View allAll Photos Tagged persistence
" Permanence, perseverance and persistence in spite of all obstacles, discouragement, and impossibilities: It is this, that in all things distinguishes the strong soul from the weak " .... Thomas Carlyle
persistence ..... keep on growing and blooming where you are planted regardless on the bloke with the chainsaw.
April 23rd, 2013
April 2013: A Month in 30 Pictures / Day 23
A spring snow covering blue mist spirea flower buds from last year.
Yorkshire Artspace Society
Persistence Works Studios, 21 Brown Street, Sheffield S1 2BS
Persistence Works is our purpose built, award-winning studio complex in Sheffield City Centre. Comprising 53 studios of varying size to accommodate around 80 artists and makers, its six floors are zoned to suit a broad range of making processes, including light industrial work.
Persistence Works, Brown Street, by Feilden Clegg Bradley Architects, 1998–2001
Persistence Works [24, 80], 1998–2001 by Feilden Clegg Bradley is the first purpose-built (as opposed to converted) fine art and crafts studios erected in Britain for many years. Built for the Yorkshire ArtSpace Society, a co-operative which first took over redundant industrial buildings in this area for studios in 1982. Constructed of in situ fair-faced concrete, industrial in scale (fifty-one studios) and austerely dignified in design with minimal surface decoration, a welcome contrast to the Postmodern gimmickry so prevalent elsewhere in the city. Two elements: a long low block facing Brown Street, with cantilevered first floor above a glazed podium, and a parallel six-storey block behind, linked by an impressive glazed atrium [24] through which large art- works can be removed. Angularity is only relaxed in the reception area which has a curved outer wall, bowed like a ship’s prow. Large and noisy activities are restricted to the double-height studios on the ground and first floors, quieter ones such as painting to the upper floors of the rear block. The rear elevation is punctuated by large set-backs at ground and first-floor level to provide balconies to the studios. Artworks integral to the building’s design include a screen of rippling glass panels along the façade by Jeff Bell, the perforated steel gates by Jennie Gill, blue circular lights with steel ‘hairs’ protruding from the façade by Jo Fairfax and the reception area floor by Jasia Szerszynska.
Let the Games begin!
Details from the XXX Olympic Wallpaper
You can see more of the details in XXX Olympic Set
__________________________________________________
Outlining a Theory of General Creativity . .
. . on a 'Pataphysical projectory
Entropy ≥ Memory ● Creativity ²
__________________________________________________
Study of the day:
. ./. .
__________________________________________________
rectO-persO | E ≥ m.C² | co~errAnce | TiLt
Climbing the steps to reach Madame Eiffel .. and he did get to the top.
Taken during the Parisian version of Scott Kelby's 3rd Worldwide Photowalk .
Explore 359 - merci & thanks!
Oil on canvas
9 1/2 x 13" (24.1 x 33 cm)
The Persistence of Memory - Salvador Dalí 1931
The Museum of Modern Art - MoMA
11 West 53 Street - New York, NY 10019-5497
__________________________________________________
Outlining a Theory of General Creativity . .
. . on a 'Pataphysical projectory
Entropy ≥ Memory ● Creativity ²
__________________________________________________
Study of the day:
[...] Il y a deux espèces de multiplicité : celle des objets matériels, qui forme un nombre immédiatement, et celle des faits de conscience, qui ne saurait prendre l'aspect d'un nombre sans l'intermédiaire de quelque représentation symbolique [...] Il faut admettre deux conceptions, l'une qualitative, l'autre quantitative, de la différence entre le même et l'autre. [...]
[...] There are two types of multiplicity : the one of material objects, which form a number immediately, and the one of consciousness facts, which does not take the appearance of a number without the intermediary of some symbolic representation [...] We must admit two approaches, one qualitative, an other one quantitative, of the difference between the same and the other.[...]
( Henri Bergson - Essai sur les données immédiates de la conscience - 1889 )
__________________________________________________
rectO-persO | E ≥ m.C² | co~errAnce | TiLt
“Peace is a process.”
