View allAll Photos Tagged persistence
Persistence, hard work, getting into positions I can hardly get out of, editing to the limit of my very limited abilities and having the good fortune to own a beautiful X20. That's how I sometimes get the result I want.
This is from my return visit to Whiteley Shopping Centre on a nearly people free early Sunday morning. The bronze rabbit/hares are by Lucy Casson.
X20_DSCF1271C
“Mommy, can I eat some of the chocolate cake?”
No, not yet. Wait a few minutes.
“Now can I eat some?”
No.
“Now?”
No.
“Mommy, can I eat some chocolate now?”
Still no. I’ll give you some to eat in a few minutes.
“Now?”
No.
“Has it been a few minutes? Now? Can I have some now?”
A three year old's persistence is incredible. And granted, this is a stretch, but the persistence of the Pharisees was pretty incredible also. They persisted in badgering the man-born-blind-who-now-could-see. They persisted with his parents. They seemed to be seeking one, and only one answer: "you’re right, oh-smart-Pharisees…. The man that opened my eyes is, in fact, a sinner…and you’re right, he shouldn’t be healing on the Sabbath.”
The man-who-could-now-see didn’t give the desired answer. He tried to be nice and patient, I think: “I have told you already and you did not listen….” But it didn’t really matter what he said—if the answer wasn’t what the Pharisees wanted, they would continue their dogged persistence.
The man’s answers amuse me. And the Pharisees, well, they sadden me. Because I just want them to get it for once. To actually recognize, and acknowledge, that something bigger than themselves is at work here. Someone bigger than themselves. And I want to see their persistence turned in the direction of how to open their hearts to this man who could make a difference for them as well—on a Sabbath or not.
It's hard to believe we're only 4 days away from Thanksgiving, and these azaleas are still blooming in my yard.
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Such is the persistence of the prevailing wind here in North Pembrokeshire that many hedge growing trees such as the Hawthorn find themselves unable to compete with it's relentless blast and end up growing in the way of least resistance. The result is many seemingly leaning trees and shrubs all over the coastal fringes and in the hills beyond.
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I've been meaning to hit up Garrapata State Park for quite some time now. I've driven by its rocky beaches and rugged coves a number of times on my way to other locales but on my recent trip down the Nor Cal coast I knew this time it was on.
Dramatic weather was tough to come by as the state of California seems to be in denial that it's currently winter but the sky did color up a bit as the waves rushed in. This vantage point, of course, is a classic one but icons are icons for a reason and I had to have a go. The foreground rocks are what really draw me into images from this beach and I hope my image does them justice.
I highly recommend a visit to Garrapata State Park for a few reasons. It's on California's state park closure list for one, but also because it's not just a coastal park. There are some good inland trails that deserve your attention. If you are looking to go and want tips where to photograph, I found photographer David Gubernick's site really helpful: www.rainbowspirit.com/garrapata-state-park.html
Nikon D300 / Tokina 12-24 / Lee .6 ND Grad
Thanks for looking!
Watching chickadees drill their way into a sunflower seed is always an impressive sight. Taken in a rare patch of wild eastern cedar at Bird's Hill Park.
From TheRoot.com: One of the most imposing sculptural monuments to the great black warrior-saint Maurice is found, not surprisingly, at the chief place of his veneration. Less expected, though, is the persistence of this august figure at a time when his traditional significance was undergoing a radical change. The stirring characterization of the saint seen here forms an integral part of a magnificent pulpit adorned with carved alabaster reliefs. An architectural complex in itself, this brilliant ensemble is set within the immense space of Magdeburg cathedral, one of the great architectural landmarks of Germany. Its winding structure accommodates the massive vertical form of a stone pier in the nave of the church toward the choir. Christoph Kapup, a highly talented but relatively little-studied representative of the German late Renaissance, carved the impressive structure between 1595 and 1597. His somewhat mannered style, characterized by an engaging play between ornament and content, typified much of European art produced just before the exuberant forms of Baroque expression revolutionized artistic expression across the continent. The complex imagery of the pulpit presents a visual exposition on sin and salvation. Its balustrade is adorned with four large reliefs, each about one meter high, of principal figures of the Christian faith. From the left, John the Baptist represents the imminent appearance of Christ, who appears as the divine Redeemer on the next panel. The two following reliefs represent the patron saints of the cathedral, Saints Maurice and Catherine. The pulpit is roofed by an ornate structure surmounted by a double-headed eagle, symbol of the Holy Roman Empire. St. Maurice, a Roman soldier of African origin said to have been martyred during the late third century at the Swiss town that bears his name today, is depicted with the accoutrements characterizing him as the patron saint of the empire. He holds a flag bearing the Christian cross and a shield emblazoned, once again, with the double-headed imperial eagle. These insignia had become an established part of the saint’s imagery at Magdeburg. A key trading city located in the Eastern German province of Saxony-Anhalt, Magdeburg had served as a rallying point of imperial interests since the time of Otto I in the 10th century. The most tangible manifestation of the emperor’s ambition for political power and expansion took the form of a religious cult dedicated to the saint. From its origin at Magdeburg, his veneration soon spread to other centers such as Prague. In a remarkable act of political and cultural self-identification, the imperial aspiration of a universal Christian realm became embodied in the figure of St. Maurice. The better known 13th-century stone statue of