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Annual celebration of all things pig orchestrated by Chef Jeremiah Bullfrog of the gastroPod on November 15, 2015.
twitter: @frodnesor
instagram: @frodnesor
...again
Throughout history we see that God loves numbers! He’s an architect and engineer; He made the universe! He loves to show off, show His glory, and make us marvel! Many numbers have very significant, God ordained meanings & implications. Note: “3 dots, 3 dashes, 3 dots” is man’s international distress signal, SOS in Morse Code. I’m convinced God orchestrated this, not Mr. Morse! - 333 is surely God’s international distress signal; an urgent end-times SOS message! Think! WHAT IF!! What if GOD is really trying to get your attention! Even if you don't believe in God, WHAT IF!! I would hope, if it were me, I would somehow respond. But, CAUTION! Whatever you do, do not place your trust in the purveyors of ANGEL NUMBERS & such! Although it's essentially true that the 333 may indeed be delivered by an angel, it would be an extreme injustice & mistake to associate it with the various spiritualist and profit oriented sites that pop up when "meaning of 333" is Googled. See "Satan's # Games". Unfortunately, although certainly more accurate, it's a shame one has to add "biblical" to "meaning of 333" for this site to be ranked high on the list by Google. Don't know whether to blame Satan or praise Google! It represents God, the 3-in-1, Father, Son, & Holy Spirit. Jesus prayed 3 times in the Garden of Gethsemane before His arrest. He was placed on the cross at the 3rd hour of the day (9 a.m.) and died at the 9th hour (3 p.m.). There were 3 hours of darkness that covered the land while Jesus was on the cross. Three is also the number of resurrection. Christ arose after 3 days and 3 nights in the tomb.
There are many more illustrations of the #3s biblical significance. Jonah prophetically spent 3 days in the belly of a big fish. After the flood, new life started in 3 persons: Shem, Ham, & Jepheth. Israel was founded in the 3 persons of Abraham, Isaac, & Jacob. Three (3) of the most memorable Biblical edifices, Noah's Ark, Solomon's Temple, and The Millennial Temple, are 3 stories tall; and they all represent God's saving grace. 33 = After 3 years of ministry and raising 3 people from the dead, Jesus died at age 33. His death and resurrection fulfilled all the old testament promises concerning the Messiah. Thus, the number 33 is connected to promise, in particular, to Gods promise of salvation to humanity. “3 dots, 3 dashes, 3 dots”, as noted above, is man’s international distress signal, SOS in Morse Code. I’m convinced God orchestrated this, not Mr. Morse! - 333 is surely God’s international distress signal; an urgent end-times SOS (Save Our Souls) message! On Nov.29,1947, the 333rd day of the year, the United Nations voted for the establishment of a Jewish State. God gave His chosen people the homeland that He had promised to their forefathers!
Genesis 15:9, The LORD told Abraham, "Bring me a three-year-old heifer, a three-year-old female goat, a three-year-old ram, a turtledove, and a young pigeon." This has to do with the covenant God made with Abraham, promising the land of Israel to the Jews. Thus 333 just may be considered a COVENANT number!!! As seen above, the numbers 3, 33, or 333 just scream of Jesus &/or the Bible! No other, not Mohammad, Buddha, Satan, or any other religion can proclaim such a connection. And again, 333 is surely God’s International Distress Signal; an urgent end-times SOS message! good link below
MuCEM Marseille, France - 2013
Architects: Rudy Ricciotti and C+T architecture
Views, sea, sun, a mineral quality, which all must be orchestrated by a program that will become federal and cognitive. First of all a perfect square of 72 m per side, it is a classic plan, Latin, under the control of Pythagoras. Within this square, another of 52 m per side, comprising the exhibition and conference halls identified as the heart of the museum.
Around, above and below are the service areas. But between these areas and the heart, openings entirely bypass the central square and form interconnected spaces. More interested by the views of the fort, the sea or the port, the culturally overwhelmed visitor will choose this route. Along two interlacing ramps, he will then plunge into the imaginary of the tower of Babel or of a ziggurat in order to climb up to the rooftop and on to Fort Saint- Jean. This peripheral loop will be a demuseumifying breathe, enveloped by the smells of the sea from the proximity to the moats, a pause to dispel any lingering doubts about the use of the history of our civilizations. The MuCEM will be a vertical Casbah.
The tectonic choice of an exceptional concrete coming from the latest research by French industry, reducing the dimensions to little more than skin and bones, will affirm a mineral script under the high ramparts of Fort Saint-Jean. This sole material in the colour of dust, matt, crushed by the light, distant from the brilliance and technological consumerism, will commend the dense and the delicate. The MuCEM sees itself evanescent in a landscape of stone and Orientalist through its fanning shadows.
