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New York.
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New York is the most populous city in the United States and the center of the New York metropolitan area, one of the most populous urban agglomerations in the world.[6] The city is referred to as New York City or the City of New York to distinguish it from the State of New York, of which it is a part. A global power city,[7] New York exerts a significant impact upon commerce, finance, media, art, fashion, research, technology, education, and entertainment. The home of the United Nations Headquarters,[8] New York is an important center for international diplomacy[9] and has been described as the cultural capital of the world.[10][11]
On one of the world's largest natural harbors,[12] New York City consists of five boroughs, each of which is a county of New York State.[13] The five boroughs—the Bronx, Brooklyn, Manhattan, Queens, and Staten Island—were consolidated into a single city in 1898.[14] With a census-estimated 2013 population of 8,405,837[4] distributed over a land area of just 305 square miles (790 km2),[15] New York is the most densely populated major city in the United States.[16] As many as 800 languages are spoken in New York,[17][18] making it the most linguistically diverse city in the world.[19] By 2013 census estimates, the New York Metropolitan Area's population remains by a significant margin the United States' largest Metropolitan Statistical Area, with approximately 19.9 million people,[20] and is also part of the most populous Combined Statistical Area in the United States, containing an estimated 23.4 million people.
Bigui. Beagle.
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The Beagle is a breed of small to medium-sized dog. A member of the Hound Group, it is similar in appearance to the Foxhound, but smaller with shorter legs and longer, softer ears. Beagles are scent hounds, developed primarily for tracking hare, rabbit, and other small game. They have a great sense of smell and tracking instinct that sees them employed as detection dogs for prohibited agricultural imports and foodstuffs in quarantine around the world. Beagles are intelligent[citation needed], and popular pets because of their size, even temper, and lack of inherited health problems.
Although beagle-type dogs have existed for over 2,000 years, the modern breed was developed in Great Britain around the 1830s from several breeds, including the Talbot Hound, the North Country Beagle, the Southern Hound, and possibly the Harrier.
Beagles have been depicted in popular culture since Elizabethan times in literature and paintings, and more recently in film, television and comic books. Snoopy of the comic strip Peanuts has been promoted as "the world's most famous beagle".
Most people (anyway, most consumers of media in the west) have seen this place before. A lot. During the week you can practically assume you'll see some kind of filming or photography happening here.
And why not? It's a weird, beautiful, fantastic place. It's easy for film crews and average people to access. As a Los Angeles County Park, it's free to visit (you'll need to buy a permit for major filming though). People come here to hike, picnic, and climb the rocks (as the pair in this picture have done, even though lightning is crashing bumptiously from the sky not far to the east.) The park itself is much more than just this particular set of rocks, but these are the most iconic ones. The park comprises almost 1,000 acres of this freakish, alien, haphazard terrain created by sandstone strata tossed about willy-nilly by the ever fascinating San Andreas Fault.
And so, given that photographing and filming this place is almost a cliche, why do I keep coming back here to shoot? Maybe because the landscape of Vasquez Rocks is ingrained in my being. I came of age yearning to be roaming in landscapes like this when instead I was trapped in classrooms not that far away. When I was able, weekends and after school, I did roam in a landscape much like this, either hiking or riding horseback, dreaming of different ways I could conspire to be someone else. Someone not me. Vasquez Rocks is like that place I came of age in, only moreso. More of everything. Bolder, vaster, bigger, stranger: In a word, it's even more landscapey.
Occasionally, when I close my eyes, I see this place without meaning to--without even desiring to. I drive by here every evening and when I think the light is just right, I stop and shoot. It doesn't matter to me how many times this place has "been done." I'll keep coming back with a camera as long as there is sweet light and as long as I remain happy to be me.
