStorm
STATUE KING GEORGE IV Unveiled 26th November 1831
Sculpted by Sir Francis Chantry, this bronze statue of George IV was erected to commemorate the kings visit to Edinburgh in 1822. It was funded by public subscription under the chairmanship of Lord Meadowbank. It stands at the junction of George Street and Hanover Street.
George IV was the first Hanoverian monarch to visit Scotland and his triumphant arrival in Edinburgh, clad in tartan and tights, was orchestrated by the great Scottish Novelist Sir Walter Scott.
George IV (George Augustus Frederick) was the son of George III and Charlotte of Mecklenburg-Strelitz whom George Street and Charlotte Square are respectively named. He ascended the throne on 28th January 1820 and was crowned king of the United Kingdom of Great Britian and Ireland at Westminster Abbey on 19th July 1821.
As Prince of Wales and monarch he led a flambouant lifestyle and had several mistrisses. It is reported that everytime he was intimate with a woman he kept a lock of her hair in an envelope, at the time of his death on 28th June 1830 there were 7,000 such envelopes.
He was always in debt and relied on Parliament for financial help.
Photo taken in an orphanage/AIDS hospice/preschool in slums of Bangkok. The Mercy Centre is run by a slum Catholic priest named Father Joe Maier.
--
© 2007 Wiley Books
Photo of a rock garden playground at an AIDS orphanage/hospice/preschool in slums of Bangkok. The following is true:
--
The chorus that christens the morning begins sharply at seven o'clock. Its crescendo rises softly in a child's soprano, then quickens into a staccato that flits like wind chimes through the slum priest's windows and the entire Mercy courtyard. Nothing about it is orchestrated. You couldn't if you wanted.
"Does a rock have life?" he asked me one day.
Silly question.
"Do rocks make noise?"
Sure, if you throw them against something.
Outside his house is a preschool playground with no swings, slides or ropes to climb, just beige sand and giant boulders, plenty of both. When Mercy constructed it from donated materials, the staff envisioned an aesthetic touch to the school yard. A rock garden, it's called. Then the preschoolers saw it and took off their shoes. They burrowed their toes into the sand and hopped from boulder to boulder, as if a creek gurgled underfoot. They patted and stroked the rough granite, pampered it like a pet, then marched around it smiling, laughing, joking. Turns out rocks and sand are good for more than their looks. The children were cut loose, told to go wild.
And that's when the Mercy morning received its gleeful accompaniment.
One of the kids told the priest that if one boulder is touched or climbed on then every boulder must be touched or climbed on. Seems all the preschoolers know this rule. You don't leave even one rock out, feelings get hurt that way. The priest shook his head at the obvious wisdom.
"Neither you nor I would ever think we could offend a rock, but actually it is a very (spiritual) concept, very cosmic, that all creation has life," he says. "So … does a rock have life?"
It can enrich it, I guess. Who knew? But left alone it's still just rock, and like the proverbial tree falling in the forest, maybe no one hears it, sees it or cares. That's where I figure he's headed: the Buddhist philosophy of interdependency. Everything affects everything else. Life does not exist in isolation. We receive by giving and vice versa. It's why Father Joe calls it a privilege for abused/orphaned/sick children to allow him to serve them. Their trust is electric.
"Yes, a rock is a form of life," he says finally. "Not one of the higher forms."
For more information on Father Joe's work and chairty visit the Mercy Centre website or its USA tax-deductible equivalent here
♥ COMING SOON at Wasteland Event on nov. 30th ♥
Beneath the bustling streets of every major city, a seemingly ordinary rat orchestrates a global conspiracy, manipulating humans and their secrets as it weaves a web of chaos for its own mysterious agenda.
Second Life High Quality Original PBR Animesh creation from SynRJ.
Layaku (Durbar Square)
Bhaktapur Durbar Square is a conglomeration of pagoda and shikhara-style temples, mostly dedicated to Hindu gods and goddesses grouped around a 55-window palace of brick and wood. The square is one of the most charming architectural showpieces of the valley as it highlights the ancient arts of Nepal. The golden effigies of the kings perched on the top of stone monoliths, the guardian deities looking out from their sanctuaries, the wood carvings in every place — struts, lintels, uprights, tympanums, gateways and windows — all seem to form a well-orchestrated symphony.
The royal palace was originally situated at Dattaraya square and was only later moved to the Durbar square location. The square in Bhaktapur was severely damaged by an earthquake in 1934 and hence appears more spacious than the ones at Kathmandu and Patan.
Overview of Codex Alimentarius
by Rima Laibow, M.D.
