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Two toddlers having fun crawling on the ground at Customs House Square.
Last posting of Bastille series.
Bastille Festival Sydney, Circular Quay, Sydney, Australia (Sunday 16 July 2017)
Origins by Simon Gudgeon at Sculpture by the Lakes. In the background is Meandering Valleys by Will Carr and further back (if viewed large) you can see Crane by Phillip Ross.
La storia del torrone: l'origine e il nome.
Quando e dove è nato il torrone? La sua origine è avvolta nel mistero. Cercando di risalire il corso della storia si arriva addirittura in Cina: pare che il torrone sia nato lì, luogo dal quale proviene storicamente la mandorla.
Sarebbero stati gli arabi a portarlo nel bacino del Mediterraneo, in Sicilia, in Spagna, e a Cremona, strategico porto fluviale sul Po. Il torrone sarebbe quindi una variazione della famosa "cubbaita" o "giuggiolena", dolce arabo fatto di miele e sesamo.
"Turròn" è un termine spagnolo alquanto discusso e secondo le tesi degli studiosi iberici il torrone sarebbe ad ogni modo di derivazione araba. L'inizio della produzione di torroni tradizionali in Spagna si fa risalire al XVI secolo.
In Italia, tra il 1100 e il 1150, Gherardo Cremonese tradusse il "De medicinis e cibis semplicibus", scritto dal medico di Cordova Abdul Mutarrif. Vi si esaltavano le virtù del miele e veniva citato un dolce arabo: il " turun". A Cremona, i rivenditori sostengono comunque che il torrone nacque lì, nel 1441, durante il banchetto nuziale di Bianca Maria Visconti e di Francesco Sforza, quando venne confezionato in forma di Torrazzo (l'alta torre campanaria del duomo della città), da cui avrebbe preso il nome.
Secondo un'altra tradizione infine, furono gli antichi Romani a tramandarci la ricetta di questa ghiottoneria. Nel 116 circa a.C., Marco Terenzio Marrone il Reatino citava il gustoso "Cuppedo": "Cupeto" è ancora oggi il nome del torrone in molte zone dell'Italia Meridionale.
Anche l'etimologia del nome "torrone" ci porta dallo spagnolo turròn = abbrustolito (derivato di turrar = arrostire), al latino torrere = tostare
Este monumento é considerado um dos melhores exemplares arquitectónicos existentes em Portugal, de transição do estilo românico para o gótico.
Com origem anterior ao séc. X, foi posteriormente (séc. XII) a primeira casa-mãe dos Cavaleiros Hospitalários da Ordem de Malta em Portugal. Da construção românica resta apenas, nas traseiras da igreja, uma ala incompleta do claustro, um portal e uma janela com decoração vegetalista.
Foi reedificado no séc. XIV, segundo o modelo das igrejas fortaleza. A fachada principal de estilo gótico, com ampla rosácea radiada e rematada por uma cruz da Ordem de Malta, possui torre de menagem de traça românica, coroada de ameias.
This monument is considered one of the best architectural examples in Portugal, transitioning from the Romanesque to the Gothic style.
With origin before the century. X, was later (12th century) the first motherhouse of the Knights Hospitallers of the Order of Malta in Portugal. Of the Romanesque construction there is only, in the back of the church, an incomplete wing of the cloister, a portal and a window with vegetable decoration.
It was rebuilt in the fourteenth century, according to the model of the fortress churches. The main façade of Gothic style, with a wide rosacea radiated and topped by a cross of the Order of Malta, has a Romanesque tower, crowned with battlements.
La puerta de Hernani, es una de las cinco puertas de entrada al parque del Buen Retiro, junto con las de Madrid, Felipe IV, España y de la Independencia.
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El Parque del Retiro es sin duda el parque más emblemático de la ciudad de Madrid, tanto por su gran tamaño, su emplazamiento, en pleno centro de Madrid, y sobretodo por su singular belleza y la de los distintos elementos que lo componen.