Hawa Aganas, a Civil Affairs Officer serving with the United Nations Mission in South Sudan, lets slip an audible sigh and displays a smile which seems both wary and weary as she comments on the proceedings that have taken place in Manyabol over the last couple of days.
Representatives of two feuding foes, the Dinka Bor and the Murle communities in the Greater Jonglei region, are all dressed to their nines. They have just signed an agreement to establish a joint, UN-coordinated committee faced with the daunting task of tackling the age-old vice of stealing children and cows from each other, with a tremendous amount of human lives lost in the process.
Not all processes are equal, however, with some requiring more patience and persistence than others. Attempting to bring inter-communal peace to the region belongs to that category. In fact, hostilities go so far back in time that nobody remains alive to tell the tale and explain how and why they once started.
“We have been fighting for a hundred years, maybe even 500 years,” acknowledges Malak Ayuen Mayen, paramount chief in Bor East County, a Dinka-dominated area, before adding: “But that was under other leaders.”
Over the last six months or so, developments have taken a turn for the worse, with several major attacks having taken place. These cattle raids and child abductions have claimed more human lives than usual. For this reason, requesting the government to conduct civilian disarmament, to collect the guns from the youths of both ethnic communities, is also part of the agreement reached on this day.
Some sixty people, a handful of women amongst them, evenly divided between the Dinka Bor and the Murle communities from different parts of Greater Jonglei, have once again gathered to discuss their differences. The aim is to come up with ways of ending the hostilities.
This time, the scene takes place in the shadow of an immense tree in Manyabol, a Murle area situated more or less halfway between the towns of Bor and Pibor, strongholds for Dinkas and Murles respectively.
Being on home turf, Malak’s Murle counterpart, the Kubal West paramount chief John Gulech Logocho, affirms that he now feels particularly committed to reaching sustainable peace.
“It is the first conference that I have decided to hold, and as one of the founders of this initiative I have to implement what we agree,” John Gulech says.
An oft-repeated, mantra-like affirmation is that the Dinka-Murle hostilities are so deeply ingrained that they have become a self-perpetuating “culture”, or everlasting circle of attacks and revenge attacks, that is near-impossible to break away from.
This sense of resignation and inevitability is still voiced by attendees, even though everyone involved is aware that the seemingly unnecessary human suffering is detrimental to both groups.
Some, like Rebecca Konyi Ibon, leader of the Murle women in Manyabol, are more inclined to assume responsibility for fatal attacks than others.
“We, the elders of both sides, were the ones advising our youth to do these things [the child abductions and cattle raids],” she admits. “But now all of us have come together as one family and agreed that we will create peace awareness. Each one of us elders will talk to our families and communities to make sure that this does not happen again.”
Addressing those in attendance, chief Gulech echoed Ms. Konyi’s admission, but also hinted that political outsiders have been involved in destabilizing relations between Dinkas and Murles.
“It’s because of us [chiefs] that our children have been dying. We chiefs should work hand in hand and stay away from politics,” he said.
Asked why the two groups have found it so difficult to bring themselves together for peace, he responded with a rhetorical question of his own. “Who do you expect to come and bring us, the Murle and our brothers from Bor, together? If you see a government official from the top ranks of the military, they are the ones who incite the youth and release them to fight each other.”
The answer, it seems, was once again the UN peacekeeping mission in the country, more specifically its Civil Affairs Division, specialized in conflict management and resolution. Its staff has been engaged in several previous and sadly unsuccessful attempts to mitigate the perennial conflict.
“We received a request from the two governors [of the Pibor and Bor areas respectively] to bring the communities together to resolve their issues. We met with representatives from the two local governments and asked them where they wanted the participants to come from, and they suggested that people living in conflict hotspots would attend,” says Hawa Aganas, explaining that this represents a new approach.
As a result, residents of at least eight different Dinka and Murle communities have shown up in Manyabol, some of whom have travelled considerable distances.
A milestone in the talks held seems to be the insights that poverty is a root cause of the hostilities, with both sides recognizing that desperation makes people resort to raids and abductions. The prevailing violence, in turn, means that much-needed humanitarian assistance is far less likely to be provided.