Here's a partial list of where you may have seen Vasquez Rocks before:
Movies:
Star Trek (2009), Alpha Dog (2007), Bone Eater (2007; TV), A.I. Assault / Shockwave (2006), Cars (2006), Little Miss Sunshine (2006), Holes (2003), Joe Dirt (2001), Jay and Silent Bob Strike Back (2001), Planet of the Apes (2001), Bubble Boy (2001), Epoch (2000), Very Bad Things (1998), Free Enterprise (1998), Austin Powers: International Man of Mystery (1997), Guns of El Chupacabra (1997), Jingle All the Way (1996), Mighty Morphin Power Rangers: The Movie (1995,) The Flintstones (1994), In the Army Now (1994), Army of Darkness (1993), Mom and Dad Save the World (1992), Bill & Ted's Bogus Journey (1991), The Rapture (1991), Star Trek IV: The Voyage Home (1986), My Stepmother Is an Alien (1988) Hell Comes to Frogtown (1987), Short Circuit (1986), Metalstorm: The Destruction of Jared-Syn (1983), Parasite (1982), Hearts of the West (1975), Blazing Saddles (1974), Apache (1954), A Thousand and One Nights (film) (1945), Werewolf of London (1935), Dracula (1931)
Television:
CSI: Crime Scene Investigation, Saving Grace, From The Earth To The Moon—episode 10: "Galileo Was Right", The Twilight Zone (the original series), Medium, Have Gun—Will Travel, The Man from U.N.C.L.E., The Rifleman, Maverick, Broken Arrow, Mission: Impossible, 24, Airwolf, Bonanza, Buck Rogers in the 25th Century, Buffy the Vampire Slayer, Mighty Morphin Power Rangers, Roswell, Star Trek: The Original Series (notably the episodes "Arena", "The Alternative Factor", "Shore Leave", and "Friday's Child"), Star Trek: The Next Generation ("Who Watches the Watchers"), Star Trek: Voyager ("Initiations"), Star Trek: Enterprise, NCIS ("South By Southwest"), The Outer Limits, Korg: 70,000 BC, Alias, Mr. Show with Bob and David, The Fugitive (TV series), Alien Hunter, Alias Smith and Jones Hunter, Helltown, The Invaders, MacGyver, The Rat Patrol, Space: Above and Beyond, Charmed, Sliders, Friends, Fear Factor, Lassie, Las Vegas, Logan's Run, Zorro, Voyagers!, Daniel Boone, Alien Nation, The Adventures of Rin Tin Tin The Big Valley, Buffalo Bill Jr., Cimarron Strip, The Cisco Kid, Stories of the Century, The High Chaparral, Johnny Ringo The Range Rider, The Bionic Woman, Numb3rs, The Middleman, Prey, Street Hawk, Dinosaurs (TV series)
Commercials, Music Videos, Fashion Shoots, Magazine Spreads and other Advertising:
Way too many to list. Seriously. (list of productions snagged from wikipedia)
Beloeil (literally "beautiful eye") is one of the largest and most beautiful castle in Belgium. It was founded in the 13th century as a medieval fortress, then was progressively transformed into a residential palace in the 17th and 18th century. The central part of the castle was devastated by a fire in 1900, and rebuilt 2 years later.
Since 1394, the castle has belonged to the Princes of Ligne, one of Belgium's highest ranking noble family. The family has its roots in the village of Ligne, eight kilometres north-east of Beloeil.
The castle has a pleasant French-style park expanding on 120 hectares - the greatest part of which runs across the village of Beloeil, outside the property's boundaries. A rectangular artificial lake faces the castle, with classical statues at each end. Take a look at the enormous carps that swim in the moat surrounding the castles.
The 18th-century classical interior reminds of Versailles and is certainly in accordance with the princely status of the proprietors. It contains an impressive collection of art from the 15th to the 19th century, including an impressive library with some 20,000 books.
This photo is a HDR from 3 exposures.
At 34,000 feet flying over Azerbaijan, the view out to the clouds as the sun starts to go down.
A cloud is a visible mass of condensed droplets, frozen crystals suspended in the atmosphere above the surface of the Earth.
The condensing substance is typically water vapor, which forms small droplets or ice crystals, typically 0.01 mm in diameter. When surrounded by billions of other droplets or crystals they become visible as clouds. Dense deep clouds exhibit a high reflectance (70% to 95%) throughout the visible range of wavelengths: they thus appear white, at least from the top. Cloud droplets tend to scatter light efficiently, so that the intensity of the solar radiation decreases with depth into the cloud, hence the gray or even sometimes dark appearance of the clouds at their base.
Court of Customs and Patent Appeals Reports (Patent Cases) in a large DC law library.