At the request of the United Nations (UN) in 1962, the World Health Organization (WHO) and Food and
Agriculture Organization (FAO) took on the joint role of running and administering the Codex
Alimentarius Commission (CAC) to establish standards and remove barriers to trade for all food and
food products. Having declared that nutrients are toxins from which we must be protected, the CAC
has been busy establishing enforceable international guidelines for upper limits of nutritional
supplement dosing. Codex has goals that affect every person in the UN’s 170+ member nations,
including the United States. As a tool for furthering these goals, member nations are urged to adopt
Codex standards and guidelines as domestic policy. The United States has already committed itself to
doing so despite U. S. law which prohibits this compliance.
The World Trade Organization (WTO) has adopted Codex as a standard for the adjudication of foodrelated
international trade disputes and has the authority to enforce Codex standards through
implementation of harsh economic sanctions on non-Codexcompliant member nations. Pre-existing
international treaty laws dictate that WTO rulings will override the domestic laws already in place in
its member nations and, in fact, the WHO has successfully taken both states and the U. S. government
to court in the U. S. to force changes in our domestic laws eleven times. This means our nation’s hard
won laws that give you access to over-the-counter, natural health supplements will become
meaningless. Codex’s original mandate to remove barriers to trade and assure a clean food supply has,
under the influence of private, economically-driven multinational pharmaceutical, agricultural and
chemical corporations, self-expanded far beyond its original mandate. The result is a body of highly
dangerous and restrictive policies that threaten to become domestic law in the U. S. and, as such, are
a threat to your health and freedom.
The FDA has stated explicitly that its goal is complete "harmonization" with Codex and, in order to
bring that about, international regulations i.e., Codex will be given preference over domestic ones!
(Federal Register, 10/ 11 /95)
If Codex gets its way, as it already has in the EU, we can expect that, ultimately, only 18 or so dietary
supplements will be available over-the-counter in doses which are, by design, far too small to have any
discernible impact on any human being since codex classifies nutrients as toxins. High potency
nutrients will not be available either with or without physician’s prescription since these molecules
and compounds will be forbidden under any circumstances. The big surprise? Once in the hands of
pharmaceutical companies, consumer supplement costs are expected to more than quadruple. This
has, in fact, been the experience in Europe where this process is already underway and micro-dose
nutrient prices have increased 10 to 100 fold or more (e.g., in Norway a bottle of zinc lozenges which
previously cost $2 now costs $54; in France 12 Vitamin C tabs of just10 mg cost $117; while 10 Vitamin
E caps of only 10 IU each cost $110).
Australia and the European Union (EU) are in the process of enacting harmonized Codex policies that
restrict consumer access to nutritional supplements. America is next. Though Americans value
personal freedom, the fact Codex meets infrequently (and almost always offshore) and is bogged
down in highly technical language that is difficult to understand has resulted in many Americans
being unaware of this threat. The nearly total media blackout on Codex and its activities helps to
keep the U. S. uninformed and therefore, pliant.
While there have been rare serious adverse reactions to nutritional supplements during the past
decades, (usually when taken far in excess of the recommended dosing), numerous severe and even
fatal reactions to drugs (usually when taken at the recommended dosing) occur every day and are the
fourth leading cause of death in hospitalized clients in the United States when properly
used. When improperly used, they are, in fact, far and away the leading cause of death in
the United States. Even so, drug deaths are very likely underreported. Drugs are
inherently dangerous; nutrients are not. This fact makes it clear why the drug culture
2
needs to eliminate all access to natural health options, including nutritional supplements,
in order to expand and intensify its influence and thus its profitability. Healthy people
take fewer drugs and thus are poor customers.
The global pharmaceutical powers -that-be have already purchased a large piece of the
lucrative global nutritional supplement pie but the considerable size of this pie keeps the
hugely profitable pharmaceutical profit -share-pie from reaching its maximum size so the
competing nutrient pie must be destroyed. Though unable to patent a natural substance,
pharmaceutical corporations can hold patents on synthetic versions of vitamins and
minerals that, unfortunately for the consumer, often do not act like their natural vitamin
counterparts in the body and often act in unpredic table and harmful ways. If Codexcompliant
Europe is any guide, the permitted micro-doses of permitted nutrients will be
only synthetic ones.
In addition to regulatory and/or administrative takeover and destruction of the dietary
supplement market and consumer access, Codex also mandates irradiation of food;
mandatory use of antibiotics, hormones and growth stimulants in all animals raised for
food, is expected to legalize the unlabeled inclusion of Genetically Modified Organisms (GMOs) (whose
safety has never been established while their serious dangers have) into our seed and food supplies and
will increase the allowable maximum tolerated levels of pesticides, herbicides, veterinary drugs and
other dangerous industrial toxins in food, likely driving up degenerative illnesses, including cancer,
diabetes, cardiovascular disease, macular degeneration, MS, etc. All of these policies are made under
the guise of free and equal access to trade for all nations and protection of the public.