“The situation is getting worse and our lives are becoming more difficult, so we have realized that we need peace. There has to peace so that they [humanitarian actors] can come and help people in their areas. When there is peace there is development as all this assistance can arrive,” says Angelina Nyankuer Tong, leader of the women in the Dinka community in Duk Fagak.
Chief Malak Ayuen Mayen praises the current “good leadership”, the governors of the predominantly Murle-inhabited Boma area and the Dinka-dominated land surrounding Bor, for a new way of thinking, with a focus on modernization and education.
“Cattle raiding will make people remain in darkness, children will remain without education and they will follow the same lives of stealing and all of this, so we want to change our communities from being in darkness to the world of modernization. It is our duty and it is our will to implement peace,” he says.
His Murle counterpart Gulech Logocho shares the optimism. A visible sign of Murle goodwill, he says, is that his ethnic group, led by governor David Yau Yau, has tracked down and returned 26 abducted children and 189 heads of cattle to the Dinka Bor community.
Cattle is recognized as the supreme currency and the sign of wealth and status by both sides, with small girls, worth many cows when, or even before, they reach the legal age of marriage, primarily being abducted to be traded for instant, bovine-shaped cash. A marriage-inclined man will need the cattle to pay a hefty dowry, sometimes amounting to hundreds of precious cows, to the family of the bride he has set his eyes on.
Murle and Dinka representatives readily join the dots and acknowledge that this traditional practice directly contributes to the perpetual cycle of inter-communal cattle raiding. However, this awareness, and their belief that increased intermarriage between the two groups can reduce hostilities, is unlikely to lead to the lowering or abolishment of dowries anytime soon.
“It [doing something about the bride payment custom) is very difficult. If your grandfather got married by paying cows, and your father as well, then your daughter cannot get married without cows [being paid by the groom’s family],” Angelina Nyankuer Tong concedes.
On this day, however, peace has come again. At least for now, and to some degree.
“We don’t expect a hundred per cent adherence [to the agreement]. What I have realized is that usually, after discussions between the two communities, there is a period of time when cattle raids and child abductions don’t take place, which gives people some relative peace. That is what we expect,” says Hawa Aganas.
As part of the Manyabol agreement, the UN peacekeeping mission is requested not only to lead the reconciliation process going forward, but also to build “peace centres” in areas where neighbouring Dinka and Murle youth can continue to discuss their differences.
Photo: UNMISS / Eric Kanalstein
©PhotographyByMichiale. All images are copyright protected and cannot be used without my permission. please visit me on Facebook, too! www.facebook.com/photographybymichial
~ James Whitcomb Riley
A small desert life climbing the dune and probably trying to reach home before night fall. What amazed me is the thin trail it left all along and the persistence it was showing when climbing this "mighty" dune. Above all, this creature is doing the journey all alone. I now wonder how long it must have traveled to get here and be "captured" forever.
The Oregon Dunes National Recreation Area(NRA), located on the Oregon Coast, stretches approximately 40 miles north from the Coos River in North Bend, to the Siuslaw River, in Florence. The park is part of Siuslaw National Forest and is administered by the United States Forest Service (USFS).
These Wind-sculpted sand dunes some of them towering to 500 feet above sea level were formed by the ancient forces of sun, wind, water and time. These sand dunes are like no others in the world and are the largest expanse of coastal sand dunes in North America.
August 1, 2010, Oregon dunes, Oregon, this one taken here.
I ran across this little guy while take more light photos now that it's finally snowed and cool enough to stick. I like his "never say die" attitude.
(Poem inspired by Salvador Dali painting Persistence of Memory)
"Chained to the hands of time,
faded memories burn to dust,
swarming ants creep along decayed
branches
Insomniacs depict a striking mind,
in the midst of picturesque beauty―
battling through day and night
I lose myself to the calm seashore,
astray on the edge of a cliff,
unmoved between space and time
A desperate strive for normality,
this persistence will live on,
to diminish the warped recollection
of an unknown vision"
- Kavita Trivedi
[পরিশিষ্টঃ ছবিটি তোলা অবশ্য অন্য প্রেক্ষিতে। প্রদর্শিত ঘড়িটি প্রায় শ বছর পুরানো। রামুতে এক ঐতিহ্যবাহী মন্দিরে সংরক্ষিত ছিল ওটা। সম্প্রতি ২৯ সেপ্টেম্বর বৌদ্ধ বিহারে দুর্বৃত্তদের ন্যাক্কারজনক হামলায় ক্ষতিগ্রস্থ হয় মন্দিরটি। সাথে ঘড়িটিও...]