Blogged:
dcist.com/2009/07/sunday_photo_july_26_2009.php
www.makeuseof.com/tag/4-great-sites-to-do-a-book-search-b...
ahtim.com/the-most-expensive-iphone-app-that-worth/
www.samanage.com/blog/2010/03/what-is-itil/
www.princeofpetworth.com/2010/03/message-from-chief-judge...
dcist.com/2010/04/seven_dc_students_win_scholastic_eq.php
www.jasnwilsn.com/2010/06/04/the-fate-of-nontextual-eleme...
criminaljustice.change.org/blog/view/in_virginia_a_jailho...
blog.radvision.com/voipsurvivor/2010/09/23/how-do-you-lik...
bizzthemes.com/demo/law-firm/ (slide 2)
studentblog.worldcampus.psu.edu/index.php/2011/05/five-re...
dcist.com/2011/05/law-making_takes_a_summer_break.php
blogs.lawlib.widener.edu/delaware/2011/06/28/summer-readi...
blogs.abc.net.au/nsw/2011/07/self-improvement-wednesday-a...
www.princeofpetworth.com/2011/08/mpd-chief-cathy-lanier-c...
chircu.blogspot.com/2011/09/economic-future-patent-law.html
rflx-s.blogspot.com/2011/10/consejos-para-blogueros-cuand...
www.badmummy.com.au/family-life/there-goes-my-brilliant-c...
dcist.com/2011/10/attention_dc_politics_geeks_lots_mo.php
dcist.com/2011/11/ahead_of_ethics_debate_disagreement.php
dcist.com/2011/12/ethics_meet_elections_1.php
dcist.com/2011/12/ethics_bill_moves_forward_though_pr.php
dcist.com/2012/01/toughest_provisions_of_ethics_bill.php
aprettybook.com/2011/11/30/the-law-in-books/
penneyfox.wordpress.com/2012/03/30/mommy-whats-a-lawyer-y...
socyberty.com/law/frequently-asked-questions-about-no-win...
www.princeofpetworth.com/2012/04/the-5pm-post-twitter-q-a...
whatisacriminallawyer.com/14-articles/8-criminal-self-rep...
www.princeofpetworth.com/2012/06/dc-superior-court-resond...
arstechnica.com/tech-policy/2012/07/judge-blasts-colleagu...
www.projectcasting.com/2012/07/25/usa-suits-casting-infor...
www.marilynstowe.co.uk/2012/09/24/for-the-public-good/
www.princeofpetworth.com/2012/11/dear-popville-has-anyone...
www.popville.com/2013/09/dear-popville-charged-1500-to-ch...
dcist.com/2015/02/overheard_in_dc_law_school.php
www.popville.com/2015/02/dear-popville-looking-for-a-lawy...
dcist.com/2015/02/overheard_in_dc_law_school.php
greatergreaterwashington.org/post/27295/breakfast-links-n...
www.popville.com/2015/08/from-the-forum-looking-to-set-up...
www.popville.com/2015/10/but-you-know-what-we-dont-see-pr...
www.popville.com/2015/11/lawyer-for-friend-who-was-hit-by...
www.facebook.com/viralvo/videos/1708518502753087/
www.popville.com/2018/07/id-be-so-grateful-for-any-help-t...
www.popville.com/2018/08/friday-question-of-the-day-do-yo...
www.popville.com/2018/10/pot-smoke-baby-tenant-laws/
www.popville.com/2019/05/does-anyone-know-of-a-good-emplo...
www.popville.com/2019/08/it-may-be-time-to-form-a-tenants...
www.popville.com/2020/01/lease-language-question/
dcist.com/story/20/06/16/d-c-residents-with-felony-convic...
dcist.com/story/21/11/04/dc-council-rewrite-criminal-code/
dcist.com/story/21/11/04/dc-council-rewrite-criminal-code/
dcist.com/story/21/11/04/dc-council-rewrite-criminal-code/
dcist.com/story/22/11/15/dc-council-will-vote-overhaul-cr...
dcist.com/story/23/01/03/mayor-bowser-dc-criminal-code-veto/
dcist.com/story/23/01/17/dc-council-override-bowser-veto-...
