View allAll Photos Tagged parallel
Women's gymnastics medal winners of the uneven bars.
Gold: Viktoria Komova of Russia
Silver: Tan Sixin of China
Bronze: Jonna Adlerteg of Sweden
Getting the uprights parallel with the face. Using that reclaimed computter screen sheet. They slipped a bit when glueing.
"People ask, How did you get in there? What they really want to know is if they are likely to end up in there as well. I can't answer the real question. All I can tell them is, It's easy.
And it is easy to slip into a parallel universe. There are so many of them: worlds of the insane, the criminal, the cnp-pled, the dying, perhaps of the dead as well. These worlds exist alongside this world and resemble it, but are not in it.
But most people pass over incrementally, making a series of perforations in the membrane between here and there until an opening exists. And who can resist an opening? In the parallel universe the laws of physics are suspended. What goes up does not necessarily come down, a body at rest does not tend to stay at rest and not every action can be counted on to provoke an equal and opposite reaction. Time, too, is different. It may run in circles, flow backward, skip about from now to then. The very arrangement of molecules is fluid. Tables can be clocks, faces, flowers.
These are facts you find out later, though.
Another odd feature of the parallel universe is that al-though it is invisible from this side, once you are in it you can easily see the world you came from. Sometimes the world you came from looks huge and menacing, quivering like a vast pile of jelly at other times it is miniaturized and alluring, a-spin and shining in its orbit. Either way, it can't be discounted.
Every window in Alcatraz has a view of San Francisco."
(Susanna Keysen)
'Lady Patricia' and 'Sir Vincent' running parallel on broad and standard gauge tracks respectively at Fifield on 31st May 2024.
© Gordon Edgar - All rights reserved. Please do not use my images without my explicit permission
welcome to the inorganically distorted
wonderful parallel world
manhole down there
connects here and there
no day time nor night time
oh no
day time is night
not night either
it is both of them
and
none of them
all we can say is only one thing
what we see is not what the truth is
We've just been holidaying in the South West of WA where there are lots of tall straight trees. So here are two takes on the parallel lines theme.
These two at it again despite there being few hinds around. Simultaneously parallel walking while peeing on themselves as a prelude to doing battle. Unfortunately the rather short battle took place behind tall grass. The outcome was the same except 'Bracken boy' losing a tine into the bargain :0)
An open source photo gallery which aims to offer you some of our best takes – Use this photos for personal or commercial purposes, attribution is appreciated but not required – Here you go – Njoy!
The theme this week for my photo of the day (POTD) Flickr group is Parallel. There are lots of ways to interpret that, but, for today at least, I'm going with straightforward parallel lines. :-)
Part of Bristol Light Festival 2025
Parallels is an immersive installation that uses the precision of lasers and mirrors to transform moving footage into floating abstractions of light. Inspired by movements and tones found in the natural world, Parallels uses footage of natural phenomena to offer a transcendent experience of light and sound. Set to a soundtrack by Max Cooper. Best viewed after dark.
Artist: Architecture Social Club
Temple Church, Bristol
Please do not use my photos without permission. Feel free to contact me if you have a request.
The 'other' bridge in Marmont’s 'feint' of the 'Parallel March'. This bridge was also destroyed by the French and the photo displays a rebuild in the last 200 years. On the other side are the original, medieval, bridge supports (missed the shot due to poor tour guide)
St Mary, Aldham, Suffolk
I pass this church often. Traffic rushes along the busy Ipswich to Sudbury road not far off, but there is a quieter, parallel road which not many people seem to know about. It leaves Ipswich via Bramford, and you can get all the way to Sudbury on it, taking in the likes of Burstall, Kersey and Waldingfield on the way. Aldham as a village is little more than a straggle of houses, but they lie along this road, and just beyond a cluster of houses you take a sudden turn to the left, on to a pretty track to Aldham Hall. Down through fruit trees you descend, until the walls become older, and there at the end are the farm buildings. Beyond them, is this pretty church.
If the church is pretty, the view from it is doubly so - to the south, the land drops away alarmingly, into a valley full of sheep. This is lovely, and splendidly English. Nothing could be more peaceful. But beyond, the land rises to a dark sea of trees, the mysteriously named Wolves Wood, now an RSPB reserve. Looking along to the right, the other hilltop is where the Protestant preacher Roland Taylor was burned at the stake in the 1550s, a site of pilgrimage for his many American descendants. Whatever your reading of the English Reformation, Taylor's burning was a terrible event. One imagines the villagers gathered outside this church, watching the flames and smoke rise.