Abir Shaqran Photography
Ramu, Cox' Bazar,
Bangladesh.
31 October, 2012
Evil Mad Scientist Laboratories staff photo, featuring an alphanumeric persistence of vision display. Exposure time: 2.5 s.
Salvador Dalí, vollständig ausgeschriebener Name, Salvador Domènec Felip Jacint Dalí i Domènech, wurde 1904 im spanischen Dorf Figueres, Katalonien, in eine Mittelklassefamilie hineingeboren. Sein Vater, Dalí i Cusí, war ein Staatsbeamter und seine Mutter, Felipa Domènech Ferres, war früher ein Dienstmädchen für ihren zukünftigen Ehemann. Salvador hatte zwei Geschwister, eine jüngere Schwester, Anna María, und einen älteren Bruder, auch Salvador, der im Alter von zwei Jahren starb. Dalí glaubte, die Reinkarnation seines toten Bruders zu sein.
Dalí zeigte bereits in der Kindheit künstlerische Talente. Im Jahre 1921 wurde er in der Madrider Schule der schönen Künste Academia de San Fernando aufgenommen. Hier machte er Bekanntschaft mit seinen zukünftigen Freunden und Kollegen Luis Buñuel und Federico García Lorca. Seine Werke dieser Periode zeigen Elemente des Futurismus, der metaphysischen Malerei und des Kubismus. 1925 fand seine erste Einzelausstellung in der Dalmauer Galerie in Barcelona statt. Ein Jahr später besuchte der Künstler Paris, wo er Pablo Picasso traf, der ihn den Künstlern der Pariser Avantgarde vorstellte. Beeinflusst von Diego Velázquez (der spanische Maler und führende künstlerische Persönlichkeit des Hofes von König Philip IV), wuchs Dalí sein unverwechselbarer Schnurrbart. Im selben Jahr wurde er aus der Madrider Akademie ausgeschlossen. Im Jahr 1929 arbeitete er mit Luis Buñuel an dem Film "Un Chien Andalou" (An Andalusian Dog), der seine offizielle Akzeptanz in der surrealistischen Gruppe markierte.
Im Sommer des gleichen Jahres traf er Gala, seine zukünftige lebenslange Partnerin, die seine Arbeit stark beeinflusste. Während dieser Periode begann Salvador seine "paranoisch-kritische Methode" zu entwickeln, die auf spontanem Zugriff auf das Unterbewusstsein beruhte, was zu solchen charakteristischen Bildern wie dem Lugubrious Game (1929) und The Persistence of Memory (1931) führte. 1932 nahm Dalí an der ersten surrealistischen Ausstellung in den USA teil, was ein triumphierender Erfolg war. Inzwischen brach der spanische Bürgerkrieg aus und Dalí, bekannt für seine extremen Ansichten, machte kein Geheimnis aus seiner Sympathie für die Politik von General Franco, die zu Konflikten mit den anderen Surrealisten führte. 1939 wurde er schließlich aus der surrealistischen Gruppe ausgeschlossen. Ein Jahr später wanderte er mit Gala nach den USA aus, wo er bis 1948 blieb. Dort veröffentlichte er seine Autobiographie "Das geheime Leben von Salvador Dalí" (1942) und arbeitete für die Filmindustrie, beispielsweise für ein Drehbuch für Walt Disney. Nach ihrer Rückkehr nach Spanien ließen sich Dalí und Gala in Katalonien nieder, wo sie den Rest ihres Lebens verbrachten. Zu dieser Zeit begann Dalí in seine Kompositionen mehr religiöse Elemente und optische Täuschungen zu inkludieren, was zu Gemälden wie die Madonna von Port Lligat (1950) und Kreuzigung (1954) führte. Von 1960 bis zur Fertigstellung 1974 arbeitete Dalí an seinem Theater und Museum in Figueres. Er wandte sich auch anderen Projekten zu wie der Werbung (das Logo für Chupa Chups Lutscher) und das Möbeldesign (z. B. ein Sofa in der Form der Lippen der Schauspielerin Mae West). Er schuf auch seine eigene Schmucksammlung und "Dalí" Parfüm.