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Fontana dei Quattro Fiumi
Following, a text, in english, from Wikipedia, the free encyclopedia:
The Fontana dei Quattro Fiumi or "Fountain of the Four Rivers" is a fountain in Rome, Italy, located in the Piazza Navona. Designed by Gianlorenzo Bernini, it is emblematic of the dynamic and dramatic effects sought by High Baroque artists. It was erected in 1651 in front of the church of Sant'Agnese in Agone, and yards from the Pamphilj Palace belonging to this fountain's patron, Innocent X (1644-1655).
The four gods on the corners of the fountain represent the four major rivers of the world known at the time: the Nile, Danube, Ganges, and Plate. The design of each god figure has symbolic importance.
Design
Bernini's design was selected in competition. The circumstances of his victory are described as follows:
So strong was the sinister influence of the rivals of Bernini on the mind of Innocent that when he planned to set up in Piazza Navona the great obelisk brought to Rome by the Emperor Caracalla, which had been buried for a long time at Capo di Bove for the adornment of a magnificent fountain, the Pope had designs made by the leading architects of Rome without an order for one to Bernini. Prince Niccolò Ludovisi, whose wife was niece to the pope, persuaded Bernini to prepare a model, and arrange for it to be secretly installed in a room in the Palazzo Pamphili that the Pope had to pass. When the meal was finished, seeing such a noble creation, he stopped almost in ecstasy. Being prince of the keenest judgment and the loftiest ideas, after admiring it, said: “This is a trick … It will be necessary to employ Bernini in spite of those who do not wish it, for he who desires not to use Bernini’s designs, must take care not to see them.”
Paraphrase from Filippo Baldinucci, The life of Cavaliere Bernini (1682)
Public fountains in Rome served multiple purposes: first, they were highly needed sources of water for neighbors in the centuries prior to home plumbing. Second, they were monuments to the papal patrons. Earlier Bernini fountains had been the Fountain of the Triton in Piazza Barberini, the fountain of the Moor in the southern end of Piazza Navona erected during the Barberini papacy, and the Neptune and Triton for Villa Montalto, whose statuary now resides at Victoria and Albert Museum in London.
Each has animals and plants that further carry forth the identification, and each carries a certain number of allegories and metaphors with it. The Ganges carries a long oar, representing the river's navigability. The Nile's head is draped with a loose piece of cloth, meaning that no one at that time knew exactly where the Nile's source was. The Danube touches the Papal coat of arms, since it is the large river closest to Rome. And the Río de la Plata is sitting on a pile of coins, a symbol of the riches America could offer to Europe (the word plata means silver in Spanish). Also, the Río de la Plata looks scared by a snake, showing rich men's fear that their money could be stolen. Each is a river god, semi-prostrate, in awe of the central tower, epitomized by the slender Egyptian obelisk (built for the Roman Serapeum in AD 81), symbolizing by Papal power surmounted by the Pamphili symbol (dove). In addition, the fountain is a theater in the round, a spectacle of action, that can be strolled around. Water flows and splashes from a jagged and pierced mountainous disorder of travertine marble. A legend, common with tour-guides, is that Bernini positioned the cowering Rio de la Plata River as if the sculpture was fearing the facade of the church of Sant'Agnese by his rival Borromini could crumble against him; in fact, the fountain was completed several years before Borromini began work on the church.
The dynamic fusion of architecture and sculpture made this fountain revolutionary when compared to prior Roman projects, such as the stilted designs Acqua Felice and Paola by Fontana in Piazza San Bernardo (1585-87) or the customary embellished geometric floral-shaped basin below a jet of water such as the Fontanina in Piazza Campitelli (1589) by Giacomo della Porta.
Unveiling
he Fontana dei Quattro Fiumi was unveiled to the populace of Rome on 12 June 1651. According to a report from the time, an event was organised to draw people to the Piazza Navona. Beforehand, wooden scaffolding, overlaid with curtains, had hidden the fountain, though probably not the obelisk, which would have given people an idea that something was being built, but the precise details were unknown. Once unveiled, the full majesty of the fountain would be apparent, which the celebrations were designed to advertise. The festival was paid for by the Pamphili family, to be specific, Innocent X, who had sponsored the erection of the fountain. The most conspicuous item on the Pamphili crest, an olive branch, was brandished by the performers who took part in the event.