MuCEM Marseille, France - 2013
Architects: Rudy Ricciotti and C+T architecture
Views, sea, sun, a mineral quality, which all must be orchestrated by a program that will become federal and cognitive. First of all a perfect square of 72 m per side, it is a classic plan, Latin, under the control of Pythagoras. Within this square, another of 52 m per side, comprising the exhibition and conference halls identified as the heart of the museum.
Around, above and below are the service areas. But between these areas and the heart, openings entirely bypass the central square and form interconnected spaces. More interested by the views of the fort, the sea or the port, the culturally overwhelmed visitor will choose this route. Along two interlacing ramps, he will then plunge into the imaginary of the tower of Babel or of a ziggurat in order to climb up to the rooftop and on to Fort Saint- Jean. This peripheral loop will be a demuseumifying breathe, enveloped by the smells of the sea from the proximity to the moats, a pause to dispel any lingering doubts about the use of the history of our civilizations. The MuCEM will be a vertical Casbah.
The tectonic choice of an exceptional concrete coming from the latest research by French industry, reducing the dimensions to little more than skin and bones, will affirm a mineral script under the high ramparts of Fort Saint-Jean. This sole material in the colour of dust, matt, crushed by the light, distant from the brilliance and technological consumerism, will commend the dense and the delicate. The MuCEM sees itself evanescent in a landscape of stone and Orientalist through its fanning shadows.
An early surprise orchestrated by my great group of buddies. Thank you Margo, Betsy, Pinky, Jeanne, Donna and Judy! p1040585
MuCEM Marseille, France - 2013
Architects: Rudy Ricciotti and C+T architecture
Views, sea, sun, a mineral quality, which all must be orchestrated by a program that will become federal and cognitive. First of all a perfect square of 72 m per side, it is a classic plan, Latin, under the control of Pythagoras. Within this square, another of 52 m per side, comprising the exhibition and conference halls identified as the heart of the museum.
Around, above and below are the service areas. But between these areas and the heart, openings entirely bypass the central square and form interconnected spaces. More interested by the views of the fort, the sea or the port, the culturally overwhelmed visitor will choose this route. Along two interlacing ramps, he will then plunge into the imaginary of the tower of Babel or of a ziggurat in order to climb up to the rooftop and on to Fort Saint- Jean. This peripheral loop will be a demuseumifying breathe, enveloped by the smells of the sea from the proximity to the moats, a pause to dispel any lingering doubts about the use of the history of our civilizations. The MuCEM will be a vertical Casbah.
The tectonic choice of an exceptional concrete coming from the latest research by French industry, reducing the dimensions to little more than skin and bones, will affirm a mineral script under the high ramparts of Fort Saint-Jean. This sole material in the colour of dust, matt, crushed by the light, distant from the brilliance and technological consumerism, will commend the dense and the delicate. The MuCEM sees itself evanescent in a landscape of stone and Orientalist through its fanning shadows.
AV Festival 06 and The Sage Gateshead presented a new specially commissioned concert by one of the world’s finest composers, Michael Nyman. A prolific composer, it is through film that Nyman’s work has reached its largest audience. He is famous for the score to Jane Campion’s The Piano, and his collaborations on the films of Peter Greenaway. In 1997 Nyman composed the music for Andrew Niccol’s film Gattaca, an experience that deepened Nyman’s personal interest in bioscience and eugenics. Nyman has also worked with these concepts in other scores, culminating in the creation of an opera, Facing Goya, which takes as its premise the cloning of the great Spanish artist from genetic data in his skull.
For AV Festival 06, Nyman created a major new concert with the Northern Sinfonia and guests: David Lockington, Conductor; Hilary Summers, Contralto; and Sarah Leonard, Soprano. The concert explored the way that biotechnology and cloning are changing our visions of life and art, and drew on Nyman’s scores of both Gattaca and Facing Goya, as well as his score for Jean Vigo’s 1930 short film A Propos de Nice.
The concert also marked Nyman’s first foray into visual art, with his own images of human life transformed into video by the group, YEAST. The event included an exclusive pre-concert on-stage interview with Michael Nyman by bio-ethicist Dr Tom Shakespeare.
130914-M-LN208-259
Musicians with the Japan Ground Self-Defense Force 15th Band and the III Marine Expeditionary Force Band stand during applause from a full-capacity crowd Sept. 14 at the Okinawa Civic Hall in Okinawa City during the 18th Annual Combined Band Concert. The bands intend to continue their tradition of hosting combined concerts.