Dalí benutzte eine breite Palette von Symbolen in seinen surrealistischen Werken, deren bekannteste die schmelzende Uhr ist, die die Relativität der Zeit symbolisiert, wie von Albert Einstein beschrieben. Der Ursprung dieser Idee ist Dalí's Beobachtung eines an einem heißen Sommertag schmelzenden Camembert-Käse zugeschrieben. Andere Symbole beinhalteten einen Elefanten auf schlanken Beinen und kriechenden Ameisen, die, nach Dalí, Tod und Angst symbolisierten. Das waren Empfindungen, die in der Kindheit des Künstlers ihren Ursprung hatten. Als er ein Kind war, hatte er eine Haustier-Fledermaus, die eines Tages starb, und Dalí fand es bedeckt mit Ameisen. Dalís Motive sind aus der Welt der Träume und freien Assoziationen gezogen.
1982 starb Dalís geliebte Frau Gala. Im selben Jahr wurde der Maler Salvador Felipe Jacinto Dalí von König Juan Carlos zum "Marquès de Dalí de Púbol" geadelt.. Im Jahr 1989 starb der zurückgetretene Dalí an Herzversagen in seinem Museum im Galatea Tower. Nach seinen Wünschen wurde er in der Krypta des Museums begraben. In seinem Testament vermachte er sein ganzes Vermögen und seine Werke dem spanischen Staat.
Die oft undurchdringliche Tiefe von Dalís Gemälden steht im Widerspruch zu seinen Skandalen und dem exhibitionistischen öffentlichen Verhalten. Während seines ganzen Lebens weigerte er sich, alle Speisen zu essen, die rot gefärbt waren und trug einen halbrasierten Schnurrbart. Er liebte es, ungewöhnliche Dinge zu tun, nur um die Aufmerksamkeit auf sich selbst zu lenken. Dennoch ist er einer der größten Künstler in Bezug auf die Qualität seiner Werke und wurde zu einem der wichtigsten Pioniere der neuen künstlerischen Trends seiner Zeit.
Salvador Dalí, full name Salvador Domènec Felip Jacint Dalí i Domènech, was born in 1904 in the Spanish village of Figueres, Catalonia to a middle class family. His father, Dalí i Cusí, was a state official and his mother, Felipa Domènech Ferres, was formerly a maid to her future husband. Salvador had two siblings, a younger sister, Anna María, and an older brother, also Salvador, who died at the age of two. Dalí believed himself to be the reincarnation of his dead brother.
Dalí already showed signs of artistic talent in childhood. In 1921 he was accepted into the Madrid school of fine arts Academia de San Fernando. Here he made acquaintance with his future friends and colleagues Luis Buñuel and Federico García Lorca. His works of this period display elements of Futurism, metaphysical painting and Cubism. In 1925 his first one-man exhibition took place in the Dalmau Gallery in Barcelona. A year later the artist visited Paris, where he met Pablo Picasso, who introduced him to the artists of the Paris avant-garde. Influenced by Diego Velázquez (the Spanish painter and leading artistic personality of the court of King Philip IV) Dalí grew his distinctive moustache. In the same year he was expelled from the Madrid Academia. In 1929 he collaborated with Luis Buñuel on the film Un Chien Andalou (An Andalusian Dog), which marked his official accepta
nce into the Surrealist Group.