The author of the report, Antonio Bernal, takes his readers through the hours leading up to the unveiling. The celebrations were announced by a woman, dressed as the allegorical character of Fame, being paraded around the streets of Rome on a carriage or float. She was sumptuously dressed, with wings attached to her back and a long trumpet in her hand. Bernal notes that "she went gracefully through all the streets and all the districts that are found among the seven hills of Rome, often blowing the round bronze [the trumpet], and urging everyone to make their way to that famous Piazza." A second carriage followed her; this time another woman was dressed as the allegorical figure of Curiosity. According to the report, she continued exhorting the people to go towards the piazza. Bernal describes the clamour and noise of the people as they discussed the upcoming event.
The report is actually less detailed about the process of publicly unveiling the fountain. However, it does give ample descriptions of the responses of the spectators who had gathered in the Piazza. Once there, Bernal notes, the citizens of the city were overwhelmed by the massive fountain, with its huge life-like figures. The report mentions the "enraptured souls" of the population, the fountain, which "gushes out a wealth of silvery treasures" causing "no little wonder" in the onlookers. Bernal then continues to describe the fountain, making continuous reference to the seeming naturalism of the figures and its astonishing effect on those in the piazza.
The making of the fountain was met by opposition by the people of Rome for several reasons. First, Innocent X had the fountain built at public expense during the intense famine of 1646-48. Throughout the construction of the fountain, the city murmurred and talk of riot was in the air. Pasquinade writers protested the construction of the fountain in September 1648 by attaching hand-written invectives on the stone blocks used to make the obelisk. These pasquinades read, "We do not want Obelisks and Fountains, It is bread that we want. Bread, Bread, Bread!" Innocent quickly had the authors arrested, and disguised spies patrol the Pasquino statue and Piazza Navona
The streetvendors of the market also opposed the construction of the fountain, as Innocent X expelled them from the piazza. The Pamphilij pope believed they detracted from the magnificence of the square. The vendors refused to move, and the papal police had to chase them from the piazza. Roman Jews, in particular, lamented the closing of the Navona, since they were allowed to sell used articles of clothing there at the Wednesday market.
Navona Square (Piazza Navona).
Following, a text, in english, from Wikipedia, the free encyclopedia:
Piazza Navona is a city square in Rome, Italy. It is built on the site of the Stadium of Domitian, built in first century AD, and follows the form of the open space of the stadium.[1] The ancient Romans came there to watch the agones ("games"), and hence it was known as 'Circus Agonalis' (competition arena). It is believed that over time the name changed to 'in agone' to 'navone' and eventually to 'navona'.
Defined as a public space in the last years of 15th century, when the city market was transferred to it from the Campidoglio, the Piazza Navona is a significant example of Baroque Roman architecture and art. It features sculptural and architectural creations: in the center stands the famous Fontana dei Quattro Fiumi or Fountain of the Four Rivers (1651) by Gian Lorenzo Bernini; the church of Sant'Agnese in Agone by Francesco Borromini and Girolamo Rainaldi; and the Pamphilj palace also by Rainaldi and which features the gallery frescoed by Pietro da Cortona.
The Piazza Navona has two additional fountains: at the southern end is the Fontana del Moro with a basin and four Tritons sculpted by Giacomo della Porta (1575) to which, in 1673, Bernini added a statue of a Moor, or African, wrestling with a dolphin, and at the northern end is the Fountain of Neptune (1574) created by Giacomo della Porta. The statue of Neptune in the northern fountain, the work of Antonio Della Bitta, was added in 1878 to make that fountain more symmetrical with La Fontana del Moro in the south.
At the southwest end of the piazza is the ancient 'speaking' statue of Pasquino. Erected in 1501, Romans could leave lampoons or derogatory social commentary attached to the statue.
During its history, the piazza has hosted theatrical events and other ephemeral activities. From 1652 until 1866, when the festival was suppressed, it was flooded on every Saturday and Sunday in August in elaborate celebrations of the Pamphilj family. The pavement level was raised in the 19th century and the market was moved again in 1869 to the nearby Campo de' Fiori. A Christmas market is held in the piazza.