Photo by Lance Cpl. Pete Sanders
The Misericordia Sexual Assault Response Team (SART) orchestrated a flash mob on campus on Wednesday, May 1, with the help of the cheerleading team and numerous dance groups, to bring awareness to the resources that are available on campus and in the local community for victims of sexual assault.
NAC Orchestra Musicians Sean Rice and Paul Casey participate in the Orchestrated Neighbours performance in Halifax.
Select cast members of In the Heights.
Photo by Owen Carey/Courtesy of Portland Center Stage at The Armory
In the Heights
Music & lyrics by Lin-Manuel Miranda
Book by Quiara Alegría Hudes
Conceived by Lin-Manuel Miranda
Directed by May Adrales
Music direction by Eugenio A. Vargas
Choreographed by William Carlos Angulo
August 31 – October 13, 2019
On the U.S. Bank Main Stage
Winner of 4 Tony Awards: Best Musical, Best Original Score, Best Choreography, Best Orchestrations
Lin-Manuel Miranda’s (Hamilton) Tony and Grammy Award-winning musical takes us to New York’s vibrant Washington Heights, where the air is filled with the sounds of salsa, merengue, soul, hip-hop, and R&B. It’s a community on the brink of change, where a tight-knit group of friends and neighbors struggles to achieve their dreams.
Produced in association with Milwaukee Repertory Theater, Seattle Repertory Theatre, and Cincinnati Playhouse in the Park.
The Misericordia Sexual Assault Response Team (SART) orchestrated a flash mob on campus on Wednesday, May 1, with the help of the cheerleading team and numerous dance groups, to bring awareness to the resources that are available on campus and in the local community for victims of sexual assault.
Led and Orchestrated by poet Bob Holman, the reading of Howl includes a “Greek chorus” of voices... Poets representing The Bowery Poetry Club, The Poetry Project at St. Marks Church in the Bowery, The Nuyorican Poets Cafe, and A Gathering of the Tribes... Including Stephanie Berger, Nina Freeman, David Henderson, Paolo Javier, Vincent Katz, Eliel Lucero, Sheila Maldonado, Ace McNamara, Nancy Mercado, Kristin Prevallet, Joseph D Robbins, Bob Rosenthal, Caroline Rothstein, Judah Rubin, Tahani Salah, Jon Sands, Edwin Torres & Bruce Weber.
Back in June 2009, we orchestrated a video production for our client, Macadamia, explaining their product and how to use it. Now that their brand is fully launched, you can see the video in its entirety, as well as the branding and packaging we've done for them, on their website.
These are a few behind the scenes shots from the shoot.
Hasselblad 500cm 80mmCF, Acros
Monterey Highway, South Bay area of the San Francisco Bay area.
Now this one could not have been orchestrated better.
Ive seen these cars here before and for some reason lately ive needed to shoot old cars, cant question the wants of a impulse right? Anyway, pull up, wander down the road to get this shot. As im setting up this rough red neck looking dude (im not judging, he was both for sure) gets in his truck not 20 feet from me. Id tried nodding at him as I walked by but he just looked away.
Anyway, he gets in his truck and proceeds to do burn outs in the dirt so as to cover me and my camera in dust. He did this three times, before I stood up and just glared at him. I could see him checking in the rear view and everything. Asshole. Thats all he was on that day, perhaps on another day he is a nice respectful person but that day in June he was pure and simply an asshole.
So he finally leaves and I turn to shoot the cars after blowing and wiping off dust from my camera and lens and then these dogs show up right in front of me. At this point im like "what ever" BUT upon looking at the shot after its perfect.
AND, check the license plate! Didnt script that one.
Led and Orchestrated by poet Bob Holman, the reading of Howl includes a “Greek chorus” of voices... Poets representing The Bowery Poetry Club, The Poetry Project at St. Marks Church in the Bowery, The Nuyorican Poets Cafe, and A Gathering of the Tribes... Including Stephanie Berger, Nina Freeman, David Henderson, Paolo Javier, Vincent Katz, Eliel Lucero, Sheila Maldonado, Ace McNamara, Nancy Mercado, Kristin Prevallet, Joseph D Robbins, Bob Rosenthal, Caroline Rothstein, Judah Rubin, Tahani Salah, Jon Sands, Edwin Torres & Bruce Weber.
MuCEM Marseille, France - 2013
Architects: Rudy Ricciotti and C+T architecture
Views, sea, sun, a mineral quality, which all must be orchestrated by a program that will become federal and cognitive. First of all a perfect square of 72 m per side, it is a classic plan, Latin, under the control of Pythagoras. Within this square, another of 52 m per side, comprising the exhibition and conference halls identified as the heart of the museum.