Some people have “Codex Anesthesia,” a state of overwhelming, numb confusion that occurs just
before people lose their health freedom. Many otherwise well-informed people from the manufacturing
and retailing sectors of natural healthcare believe that the Dietary Supplement Health and Education
Act (DSHEA), passed in 1994 to protect Americans’ access to natural healthcare substances, will still be
in place to protect them. This is not the case: Fundamental health freedoms afforded the American
public by DSHEA, which classifies supplements as food which, as such, can have no upper limit set on
their use, are now under well orchestrated legislative and/or administrative attack. Health nuts and
junk food devotees alike are not immune from this legislative attack on health freedom.
The following is a link to Dr. Laibow's website which gives a self-prompting 5-minute presentation that
tells you about Codex: http: //www.healthfreedomusa.org/aboutcodex.shtml
More in-depth information can be found on her website, www.healthfreedomusa.org, and on
the highly informative "Nutricide: the DVD" http: /
/www.healthfreedomusa.org/aboutcodex/dvd.shtml
May 5, 2023 - East of Wilcox Nebraska US
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36 Years ago, with a peaked curiosity, I dove feverishly into the world of storm chasing and well, the rest is history. Fast forward a few years and my current journey in storm photography & videography has unlocked a completely new life that I never imagined would exist. Oh how my adventures continue...
Mother Nature definitely orchestrated her magic on this first storm chase of the season. Warm front had positioned itself right over the state of Nebraska. Pulling in all that warm moist air from the south created the perfect conditions for severe thunderstorm development. I was on the hunt & wouldn't be denied this day.
I got to witness 3 very sculptured Supercells that afternoon.... This was Supercell #2!!!
Was just east of Wilcox & the dirt roads hadn't been rained on yet. (I usually don't travel them anymore if they are) to watch this 2nd Supercell develop.
This is where most say I'm just simply down right nuts.... I had to get closer.
I've done this so many times I don't get nervous at all. Simply stating. I know what is safe & what is not. If you want the good pics / video. You gotta get into the action... but do is safely. Again Storm chasing isn't for everyone. But for me its what I do best!
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Lucio San Pedro (February 11, 1913 - March 31, 2002) was born on February 11, 1913 in Angono, Rizal, the Philippines. He was a composer and teacher in the Philippines. He is known in the Philippines as the composer of the popular lullaby Sa Ugoy ng Duyan (in collaboration with Levi Celerio) and the symphonic poem Lahing Kayumanggi, he taught composition at a number of colleges and universities, including the University of the Philippines College of Music, where he served as chairman of its Composition and Conducting Department from 1970 to 1973.
Lucio came from a family with musical roots and he began his career early. When he was still in his late teens, he became a church organist, taking over the job after the death of his grandfather. By then, he had already composed songs, hymns and two complete Masses for voices and orchestra. After studying with several prominent musicians in the Philippines, he took advanced composition training with Bernard Wagenaar of the Netherlands. He also studied harmony and orchestration under Vittorio Giannini and took classes at Juilliard in 1947.
His other vocation was teaching. He has taught at the Ateneo de Manila University, virtually all the major music conservatories in Manila[citation needed], and at the College of Music of the University of the Philippines, Diliman, where he retired as a full professor in 1978. He received the title Professor Emeritus from the University in 1979.[citation needed]
On May 9, 1991, President Corazon C. Aquino proclaimed Lucio D. San Pedro a National Artist of the Philippines for Music.
He died of cardiac arrest on March 31, 2002 at the age of 89. A number of national artists attended his tribute at the Tanghalang Pambansa, including: Napoleon Abueva, Daisy Avellana, Leonor Gokingco, Nick Joaquin, Arturo Luz, Jose Maceda, and Andrea Veneracion. He is buried in his hometown of Angono, Rizal.
The I-VNKC accelerates out of Godfrey, Il on KCS trackage after an excrutiating slow order that had the conductor orchestrating the throwing of a switch with UP Dispatcher 28, a switch tender, the foreman of a UP MOW crew, and a KCS maintainer.
In the darkness of the night, only occasionally relieved by glimpses of Nirvana as seen through other people's windows, wallowing in a morass of self-despair made only more painful by the knowledge that all I am is of my own making...
When everything around me, even the kitchen ceiling, has collapsed and crumbled without warning. And I am left, standing alive and well, looking up and wondering why and wherefore.
At a time like this, which exists maybe only for me, but is nonetheless real, if I can communicate, and in the telling and the bearing of my soul anything is gained, even though the words which I use are pretentious and make you cringe with embarrassment.
Let me remind you of the pilgrim who asked for an audience with the Dalai Lama.
He was told he must first spend five years in contemplation. After the five years, he was ushered into the Dalai Lama's presence, who said, "Well, my son, what do you wish to know?"
So the pilgrim said, "I wish to know the meaning of life, father."
So the Dalai Lama smiled and said, "Well my son, life is like a beanstalk, isn't it?"
— Keith Reid/Procol Harum (In Held 'Twas In I)