Other monuments on the Piazza Navona are:
Stabilimenti Spagnoli
Palazzo de Cupis
Palazzo Torres Massimo Lancellotti
Church of Nostra Signora del Sacro Cuore
Palazzo Braschi (Museo di Roma)
Sant'Agnese in Agone
Literature and films
The piazza is featured in Dan Brown's 2000 thriller Angels and Demons, in which the Fontana dei Quattro Fiumi "The Fountain of the four rivers"(the Danube, the Gange, the Nile and the River Plate) is listed as one of the Altars of Science. During June 2008, Ron Howard directed several scenes of the film adaptation of Angels and Demons on the southern section of the Piazza Navona, featuring Tom Hanks.
The piazza is featured in several scenes of director Mike Nichols' 1970 adaptation of Joseph Heller's novel, Catch-22.
The Fontana dei Quattro Fiumi was used in the 1990 film Coins in the Fountain. The characters threw coins into the fountain as they made wishes. The Trevi Fountain was used in the 1954 version of the film.
A Fontana Dei Quattro Fiumi, é maior das três fontes, localizada no centro da praça. Na fonte dos rios, Bernini projetou quatro estátuas representando os rios dos quatro continentes: o Nilo, o Danúbio, o rio da Prata e o Ganges. As estátuas estão montadas sobre um obelisco egípcio, sendo circundadas por leões e outros animais fantásticos, tendo no cume uma pomba em bronze, símbolo da paz no mundo e da família Pamphili. Para realçar a rivalidade entre Bernini e Borromini, que fez a igreja de Santa Agnese, os romanos criaram uma lenda em torno da fonte dos rios, que fica em frente a esta igreja. Segundo os romanos, as estátuas duvidam da solidez do projeto de Borromini. A que retrata o rio da Prata, tem a mão erguida, a proteger o corpo do desabamento da igreja; a que retrata o Nilo, traz a cabeça coberta por um véu, a recusar a ver a obra de Borromini.
A seguir um texto, em português, da Wikipédia a Enciclopédia Livre:
Fontana dei Quattro Fiumi
Fontana dei Quattro Fiumi (Fonte dos Quatro Rios), foi esculpida por Gian Lorenzo Bernini entre 1648 e 1651, artista do barroco italiano, foi concebida por uma ordem do Papa Inocencio X o Papa da familia Pamphili, cujo tinha sua casa nesta praça.
Esta localizada na Praça de Navona, em Roma. Ela representa os quatro principais continentes do mundo cortados por seus principais rios: Rio Nilo, na África; Rio Ganges, na Ásia, Rio da Prata, na América e o Rio Danúbio, na Europa.
A seguir, texto em português do site Wiki lingue:
A escultura da Fonte dos Quatro Rios, encontra-se na Piazza Navona de Roma (Itália) e foi criada e talhada pelo escultor e pintor Gian Lorenzo Bernini em 1651 baixo o papado de Inocencio X, em plena época barroca, durante o período mais prolífico do genial artista e cerca da que em outro tempo fué a Chiesa dei San Giacomo de gli Spagnoli
A fonte compõe-se de uma base formada de uma grande piscina elíptica, coroada em seu centro de uma grande mole de mármol, sobre a qual se eleva um obelisco egípcio de época romana, o obelisco de Domiciano .
As estátuas que compõem a fonte, têm umas dimensões maiores que na realidade e são alegorias dos quatro rios principais da Terra (Nilo, Ganges, Danubio, Rio da Prata), a cada um deles em um dos continentes conhecidos na época. Na fonte a cada um destes rios está representado por um gigante de mármol .
As árvores e as plantas que emergem da água e que se encontram entre as rochas, também estão em uma escala maior que na realidade. Os animais e vegetales, gerados de uma natureza boa e útil, pertencem a espécies grandes e potentes (como o leão, cavalo, cocodrilo, serpente, dragão, etc.). O espectador, girando em torno da fonte, descobre novas formas que dantes estavam escondidas ou cobertas pela massa rocosa. Com esta obra, Bernini quer suscitar admiração em quem olha-a, criando um pequeno universo em movimento a imitação do espaço da realidade natural.
A fonte foi submetida a restauração, um trabalho que se deu por concluído em dezembro de 2008. Constitui um dos palcos finque da novela e o filme Anjos e Demónios, à qual é arrojado um dos cardeais sequestrados, e Robert Langdon (Tom Hanks) se lança à água para lhe salvar.