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Su origen se data en tiempos de Felipe IV, cuando a iniciativa de su ministro el Conde-Duque de Olivares, se acotan una serie de tierras para el uso y disfrute de la familia real, y se construyen en su interior una serie de palacios, estanques y jardines para el divertimento de los reyes. Con el tiempo, el parque se fue ampliando, y de hecho elementos que hoy en día se encuentran fuera del Parque del Retiro, como el Casón del Buen Retiro, o el Museo del Ejército.
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A lo largo de su historia, el Parque del Retiro fue maltratado especialmente en dos momentos, durante la Guerra de la Independencia, cuando las tropas francesas lo utilizaron a modo de fortaleza frente al acoso de las tropas inglesas, que arrasaron la mayorías de los palacios y jardines, y la Guerra Civil Española, donde igualmente el Retiro sufrió un gran castigo.
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The door of Hernani, is one of the five entrances to the Buen Retiro park, along with Madrid, Felipe IV, Spain and Independence.
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Retiro Park is undoubtedly the most emblematic of the city of Madrid park, both for its size, its location, in the heart of Madrid, and especially for its unique beauty and the various elements that compose it.
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Its origin dates from the time of Philip IV, when the initiative of his minister the Count-Duke of Olivares, a series of land for the use and enjoyment of the royal family are dimensioned, and a series of palaces are built inside, ponds and gardens for the amusement of kings. Over time, the park was expanded, and indeed elements that today are outside the Parque del Retiro, as the Cason del Buen Retiro, or the Army Museum.
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Throughout its history, the Parque del Retiro was mistreated especially in two stages, during the War of Independence, when French troops used it as a fortress against the harassment of British troops, which devastated the majority of the palaces and gardens, and the Spanish Civil War, where also the Retiro suffered a great punishment.
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Mission photos. Origins of the Iconian precursors. Last of the Iconians and their past.
Iconians in this story are not tied to STO. This is what the BluShock version would look like.
An illustration of ‘Oumuamua, the first object we’ve ever seen pass through our own solar system that has interstellar origins.
In October, a mysterious object zipped through our solar system at 196,000 mph. Scientists named it ‘Oumuamua, which means “a messenger from afar arriving first” in Hawaiian, and it’s the first object we’ve ever seen that entered from outside our solar system. Now our astrophysicists have helped calculate how it fits into what we know about how planetary systems form.
“This object was likely ejected from a distant star system,” said Elisa Quintana, an astrophysicist at Goddard. “What’s interesting is that just this one object flying by so quickly can help us constrain some of our planet formation models.”
On Sept. 19, ‘Oumuamua sped past the Sun at about 196,000 mph (315,400 km/h), fast enough to escape the Sun’s gravitational pull and break free of the solar system, never to return. Usually, an object traveling at a similar speed would be a comet falling sunward from the outer solar system. Comets are icy objects that range between house-sized to many miles across. But they usually shed gas and dust as they approach the Sun and warm up. ‘Oumuamua didn’t. Some scientists interpreted this to mean that ‘Oumuamua was a dry asteroid.
Read more: go.nasa.gov/2GgN2HY
Credits: European Southern Observatory/M. Kornmesser
NASA Goddard Space Flight Center enables NASA’s mission through four scientific endeavors: Earth Science, Heliophysics, Solar System Exploration, and Astrophysics. Goddard plays a leading role in NASA’s accomplishments by contributing compelling scientific knowledge to advance the Agency’s mission.
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Image:
Moses receiving the ten commandments. The name of God is written with 3 jodh's. The jodh is the first character of the Tetragram, or the holy name JHWH.
[ENG] The Collegiate Church of Santa María la Mayor de Alquézar, has its origin in the Arab castle built in the ninth century on top of a rocky ridge surrounded by ravines located in Alquézar (Huesca, Spain), which after its conquest in 1067 by Sancho Ramírez becomes a Christian fortress, and in 1099, when military needs were overcome by the progress of the Reconquest, a community of Augustinian canons was installed, building a Romanesque collegiate church, which in the 16th century was replaced by Another gothic that endures today. They emphasise: in the cloister the Romanesque capitals of the thirteenth century and the mural paintings of the fourteenth to eighteenth centuries, in the church the rib vault, the Renaissance main altarpiece (XVI century), a Romanesque Christ and the baroque organ. Other pictures in Alquézar Castle-Collegiate Church album.