Around, above and below are the service areas. But between these areas and the heart, openings entirely bypass the central square and form interconnected spaces. More interested by the views of the fort, the sea or the port, the culturally overwhelmed visitor will choose this route. Along two interlacing ramps, he will then plunge into the imaginary of the tower of Babel or of a ziggurat in order to climb up to the rooftop and on to Fort Saint- Jean. This peripheral loop will be a demuseumifying breathe, enveloped by the smells of the sea from the proximity to the moats, a pause to dispel any lingering doubts about the use of the history of our civilizations. The MuCEM will be a vertical Casbah.
The tectonic choice of an exceptional concrete coming from the latest research by French industry, reducing the dimensions to little more than skin and bones, will affirm a mineral script under the high ramparts of Fort Saint-Jean. This sole material in the colour of dust, matt, crushed by the light, distant from the brilliance and technological consumerism, will commend the dense and the delicate. The MuCEM sees itself evanescent in a landscape of stone and Orientalist through its fanning shadows.
The Misericordia Sexual Assault Response Team (SART) orchestrated a flash mob on campus on Wednesday, May 1, with the help of the cheerleading team and numerous dance groups, to bring awareness to the resources that are available on campus and in the local community for victims of sexual assault.
BROWARD COUNTY PUBLIC LIBRARY / MAIN Branch at 100 S. Andrews Avenue in Fort Lauderdale, FL on Monday morning, 16 June 2014 by Elvert Barnes Photography
COLOR & RHYTHM: A Visual Orchestration by YAACOV AGAM
www.broward.org/ARTS/PUBLICART/PADTOUR/INVENTORY/Pages/Ag...
Follow BROWARD COUNTY PUBLIC LIBRARY at www.facebook.com/browardcountylibrary
PUBLIC ART IN PUBLIC SPACES
MuCEM Marseille, France - 2013
Architects: Rudy Ricciotti and C+T architecture
Views, sea, sun, a mineral quality, which all must be orchestrated by a program that will become federal and cognitive. First of all a perfect square of 72 m per side, it is a classic plan, Latin, under the control of Pythagoras. Within this square, another of 52 m per side, comprising the exhibition and conference halls identified as the heart of the museum.
Around, above and below are the service areas. But between these areas and the heart, openings entirely bypass the central square and form interconnected spaces. More interested by the views of the fort, the sea or the port, the culturally overwhelmed visitor will choose this route. Along two interlacing ramps, he will then plunge into the imaginary of the tower of Babel or of a ziggurat in order to climb up to the rooftop and on to Fort Saint- Jean. This peripheral loop will be a demuseumifying breathe, enveloped by the smells of the sea from the proximity to the moats, a pause to dispel any lingering doubts about the use of the history of our civilizations. The MuCEM will be a vertical Casbah.
The tectonic choice of an exceptional concrete coming from the latest research by French industry, reducing the dimensions to little more than skin and bones, will affirm a mineral script under the high ramparts of Fort Saint-Jean. This sole material in the colour of dust, matt, crushed by the light, distant from the brilliance and technological consumerism, will commend the dense and the delicate. The MuCEM sees itself evanescent in a landscape of stone and Orientalist through its fanning shadows.
More than 120 participants from 76 countries and 30 nationalities mix at IMD's executive program Orchestrating Winning Performance in Singapore.
Annual celebration of all things pig orchestrated by Chef Jeremiah Bullfrog of the gastroPod on November 15, 2015.
twitter: @frodnesor
instagram: @frodnesor
MuCEM Marseille, France - 2013
Architects: Rudy Ricciotti and C+T architecture
Views, sea, sun, a mineral quality, which all must be orchestrated by a program that will become federal and cognitive. First of all a perfect square of 72 m per side, it is a classic plan, Latin, under the control of Pythagoras. Within this square, another of 52 m per side, comprising the exhibition and conference halls identified as the heart of the museum.
Around, above and below are the service areas. But between these areas and the heart, openings entirely bypass the central square and form interconnected spaces. More interested by the views of the fort, the sea or the port, the culturally overwhelmed visitor will choose this route. Along two interlacing ramps, he will then plunge into the imaginary of the tower of Babel or of a ziggurat in order to climb up to the rooftop and on to Fort Saint- Jean. This peripheral loop will be a demuseumifying breathe, enveloped by the smells of the sea from the proximity to the moats, a pause to dispel any lingering doubts about the use of the history of our civilizations. The MuCEM will be a vertical Casbah.