In the summer of the same year he met Gala, his future lifelong partner, who greatly influenced his work. During this period, Salvador began to develop his “paranoiac-critical method” based on spontaneously accessing the subconscious, which resulted in such characteristic paintings as The Lugubrious Game (1929) and The Persistence of Memory (1931). In 1932 Dalí took part in the first Surrealist exhibition in the USA, which was a triumphant success. In the meanwhile, the Spanish Civil War broke out and Dalí, renowned for his extreme views, made no secret of his sympathy for the policies of General Franco, which resulted in conflicts with the other Surrealists. In 1939 he was finally expelled from the Surrealist Group. A year later he left with Gala for the USA, where they remained until 1948. There he published his autobiography The Secret Life of Salvador Dalí (1942) and worked for the film industry, for example drawing a storyboard for Walt Disney. Following their return to Spain, Dalí and Gala settled in Catalonia, where they spent the rest of their lives. At this time, Dalí began to include in his compositions more religious elements and optical illusions, resulting in paintings such as The Madonna of Port Lligat (1950) and Crucifixion (1954). From 1960 until their completion in 1974, Dalí worked on his theatre and museum in Figueres. He also turned his hand to other projects, such as advertising (the logo for Chupa Chups lollipops) and furniture design (for example a sofa in the shape of actress Mae West’s lips). He also created his own jewellery collection and “Dalí” perfume.
Dalí used a wide range of symbols in his surrealistic works, the most familiar of which is the melting watch, symbolising the relativity of time as described by Albert Einstein. The origin of this idea is ascribed to Dalí’s observation of a Camembert cheese melting on a hot summer’s day. Other symbols included an elephant on slender legs and crawling ants, the latter of which symbolised, according to Dalí, death and fear. These were sensations which had an origin in the artist’s childhood. When he was a child he had a pet bat, which died one day, and Dalí found it covered in ants. Dalí’s motifs are drawn from the world of dreams and free associations.
In 1982 Dalí’s beloved wife Gala died. In the same year the painter was knighted. In 1989 the resigned Dalí died of heart failure in his museum in Galatea Tower. In accordance with his wishes he was buried in the crypt of the museum. In his will he bequeathed all his property and works to the Spanish State.
The often impenetrable depth of Dalí’s paintings contrasts with his scandals and exhibitionistic public behaviour. Throughout his life he refused to eat any food that was red in colour and sported a half-shaven moustache. He was fond of doing unusual things just for the sake of drawing attention to himself. Nonetheless, he is one of the greatest artists in terms of the quality of his works and became one of the most important pioneers of the new artistic trends of his time.
Another Demotivational poster created with fd's Flickr Toys, & inspired by the wickedly sarcastic "despair" series ( www.despair.com ) which is, itself, inspired by the famous Motivation posters.
(NOW AVAILABLE AS A CALENDAR!!)
if you have an original de-motivational creation of your own, please consider adding it to the 'De-Motivational' group: flickr.com/groups/22061676@N00/
Norio and Argent enjoying the heater in the kitchen of our house in Yubari in October of 2017. Argent is in almost the exact same position as she was in a picture exactly one year earlier.
Great Blue Heron & Purple Galinule
Elm Lake
Brazos Bend State Park, Texas
Nikon D300 Nikkor 300mm F4-AF-S TC-14E
This took some balls...literally.
This is the woman at the dunking booth at the Minnesota Renaissance Festival. It took me several tries to work up the courage to ask her for her photo. It also took many, many softballs.
I encountered her first on the morning of August 18. My son had a go with 11 balls with no luck, so I took my chances with 11.
On my 9th throw, I hit the target with enough force to drop the platform. She was holding onto a bar, so she didn't go all the way in. I think she was really surprised and didn't want to get dunked, so I didn't throw the last two because I didn't want to be rude by sinking her again. I was too chicken to ask for her photo, though.
In the afternoon, we came back to the booth. No one else was there, so I mustered the gusto to try again. I hit the target a couple of times, but not with enough force to drop her. I thought about asking for her photo, but a large crowd had gathered to watch me throw. The next fellow up got close a couple of times, but never hit the target square. I had stayed to watch, and I think he though I might be able to do it, so he dropped $10 for 22 balls.
This time, I hit the target at least four, if not six times, but couldn't get her to drop. I was emboldened enough to ask for her photo, but an even larger crowd had gathered. Either she wanted to keep business going or was a bit perturbed that I had returned that she didn't come down off the platform when I asked for her photo. I was a bit devastated.