I remembered the first time I came here, back in the 1990s. We came here on one of those humid, overcast summer days, on our way to the Bildeston Beer Festival. My young children scattered off to play hide and seek with their mother in the precipitous graveyard. An elderly man was pottering about, looking at 19th century graves, so I apologised for my family (as you do). But he seemed genuinely pleased that they were running about like mad things. He was tracing his family, and had come down from Norfolk to look for a particular grave of an ancestor. And he'd found it. He was pretty pleased about that, too. He was also following up a theory that his ancestor had been a Rector of this parish. His address had been Aldham Rectory. Did I have any idea how he could find out? I suggested that the church might have a board of 'Rectors of this Parish'. Most do. These are a pleasant Victorianism, intended to overcome the 16th century breach by claiming a history of the CofE that extended back before the Reformation. We could go inside, and take a look. And we did - the church was militantly open, the inner door wedged wide. We found the board - but the name wasn't there. So, the mystery remained unsolved.
This church was derelict by the mid 19th century, and underwent a fairly late restoration, in 1883. The tower was rebuilt, as was the south wall of the nave. The roofs were replaced, giving an overwhelmingly Victorian appearance - although Mortlock detected the Norman, and possibly Saxon, ancestor. The hill itself suggests a very early foundation, perhaps on a site of pagan worship.
The architect was W. M. Fawcett, and there was another restoration of the inside in the early 20th century. The resulting interior is one of those neat and shiny jobs that is certainly grand, and pleasant enough, but rather dated now. Our early 21st Century spirituality seems to respond more to dusty, ancient interiors than to these Victorian ritualisations. But I had a sense of a church that is much loved, well-cared for, and used regularly.
And that is still so today. Now, Aldham parish have gone one further than a wedged-open door, and a big sign has been erected at the bottom of the lane proclaiming that Our Church is Always Open, and so it is easy to step into its prayerful interior. And it is not without its medieval survivals, a couple of which are fascinating. For a start, there is the chancel, with its original roof, some fine windows, and a piscina in the sanctuary. But best of all are two bench ends. These are unlike anything else I've seen in Suffolk, and their primitive quality suggests a local origin. The one to the west apparently shows a bear, or possibly a lion. My first impulse was that it was some kind of heraldic device, but on reflection I think differently. Note the shaved off object it holds in its mouth. And is the pattern emerging from beneath the head really fur? Back in 1999, my six year old took one look at it and decided that the creature isn't eating the bird, but the bird is flying out of its mouth. Could it be a dove? And could the three objects issuing from beneath the head actually be tongues of fire? In which case, could this be some strange composition representing Pentecost, and the descent of the Holy Spirit?
In the spandrel above the bear, or whatever it is, there is a lily, the symbol of the Annunciation. But it is also a symbol of the crucifixion. It calls to mind the rare lily crucifixes, of which just two are known to survive in Suffolk, at Long Melford and Great Glemham. Could this be an unrecorded third? The other bench end is probably easier to read. The crown is obvious enough. The star and crescent are familiar from representations of the crucifixion. The pike is a familiar instrument of the Passion. And, if you look in the spandrel above, you'll see a crown of thorns, so this may well be a composition representing the Passion.
A third bench end, to the east, shows just a simple spiked tool, that looks as if it might have been used in thatching. So, what's it all about? It is a bit of a mystery, really.
And what of the font? This is mysterious, too. It appears to be Norman, but a second glance finds it too elegant, too finely detailed. The pillars are almost Classical in design, and the whole piece has a touch of the 18th century about it. Was it brought here from somewhere else in the 1880s? Or is it a Victorian recutting of a Norman predecessor? Whatever, the revealed brickwork of the late medieval tower arch looks most fitting behind it. The doors are, presumably, part of the 1930s interior restoration - indeed, they have a touch of Cautley about them.
To see early 20th century Anglican triumphalism in all its hideous glory, step up into the chancel, and examine the reredos and flanking niches. It looks like something out of a French cathedral. I suppose that it is really quite good, with the kind of neatness one associates with 1930s stonework used here to highlight medievalist detail. On the other hand, one wonders what they can have been thinking of, to impose it on this pretty little country church. Fortunately, the contemporary glass in the east window is very good, or else this confection would be rather embarrassing. The stonework must have cost a fortune, and it is rather hard to imagine the same thing happening today. Post dating it by a couple of decades is a set of arms for Elizabeth II, unusual, and rather good. Very Festival of Britain.
Standing in the nave and looking east, the splendour of the reredos imposing itself on our view, it is hard to imagine the real glory that once was here. But John Nunn contacted me, to tell me about a will he has a copy of. In 1525, his ancestor Robert Clifford declared: I bequeath I will have the rood there upon the candlebeam set up higher and Mary & John and two new angels and the breast under the rood korvyn and when that is done I will have all this painted and guilt whatsoever the cost. I will have bought two standards of brass stand in the choir and I will my executors bestow therein 40/-. I will my executors shall buy four candlesticks of brass for the candlebeam, I give six kine unto the church of Aldham to keep my obit with as long as the world stand.