The tectonic choice of an exceptional concrete coming from the latest research by French industry, reducing the dimensions to little more than skin and bones, will affirm a mineral script under the high ramparts of Fort Saint-Jean. This sole material in the colour of dust, matt, crushed by the light, distant from the brilliance and technological consumerism, will commend the dense and the delicate. The MuCEM sees itself evanescent in a landscape of stone and Orientalist through its fanning shadows.
Charles Nelson, recently moved to Fresno and now a dual member of the San Joaquin Valley and Southern California Grottos, was in charge of the vertical practice. He recruited the help of John Woods and Daniel and Betty Veelik to help set up a treadmill system hanging off of the overhanging cliff.
Songs of Choir:
1.The Sorrow of Corrupt Mankind
2.Man’s True Condition of Being Corrupted by Satan
3.The Practical God Saves Men in Obscurity
1.The Sorrow of Corrupt Mankind
Man walked through the ages with God, yet man knows not that God rules the fate of all things and living beings or how God orchestrates and directs all things. This is something that has eluded man since time immemorial to the present day. As for the reason why, it is not because the ways of God are too elusive, or because the plan of God has yet to be realized, but because the heart and spirit of man are too distant from God. Therefore, even as man follows God, he unknowingly remains in the service of Satan.
...
None actively seek out the footsteps or appearance of God, and none wish to exist in the care and keeping of God. Rather, they are willing to rely on the corrosion of Satan and the evil one in order to adapt to this world and to the rules of life the wicked mankind follows. At this point, the heart and spirit of man are sacrificed to Satan and become its sustenance, and moreover, become a place in which Satan can reside and a playground for it. In this way, man unknowingly loses his understanding of the principles of being human, and of the worth and purpose of human existence. The laws from God and the covenant between God and man gradually fade away in man’s heart until man no longer seeks or pays heed to God, no longer seeks or pays heed to God. As time passes, man no longer understands why God created man, nor does he understand the words that come from the mouth of God or realize all that is from God. Man begins to resist the laws and decrees from God; the heart and spirit of man become deadened. …God loses the man of His original creation, and man loses the root of his beginning. This is the sorrow of this mankind, this is the sorrow of this mankind. Woo … woo … woo … woo….
...
from “God is the Source of Man’s Life” in The Word Appears in the Flesh
2. Man’s True Condition of Being Corrupted by Satan
For so many years, the thought man lives by has corrupted man’s heart, man’s heart. So man becomes crafty, cowardly, and base. Man has no perseverance or resolution, and is greedy and frail and willful. He does not have the will to transcend himself at all, much less have any courage to break away from the bondage of the influence of darkness. Man has a depraved mind and leads a depraved life. Man’s viewpoint of believing in God is still awful, and it is even intolerable to the ear, intolerable to the ear once it is spoken of. All men are cowardly, powerless, base, and fragile. They do not feel loathing for the force of darkness, and do not love the light and the truth, but they do their possible to drive them out. All men are cowardly, powerless, base, and fragile. They do not feel loathing for the force of darkness, and do not love the light and the truth, but they do their possible to drive them out.
from “Why Are You Not Willing to Be a Setoff?” in The Word Appears in the Flesh
3. The Practical God Saves Men in Obscurity
God has become flesh this time to do the work that He has yet to complete, to judge this age and bring it to a close, to save man from the sea of affliction, to utterly conquer man and transform their life disposition, and to free man from the suffering and oppression of dark forces that are black as night. Many are the sleepless nights that God has endured for the sake of the work of mankind. He comes from up high to the lowest depths and lives in the living hell. Ah! He passes His days with man, and has never complained of the shabbiness among man. He never asks too much of man, but endures the greatest humiliation as He personally carries out His work. For the whole of mankind to find rest sooner, He has endured humiliation and suffered injustice to come to earth, and personally entered into the tiger’s den to save man. How many times has He faced the stars, how many times has He departed at dawn and returned at dusk, enduring great agony, enduring the attacks and “breaking” of man. God has come to this filthy land, and quietly accepts the ravages of man, accepts oppression of man.
from “Work and Entry (9)” in The Word Appears in the Flesh
www.holyspiritspeaks.org/videos/chinese-choir-episode-9/
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Chris Lawless became the first Briton to win the Tour de Yorkshire after a superb ride on the last stage to Leeds.
Lawless, racing in the blue jersey as the overnight leader, finished right behind stage winner Greg van Avermaet to secure a debut win for Team Ineos.
Wigan's Lawless, 23, was immediately congratulated by team-mate Chris Froome, who orchestrated the decisive final break on Cote de Otley Chevin.
Team Ineos was only officially launched last week, replacing Team Sky.