On August 25, my friend Chris came to town and wanted to go to the festival. After wandering for a while, we came to her booth. This time I asked for her photo up front. I gave her $5 to throw, but told her she or her partner didn't need to sit in the tank. By golly, I missed every time, but she did pose for a photo. It made my entire weekend and was well worth the time and cost.
This is a short story of Steven Cao - The Aesthetic Beast. Watch what can be achieved with persistence and hard work. No matter the age, no matter you current looks, you can do it! I hope this video motivates you too! Subscribe for more bodybuilding motiation on The Gymster: www.youtube.com/c/TheGymster?sub_confirmation=1 ▾▾▾▾▾▾▾▾▾▾▾▾▾▾▾▾▾▾▾▾▾▾▾▾▾▾▾▾▾▾▾▾▾▾▾▾▾▾▾▾▾▾▾▾▾▾▾ Follow Steven Cao: www.youtube.com/user/YoungBarber21 ▴▴▴▴▴▴▴▴▴▴▴▴▴▴▴▴▴▴▴▴▴▴▴▴▴▴▴▴▴▴▴▴▴▴▴▴▴▴▴▴▴▴▴▴▴▴▴ 👊 T h e G y m s t e r 👊 ▾▾▾▾▾▾▾▾▾▾▾▾▾▾▾▾▾▾▾▾▾▾▾▾▾▾▾▾▾▾▾▾▾▾▾▾▾▾▾▾▾▾▾▾▾▾▾ ℱℴℓℓℴω υs: Twitter: twitter.com/TGymster Facebook: bit.ly/2klc9Su Instagram: bit.ly/2jx8c8x ▴▴▴▴▴▴▴▴▴▴▴▴▴▴▴▴▴▴▴▴▴▴▴▴▴▴▴▴▴▴▴▴▴▴▴▴▴▴▴▴▴▴▴▴▴▴▴ Check out these playlists: Steven Cao Motivational Videos: bit.ly/Steven-Cao-Motivational-Videos Motivational Speeches by Inspirational People: bit.ly/Motivational-Speeches Arnold Schwarzenegger Motivational Videos: bit.ly/Arnold-Schwarzenegger-Motivation 👊 Body Transformation Videos: bit.ly/Body-Transformation-TheGymster David Laid Motivational Videos: bit.ly/David-Laid-Motivational-The-Gymster Check out these videos: Arnold Schwarzenegger Motivational Speech – Methods of Success (with SUBTITLES) - youtu.be/5_-uL3Dq6kQ Beastmode Transformation - Luke Elsman - youtu.be/JoD3V8ZjFoM Ryan Sharp Posing routine and Chest Workout - youtu.be/3Kk1aqJgXsY 👊 Aesthetic Bodybuidling Motivation - Meet Hiroyuki Crockett | Amazing Body Transformation 👊 - youtu.be/EKJvrfzUJSs 👊 Steven Cao - Arm Workouts | Gym Motivation 👊 - youtu.be/IDfFL_tuTts Body Transformation Jose Soto | Aesthetic Bodybuilding Motivation - youtu.be/AQqRDjiK9NQ Bodybuilding Motivation | Justin Martilini, Qwin Vitale, Ryan Casey | Shoulder Workouts - youtu.be/pMAhbcbyF9E Justin Martilini Body Transformation - 2 Years - youtu.be/HPQJFcJqMg0 Workout Motivation | Ryan Sharp Posing + Arms Workout - youtu.be/Ems2tvIRw-o Arnold Tells His N.1 Chest Exercise (with SUBTITLES) + How to overcome plateaus - youtu.be/26N1HCkhr50 Brandon Harding Transformation 3 Years Natural Training - youtu.be/qrnSGuzIjlc Jean Claude Van Damme Motivational Speech - The Most Important Thing in Life - youtu.be/xffkMFr2OWw 1 Year Massive Natural Body Transformation - youtu.be/eF0LGP9kmPk Joe Dahler transformation from small to beast (5 years) - youtu.be/o4od5ZxOL6w How To Build Massive Chest w/ Steven Cao - youtu.be/GwEweHDNx9M Monster Body Transformation 15-19 years old Lukas Smagurauskas - youtu.be/uUsQt0zWa5s From Skinny to Fitness Model, 4 Year