[ESP] Junto al coro destaca un órgano barroco del siglo XVI que se conserva en perfecto estado, y que está considerado como uno de los más valiosos de Aragón.
La iglesia actual se construyó en el siglo XVI por Juan de Segura ampliando la anterior románica longitudinalmente por la cabecera y por los pies. Es una sola nave cubierta con bóveda estrellada, y posteriormente se fueron añadiendo capillas en el siglo XVII, la de San Nicostrato excavada en la roca para dar cobijo al cráneo del mártir romano, la de la Virgen del Rosario, la de San Juan Bautista decorada en estilo barroco, y la del Santo Cristo sufragada por la familia Lecina. El coro se sitúa a los pies del templo y cuenta con un extraordinario órgano.
La Colegiata de Santa María la Mayor de Alquézar, tiene su origen en el castillo árabe construido en el siglo IX en lo alto de una cresta rocosa rodeado de barrancos situada en Alquézar (Huesca, España), que tras su conquista en 1067 por Sancho Ramírez pasa a ser fortaleza cristiana, y en 1099, superadas las necesidades militares por el avance de la Reconquista, se instaló una comunidad de canónigos agustinos, construyéndose una iglesia colegiata románica, que en el siglo XVI se sustituyó por otra tardogótica que perdura en la actualidad.
Más fotografías en el álbum Castillo-Colegiata de Alquézar
195611
We might be on the west coast but this NEIPA comes right from it's origin. It's the real thing and you will agree this is no imposter. Tropical, full bodied and unfiltered, this is the beer that started a revolution. Galaxy - Ella 6.4% ABV
Repost
Museum of the African Diaspora (MoAD)
San Francisco, California
The Power of One de Hans Zimmer
There are times when it is better to stop, breathe and remember where we came from.
Hay veces en las que es mejor parar, respirar y recordad de donde vinimos.
The second photo in my Dark Winters series. Ideally I'll shoot another 2 before the snow is gone, and will continue next year. Big thanks to my friends Kevin and Kristina for helping me paint my body and dig the hole.
Message me here, on Facebook, or email me at seanmundyphoto@gmail.com if you're interested in purchasing prints.
Mission photos. Origins of the Iconian precursors. Last of the Iconians and their past.
Iconians in this story are not tied to STO. This is what the BluShock version would look like.
This image explores immersion as a state of origin and quiet resistance. Water is not escape, but return: to the body, to breath, to matter. I do not withdraw from the world; I suspend myself within it. The gaze is calm, grounded, present, yet not aligned with the dominant rhythm of reality. I remain terrestrial, embodied, carrying history and weight, even when my inner perception moves elsewhere. The cloud-like hair is neither decoration nor fantasy. It is the visible sign of a consciously assumed distance. I do not recognize myself in a world organized around speed, noise, and eloquently articulated emptiness. This distance is not rejection, but lucidity. It is the space necessary to remain whole. This image arises from a fracture: between not feeling this planet as home and having to live within it. Water becomes nourishment, threshold, and temporary shelter. It holds without erasing. It allows stillness without disappearance. It is evident that artificial intelligence is used to construct and make visible a message, a concept, a position. The image does not conceal its artificial nature. Even when my intention is focused solely on meaning, artificial intelligence inevitably intervenes on the appearance of the face, modifying it, transforming it, making it more beautiful. This is not a goal I pursue, but an intrinsic effect of the tool itself. Artificial intelligence is here a contemporary tool, deliberately bent to my will and my way of sensing. It does not replace, diminish, or compete with traditional photographic practices, which remain central and untouchable in my work. AI is a means, not a language. The vision, the body, and the responsibility remain human.