"I can't believe it," Lawless told ITV 4. "If someone had told me I'd win this race before it started I'd have called them a liar.
"I started losing touch halfway up the Otley Chevin but I knew if I could get back on there was a climb around 5km from the finish that I could get over.
"I knew I could follow Greg van Avermaet when he went. Greg was someone I looked up to when I first started riding so to beat him is special.
"I've got to thank the team for backing me because I don't have a good history on stages like this but they said they'd give me a chance."
When asked how big a win it is for him personally, he replied: "The biggest."
Froome's tactics pay off
After 150km of racing, much of it through the picturesque Yorkshire Dales, the final stage exploded on the final categorised climb of the race - the Cote de Otley Chevin - with around 20km remaining.
With Lawless appearing to struggle, four-time Tour de France champion Froome - who was Ineos' road captain and said "decisions were made out on the road" - went on the attack and his effort forced other teams pursuing the overall victory to try to chase him down.
Froome's team-mate Eddie Dunbar had also followed the attack. He then launched his own surprise move as the riders crested the hill and quickly broke clear, chasing down and passing three French riders who were part of the day's original break.
Realising that Dunbar could go on and win the overall title, Froome disrupted the pace of the chasing pack and that, in turn, gave Lawless the chance to catch up.
Eventually, defending champion Van Avermaet, who started the day six seconds behind Lawless, had to attack and while he quickly caught Dunbar, Lawless went with him. That left the Belgian CCC rider with two Ineos riders for company and with an almost impossible task of shaking them both off.
Knowing his fate was sealed, Van Avermaet took the stage win, with Lawless happy to follow him over the line and claim the title by two seconds.
Alexander Kamp, who started the final stage on the same time as Lawless claimed that he was "the strongest rider" over the hills but the Dane failed to live up to his bold statement and was distanced on the final climb out of Otley.
France's Arnaud Courteille, who was in the day's nine-man break, was first to the top of three of the day's five categorised climbs to take the King of the Mountains title.
Stage four result:
1. Greg van Avermaet (Bel/CCC Team) 4hrs 40mins 03secs
2. Christopher Lawless (GB/Team Ineos) same time
3. Edward Dunbar (Ire/Team Ineos) +02secs
4. Tom-Jelte Slagter (Ned/Dimension Data) +09secs
5. James Shaw (GB/Swiftcarbon Pro Cycling) Same time
6. Matthew Holmes (GB/Madison Genesis)
7. Alexander Kamp (Den/Riwal Readynez)
8. Gabriel Cullaigh (GB/Team Wiggins Le Col) +12secs
9. Jenthe Biermans (Bel/Katusha Alpecin)
10. Scott Thwaites (GB/Vitus Pro Cycling)
Final classification:
1. Christopher Lawless (GB/Team Ineos) 15hrs 18mins 12secs
2. Greg Van Avermaet (Bel/CCC Team) +02secs
3. Edward Dunbar (Ire/Team Ineos) +11secs
4. Alexander Kamp (Ned/Riwal Readynez) +15secs
5. James Shaw (GB/Swiftcarbon Pro Cycling) +25secs
6. Matthew Holmes (GB/Madison Genesis) Same time
7. Tom-Jelte Slagter (Ned/Dimension Data)
8. Scott Thwaites (GB/Vitus Pro Cycling) +28secs
9. Connor Swift (GB/Madison Genesis) same time
10. Nick van der Lijke (Ned/Roompot-Charles)
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.
The Misericordia Sexual Assault Response Team (SART) orchestrated a flash mob on campus on Wednesday, May 1, with the help of the cheerleading team and numerous dance groups, to bring awareness to the resources that are available on campus and in the local community for victims of sexual assault.
Guard Nora Kelly shouts out a play as she comes across half court in Middlebury's 72-44 victory over Norwich. In just 15 minutes of play off the bench, Kelly made a pair of threes, pulled down three rebounds, and dished out three assists.
Ninety-five years after his death and 28 years since the revolution that he orchestrated came crumbling down, Lenin still lies in state at the step-pyramid mausoleum constructed for him on the west side of Red Square, at the base of the Kremlin walls. I’d seen the embalmed bodies of Mao Zedong and Ho Chi Minh before, and even though I studied both of them in school too, neither could compare with coming face-to-face with Vladimir Ilyich.
The presentation and illumination of the body was superbly done, and would have made for great photography if it wasn’t forbidden (and enforced by soldiers). Unlike seeing Mao, in particular, it somehow wasn’t at all crowded inside despite the 1.5 hour line to get in. Among the few people inside with us were two (possibly North Korean) women who repeatedly bowed to the body of Lenin in reverence.