What does all this mean? Firstly, you have to remember that England was a devoutly Catholic country in 1525, and the fittings of the church were for the actions of the Catholic liturgy. In the late 15th and early 16th centuries, all Suffolk churches had a rood in place. This was a representation of the crucifixion, set above the chancel arch. On one side of the cross always stood the Virgin Mary, and on the other side stood St John. Often, the wall behind was painted. The rood either hung on the wall, or was supported by a beam. However, there was always a beam that ran below it for candles to be lit on. This was called the candlebeam, or rood beam. The candles were placed on it by individuals or gilds as part of the process of prayer - particularly prayer for the souls of the dead. A rood loft ran beside it for access, and the space beneath was infilled with a rood screen. To make the rood even more glorious, the roof above was panelled, and the panels were painted blue, with gold stars, and perhaps Marian monograms. This was called the canopy of honour, or more simply, the coving (rendered delightfully in Suffolk dialect as Korvyn above.)
Robert Clifford was paying for a simple rood to be made more glorious. He was going to have it placed higher, with a new canopy of honour. He was paying for brass candlesticks to replace wooden candlestocks.
Why? Simply, the medieval economy of grace depended upon the living praying for the dead, and the dead praying for the living. In donating glorious things to his church, Clifford was ensuring that he would be remembered. The roodscreen would have a dedicatory inscription with his name on. He was saying - I won't forget you, don't you forget me. Catholics still say these prayers, and believe them answered. The Catholic liturgy formalised prayers for the dead in the form of obit masses.These were said on the anniversary of someone's death in perpetuity. The proceeds of the sale of the six cows (kine) would be invested, probably in land to be rented, to pay a priest to say these masses - as long as the world shall stand; that is, for ever.
Unfortunately, 'for ever' didn't last very long. Prayers for the dead were declared illegal by the protestant reformers in the late 1530s. By 1547, every single rood in the land had been toppled and burned. The rood lofts were hacked down, along with many of the candle beams (although about ten beams survive in Suffolk) and most of the rood screens were also destroyed (about 50 survive in Suffolk). Nothing of Robert Clifford's gifts survive at Aldham. All the gilt would have been stripped, the brass candlesticks melted down, and the proceeds sequestered by the King's commissioners. The collected glory of all the churches of England was squandered by Henry VIII on high living, and on the expensive and pointless siege of Boulogne. A sad thought.
When I came here in 1999, I remembered the graveyard full of wild thyme and especially sorrel, which we gathered in handfuls and ate later in the day with fresh trout and new potatoes. It was too late for the sorrel this year, and so instead I just stood, and looked out across the gentle valley, the sheep cropping their way slowly westward. I looked beyond to Wolves Wood, and the site of Roland Taylor's martyrdom. Hard to imagine so much history happening to such a modest little parish.
BSSR-House, Huib van Wijk, architect.
A manifesto of contemporary architecture. The villa is representative of modern architecture and is an example of the International style. The long horizontal windows, providing illumination and ventilation. BSSR House uses timber horizontal ribbon windows. The set-back position of the glass in the timber frame allowed the façade to be seen as a series of parallel planes.
All of the solid wood in this 450 square-foot home is either 'Forest Stewardship Council-certified' or 'reclaimed', which includes window- and doorframes, cabinets, bookshelves and sliding(doors).
Original title of work: MINIMUM TO THE M@X
Location: Park Hoogveld, Parkstad Heerlen, Zuid-Limburg, the Netherlands
Design period: 2008 - 2009
Construction period: 2009 - 2010
Architect: Huib van Wijk, Hoensbroek
Client: BSSR family, Parkstad Heerlen
Construction: Louis Cordewener, Landgraaf
Contractor: Veltstra's Bouwbedrijf, Vaesrade
Site area: 1000 mq
Total floor area: 450 mq
Brushpen y rapidografo sobre papel bond
14 x 17 cm
2009
"Parallel" era un proyecto en el cual tomabamos audiovisuales como referencia para crear una nueva imagen nueva en otro contexto. El proyecto se cancelo pero espero pronto realizar nuevas piezas.
Para esta pieza elegimos el intro de Zombieland ADVERTENCIA: Contiene material inapropiado para niños www.youtube.com/watch?v=1uUHamXmUAI , buena película se las recominedo si no la han visto
Local accession number: 11_03_000063
Title: A political parallel
Statement of responsibility: F. Opper
Creator/Contributor: Opper, Frederick Burr, 1857-1937 (Artist)
Genre: Political cartoons; Lithographs; Periodical illustrations; Prints
Publisher: Mayer, Merkel & Ottmann, Lith., 21-25 Warren St., N. Y.
Date issued: 1884-04-16
Physical description: 1 print : lithograph, color ; 10 x 13 1/2 in.
General notes: Title from item.; Item from Puck magazine.; Caption on item: When Robert Fulton made his first trip on his newly-invented steamboat, the wiseacres of the day predicted that it would be a failure.
Subjects: Steamboats; Civil service reform; Government officials; Cleveland, Grover, 1837-1908
Collection: Americana Collection
Location: Boston Public Library, Print Department
Rights: No known copyright restrictions.