Aesthetic Body Transformation - Josh Giles - youtu.be/0hDOylqPcBI The Most Amazing Fitness Body | Anllela Sagra Aesthetic Fitness Motivation - youtu.be/C-fOui9S6jQ 16 Year Old Body Transformation in 1 year! Calisthenics Street Workout Motivation - youtu.be/Ho6lycApuq8 David Laid Transformation Video | 5 years Progress - youtu.be/4966U6qyAuQ Steven Cao Posing series #3 | Aesthetic Bodybuilding Motivation - youtu.be/YhLJu2RhuY8 Arnold Schwarzenegger Motivational Speech - 6 Rules To Success (with SUBTITLES) - youtu.be/tM435n6vB98 Full Leg Workout Routine w/ Steven Cao - youtu.be/wb_bt9eVrFU Anllela Sagra Workout Motivation - youtu.be/riJhLVZ7kfY Anllela Sagra the Most Incredible Female Fitness Model - youtu.be/ES2phOU39SQ Aesthetic Fitness Motivation with Anllela Sagra - youtu.be/PS-5uJQO2g4 David Laid posing series #2 | Aesthetic Bodybuilding Motivation - youtu.be/JV7wxfFLksQ David Laid, Steven Cao, Dylan Mckenna, Qwin Vitale Bodybuilding Motivation - youtu.be/4UQm5asES9Y David Laid & Steven Cao | Annihilation ARM Workout Motivational VIDEO - youtu.be/Ovb2QvMq_8g Top Fitness Model: Anllela Sagra - youtu.be/7QXP3JRpczI David Laid Bodybuilding Motivation | Dubstep Workout Music - youtu.be/yeN95i10vlQ Steven Cao Posing - youtu.be/ML94aTJ0iFo Bodybuilding Motivation 2016 | David Laid - youtu.be/1wGk0LvPay0 Full Back Workout with David Laid, Steven Cao and Dylan Mckenna - youtu.be/oe1aQyxjO9c Steven Cao Monster Body Transformation 16-21 Years Old - youtu.be/R39Dau3CWvs ▾▾▾▾▾▾▾▾▾▾▾▾▾▾▾▾▾▾▾▾▾▾▾▾▾▾▾▾▾▾▾▾▾▾▾▾▾▾▾▾▾▾▾▾▾▾▾ 🎧 ♪♪♪ Song ♪♪♪ 🎧: Sekai - Somebody [NCS Release] Music provided by NoCopyrightSounds. Watch: youtu.be/HiM2VWFUom0 Download/Stream: bit.ly/2rXPtf5 ▾▾▾▾▾▾▾▾▾▾▾▾▾▾▾▾▾▾▾▾▾▾▾▾▾▾▾▾▾▾▾▾▾▾▾▾▾▾▾▾▾▾▾▾▾▾▾ Subscribe: www.youtube.com/c/TheGymster?sub_confirmation=1 ▴▴▴▴▴▴▴▴▴▴▴▴▴▴▴▴▴▴▴▴▴▴▴▴▴▴▴▴▴▴▴▴▴▴▴▴▴▴▴▴▴▴▴▴▴▴▴
My sincerest apologies and credit to Salvador Dali on his painting entitled, "The Persistence of Memory" as it was the inspiration for me to capture this image. Hopefully this is the last of the snow until next season, as it just seems to want to linger forever. As I looked out on our patio today, I saw the remainder of our last snow fall slowly sliding off the edge of this side table, and couldn't stop thinking of the melting pocket watches, so I knew I had to get the image before it melted and broke away.
It's kinda hoaky, but it made me smile, and I hope it makes you smile too!
The question I have is should I do post and make it look more diffused, maybe a little gritty to be more reflective of the actual painting? Thoughts?
At least five times Christianity has to all appearances gone to the dogs. In each of these five cases it was the dogs that died.
— G.K. Chesterton
Background image: unsplash.com/photos/njUFzc17ki8
Typefaces: Adorn Coronet, Adorn Expanded Sans
Merchandise available: www.redbubble.com/shop/ap/39381042