And as some kind of ‘bonus’, once you exit the mausoleum and go back outside, still processing seeing Lenin in the flesh, you’re suddenly standing right in front of the grave of Joseph Stalin.
Throughout history we see that God loves numbers! He’s an architect and engineer; He made the universe! He loves to show off, show His glory, and make us marvel! Many numbers have very significant, God ordained meanings & implications. Note: “3 dots, 3 dashes, 3 dots” is man’s international distress signal, SOS in Morse Code. I’m convinced God orchestrated this, not Mr. Morse! - 333 is surely God’s international distress signal; an urgent end-times SOS message! Think! WHAT IF!! What if GOD is really trying to get your attention! Even if you don't believe in God, WHAT IF!! I would hope, if it were me, I would somehow respond. But, CAUTION! Whatever you do, do not place your trust in the purveyors of ANGEL NUMBERS & such! Although it's essentially true that the 333 may indeed be delivered by an angel, it would be an extreme injustice & mistake to associate it with the various spiritualist and profit oriented sites that pop up when "meaning of 333" is Googled. See "Satan's # Games". Unfortunately, although certainly more accurate, it's a shame one has to add "biblical" to "meaning of 333" for this site to be ranked high on the list by Google. Don't know whether to blame Satan or praise Google! It represents God, the 3-in-1, Father, Son, & Holy Spirit. Jesus prayed 3 times in the Garden of Gethsemane before His arrest. He was placed on the cross at the 3rd hour of the day (9 a.m.) and died at the 9th hour (3 p.m.). There were 3 hours of darkness that covered the land while Jesus was on the cross. Three is also the number of resurrection. Christ arose after 3 days and 3 nights in the tomb.
There are many more illustrations of the #3s biblical significance. Jonah prophetically spent 3 days in the belly of a big fish. After the flood, new life started in 3 persons: Shem, Ham, & Jepheth. Israel was founded in the 3 persons of Abraham, Isaac, & Jacob. Three (3) of the most memorable Biblical edifices, Noah's Ark, Solomon's Temple, and The Millennial Temple, are 3 stories tall; and they all represent God's saving grace. 33 = After 3 years of ministry and raising 3 people from the dead, Jesus died at age 33. His death and resurrection fulfilled all the old testament promises concerning the Messiah. Thus, the number 33 is connected to promise, in particular, to Gods promise of salvation to humanity. “3 dots, 3 dashes, 3 dots”, as noted above, is man’s international distress signal, SOS in Morse Code. I’m convinced God orchestrated this, not Mr. Morse! - 333 is surely God’s international distress signal; an urgent end-times SOS (Save Our Souls) message! On Nov.29,1947, the 333rd day of the year, the United Nations voted for the establishment of a Jewish State. God gave His chosen people the homeland that He had promised to their forefathers!
Genesis 15:9, The LORD told Abraham, "Bring me a three-year-old heifer, a three-year-old female goat, a three-year-old ram, a turtledove, and a young pigeon." This has to do with the covenant God made with Abraham, promising the land of Israel to the Jews. Thus 333 just may be considered a COVENANT number!!! As seen above, the numbers 3, 33, or 333 just scream of Jesus &/or the Bible! No other, not Mohammad, Buddha, Satan, or any other religion can proclaim such a connection. And again, 333 is surely God’s International Distress Signal; an urgent end-times SOS message! good link below
1857 massacre of settlers to Utah as orchestrated by Mormom elder John D. Lee and a nearby band of Ute Indians.
MuCEM Marseille, France - 2013
Architects: Rudy Ricciotti and C+T architecture
Views, sea, sun, a mineral quality, which all must be orchestrated by a program that will become federal and cognitive. First of all a perfect square of 72 m per side, it is a classic plan, Latin, under the control of Pythagoras. Within this square, another of 52 m per side, comprising the exhibition and conference halls identified as the heart of the museum.
Around, above and below are the service areas. But between these areas and the heart, openings entirely bypass the central square and form interconnected spaces. More interested by the views of the fort, the sea or the port, the culturally overwhelmed visitor will choose this route. Along two interlacing ramps, he will then plunge into the imaginary of the tower of Babel or of a ziggurat in order to climb up to the rooftop and on to Fort Saint- Jean. This peripheral loop will be a demuseumifying breathe, enveloped by the smells of the sea from the proximity to the moats, a pause to dispel any lingering doubts about the use of the history of our civilizations. The MuCEM will be a vertical Casbah.