St. Maurice, now located in the choir of the cathedral, represents a key shift in the representation of the saint. In this work of the high medieval period, Maurice is represented for the first time, as far as is known, as black. In many of the several hundred subsequent representations of the saint created during the medieval and Renaissance periods, Maurice is also shown with distinctively black features. The reason for this unusual, and wholly positive reference to an African figure has never been fully established, but his foreign aspect is usually taken as a symbol of imperial dominion over the whole Earth and its many peoples. Kapup’s image of St. Maurice is part of a long tradition of the saint’s representation as co-patron of the cathedral. As a result of the tumultuous political and religious events of the 16th century, however, the relevance of Maurice within the spiritual consciousness of Northern Europe was profoundly altered. His figure on the pulpit stands at the crossroads between a fervently desired Christian ordinance of the world and the more quixotic nature of political reality. The high point of the importance of St. Maurice within imperial politics and religion was reached in the early 16th century, during the tenure of Prince-Archbishop Albert of Brandenburg. Albert promoted the cult of Maurice to such a fervent extent that the finances of the archbishopric became dangerously strained. The means of payment for his grand display of devotion in part involved official practices severely criticized by reformers such as the young monk Martin Luther. Albert soon found himself in a fierce, ongoing struggle against forces both financial and ideological. Ultimately he was forced to resign his post as archbishop as the Protestant Reformation took hold around him. After his death in 1546, Magdeburg cathedral remained closed for more than 20 years. When the cathedral was reopened in 1567, the chapter, or governing body of the church, was no longer a Catholic authority, but was constituted instead by a majority of Lutheran clergymen. Kapup’s image of St. Maurice, therefore, was created at a very different period in the history of the archbishopric of Magdeburg. The city and its territory were no longer ruled by the religious authority of the prince-archbishop, but rather by a lay administrator. The theological meaning of the pulpit reflects the significant changes brought about by the advent of the Lutheran faith, including the notion of sainthood itself. As a result, while the external image of St. Maurice remained unchanged, his former relevance as a divine intercessor and symbol of imperial authority were greatly diminished. The cathedral remained dedicated to St. Maurice and St. Catherine, as Lutheranism did not expressly reject their established place in heaven. As titular patrons of the cathedral, however, they are brought closer to the general community of the Christian faithful. They are honored, but not truly venerated; that is, they are not regarded as intercessors mediating between the faithful and Christ. The relationship of St. Maurice at Magdeburg to the imperial cause also underwent substantial changes due to the political turmoil caused by the Reformation. His relevance as the symbol of a universal Christian empire was largely mooted when Emperor Charles V abandoned this goal during the 1550s. Still, the noble bearing of Kapup’s figure of St. Maurice, as well as his inclusion in a newly configured body of saints, makes the dismissal of his former status as a mere “trademark,” a shadow of its former self, hard to accept. Today, his example of selfless sacrifice and achievement of great prominence in a foreign land can be related to the even loftier goals of universal peace and acceptance among all people of the world. The Image of the Black in Western Art Archive resides at Harvard University’s W.E.B. Du Bois Research Institute, part of the Hutchins Center for African and African American Research. The founding director of the Hutchins Center is Henry Louis Gates Jr., who is also The Root’s editor-in-chief. The archive and Harvard University Press collaborated to create The Image of the Black in Western Art book series, eight volumes of which were edited by Gates and David Bindman and published by Harvard University Press. Text for each Image of the Week is written by Sheldon Cheek.
A park -- particularly one as famous as Central Park -- is a living, breathing creature. And an immortal one. We fruit flies buzz in, tell it our stories, and then buzz away. We'll soon be gone but hopefully, the park will continue to tell our stories to future generations a hundred years from now.
So we told the park about this incredibly cool guy by the name of John Lennon. He was about as messed-up as any of us but he did some great things and he meant a lot to a great many people. Twenty-five years after his death, people stop at his memorial and lay flowers and conjure memories of what his works meant to them.
At the southeast corner of the park on Fifth Avenue, there's a statue of some guy on horseback, following Winged Victory. The monument was gilded at some point but it's fallen into disrepair. A wiseass like me passes by and genuinely enjoys it as a piece of classical sculpture, but it's just a thing, really.
I wonder if a hundred years from now, the Lennon memorial will mean more to people than a pretty geometric design and a curious word.
the persistence of those feelings in my head...
whatever.
credits goes to della-stock.deviantart.com/ and sxc.hu
This little man from yesterday was NOT into having his portraits taken. After 5 hours and a half a dozen poops and pees I came away with a ton of great pictures and a big bag of laundry lol. Persistence pays off!
Nils Westergard and Daniel Ardura
James River Filmmakers Forum held on Saturday, February 23 at 8 p.m. at the Visual Arts Center of Richmond, 1812 W. Main Street. Admission is free. Donations encouraged.
The lineup:
• Robert Massa (visiting filmmaker from NC) – The Box (4 minutes)
• Paul Hugins (visiting filmmaker from Alexandria) – Applications (8 minutes)
• James Mattise – As Best I Can Remember (12 minutes)
• Nils Westergard / Daniel Ardura – William (15 minutes)
• John Cappello – Cain (15 minutes)
• Christine Stoddard / David Fuchs – The Persistence of Poe (22 minutes)
jamesriverfilm.org/event/james-river-filmmakers-forum-2/
info@jamesriverfilm.org