The tectonic choice of an exceptional concrete coming from the latest research by French industry, reducing the dimensions to little more than skin and bones, will affirm a mineral script under the high ramparts of Fort Saint-Jean. This sole material in the colour of dust, matt, crushed by the light, distant from the brilliance and technological consumerism, will commend the dense and the delicate. The MuCEM sees itself evanescent in a landscape of stone and Orientalist through its fanning shadows.
MuCEM + Fort Saint-Jean, Marseille, France - 2013 -Architects: Rudy Ricciotti and C+T architecture
Views, sea, sun, a mineral quality, which all must be orchestrated by a program that will become federal and cognitive. First of all a perfect square of 72 m per side, it is a classic plan, Latin, under the control of Pythagoras. Within this square, another of 52 m per side, comprising the exhibition and conference halls identified as the heart of the museum.
Around, above and below are the service areas. But between these areas and the heart, openings entirely bypass the central square and form interconnected spaces. More interested by the views of the fort, the sea or the port, the culturally overwhelmed visitor will choose this route. Along two interlacing ramps, he will then plunge into the imaginary of the tower of Babel or of a ziggurat in order to climb up to the rooftop and on to Fort Saint- Jean. This peripheral loop will be a free breathe, enveloped by the smells of the sea from the proximity to the moats, a pause to dispel any lingering doubts about the use of the history of our civilizations. The MuCEM will be a vertical Casbah.
The tectonic choice of an exceptional concrete coming from the latest research by French industry, reducing the dimensions to little more than skin and bones, will affirm a mineral script under the high ramparts of Fort Saint-Jean. This sole material in the colour of dust, matt, crushed by the light, distant from the brilliance and technological consumerism, will commend the dense and the delicate. The MuCEM sees itself evanescent in a landscape of stone and Orientalist through its fanning shadows.
Good Afternoon Ladies and Gentlemen. Here are some of the winners of this years BAA. Please watch them on Large Screen for the best movie experience. Hope to see you on the red carpet on Sunday.
lawdeda - Best Orchestration in a Movie: www.flickr.com/photos/lawdedas/8311331649/in/faves-488839...
minkidynamite - Best Traveling Blythe Movie: www.flickr.com/photos/mmmunki/8348526277/in/faves-4888397...
suedehead - Best Behind the Scenes Movie: www.flickr.com/photos/suedehead/8394418305/in/faves-48883...
jinjurblythe - Best Automata Movie: www.flickr.com/photos/49547642@N00/8513826565/in/faves-48...
obsessivelystitching - Best Snack Movie (Cat): www.flickr.com/photos/obsessivelystitching/8405791755/in/...
pixiewildflower - Best Athletics Movie (Cat): www.flickr.com/photos/pixiewildflower/8405632077/in/faves...
hejog - Best Thriller: www.flickr.com/photos/81721793@N00/8470868415/in/faves-48...
teacupfaery - Best Cat vs. Blanket Movie: www.flickr.com/photos/teacupfaery/8591617371/in/faves-488...
littlebigone - Best Witch Movie: www.flickr.com/photos/littlebigone/8616784299/in/faves-48...
Transwestern's Houston office orchestrated a series of events benefitting the Texas Children's Hospital this fall. For the first event, volunteers painted two benches to be donated to the hospital. The design options were posted in common areas for voting, and the two winning designs were painted.
MuCEM + Fort Saint-Jean, Marseille, France - 2013 -Architects: Rudy Ricciotti and C+T architecture
Views, sea, sun, a mineral quality, which all must be orchestrated by a program that will become federal and cognitive. First of all a perfect square of 72 m per side, it is a classic plan, Latin, under the control of Pythagoras. Within this square, another of 52 m per side, comprising the exhibition and conference halls identified as the heart of the museum.
Around, above and below are the service areas. But between these areas and the heart, openings entirely bypass the central square and form interconnected spaces. More interested by the views of the fort, the sea or the port, the culturally overwhelmed visitor will choose this route. Along two interlacing ramps, he will then plunge into the imaginary of the tower of Babel or of a ziggurat in order to climb up to the rooftop and on to Fort Saint- Jean. This peripheral loop will be a free breathe, enveloped by the smells of the sea from the proximity to the moats, a pause to dispel any lingering doubts about the use of the history of our civilizations. The MuCEM will be a vertical Casbah.
The tectonic choice of an exceptional concrete coming from the latest research by French industry, reducing the dimensions to little more than skin and bones, will affirm a mineral script under the high ramparts of Fort Saint-Jean. This sole material in the colour of dust, matt, crushed by the light, distant from the brilliance and technological consumerism, will commend the dense and the delicate. The MuCEM sees itself evanescent in a landscape of stone and Orientalist through its fanning shadows.