Os animais da fonte
A fonte apresenta figuras de sete animais, além de uma pequena pomba e o emblema dos Pamphili. Para poder observá-las basta com dar uma volta ao redor da fonte. As figuras são: um cavalo, uma serpente de terra (na parte mais alta, cerca do obelisco), uma serpente de mar, um delfín (que funciona também como desagüe), um cocodrilo, um leão e um dragão. Notar também a vegetación esculpida que parece real.
Praça Navona.
A seguir, um texto em português, da Wikipédia a Enciclopédia livre:
A Praça Navona (em italiano: Piazza Navona) é uma das mais célebres praças de Roma. A sua forma assemelha-se à dos antigos estádios da Roma Antiga, seguindo a planificação do Estádio de Domiciano (também denominado entre os italianos de Campomarzio, em virtude da natureza rude e esforçada dos exercícios - manejo de armas - e desportos atléticos que aí se realizavam). Albergaria até 20 mil espectadores sentados nas bancadas. A origem do nome deve-se ao nome pomposo que lhe foi dado ao tempo do Imperador Domiciano (imperador entre 81-96 d.c.): "Circo Agonístico" (do étimo grego Agonia, que significa precisamente - exercício, luta, combate). Actualmente o nome corresponde à corruptela da forma posterior in agone, depois nagone e finalmente navone, que por mero acaso significa também "grande navio" na língua italiana.
As casas que entretanto e com o passar dos anos foram sendo construídas sobre as bancadas, delimitariam e circunscreveriam até à actualidade o tão afamado Circo Agonístico.
A Navona passou de fato a caracterizar-se como praça nos últimos anos do século XV, quando o mercado da cidade foi transferido do Capitólio para aí. Foi remodelada para um estilo monumental por vontade do Papa Inocêncio X, da família Pamphili e é motivo de orgulho da cidade de Roma durante o período barroco. Sofreu intervenções de Gian Lorenzo Bernini (a famosa Fontana dei Quattro Fiumi (Fonte dos Quatro Rios, 1651) ao centro); de Francesco Borromini e Girolamo Gainaldi (a igreja de Sant'Agnese in Agone); e de Pietro de Cortona, que pintou a galeria no Palácio Pamphilj, sede da embaixada do Brasil na Itália desde 1920.
O mercado tradicional voltou a ser transferido em 1869 para o Campo de' Fiori, embora a praça mantenha também um papel fundamental em servir de palco para espectáculos de teatro e corridas de cavalos. A partir de 1652, em todos os Sábados e Domingos de Agosto, a praça tornava-se num lago para celebrar a própria família Pamphili.
A praça dispõe ainda duas outras fontes esculpidas por Giacomo della Porta - a Fontana di Nettuno (1574), na área norte da praça, e a Fontana del Moro (1576), na área sul.
Na extremidade norte da praça, por debaixo dos edifícios, foram postas a descoberto ruínas antiquíssimas, a uma cota muito abaixo da actual, comprovando a primeva utilização daquele imenso terreiro. Outros monumentos com entrada para a praça:
Stabilimenti Spagnoli
Palazzo de Cupis
Palazzo Torres Massimo Lancellotti
Church of Nostra Signora del Sacro Cuore
Curiosidades
Na Piazza Navona, está localizado o Palazzo Pamphilj, propriedade da República Federativa do Brasil, sede da Embaixada Brasileira e da Missão Diplomática do Brasil para a Itália.
Montseny. Catalonia.
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Montseny Natural Park is a natural park that protects part of the Montseny massif. It was established in 1977 and is managed by the Barcelona Provincial Council since 1977 and the Council of Girona since 1978. Also since 1978 is a biosphere reserve by UNESCO. It was established as a national park in 1987. It covers part of the municipal Aiguafreda El Brull, Campins and Cànoves Samalús, Figaro-Montmany, hotbed of Montclús, La Garriga Gualba Montseny Palautordera St. Stephen, St. Peter Vilamajor Seva Tagamanent Arbúcies Breda , Rails Montseny, Sant Feliu de Buixalleu and Viladrau. The top of the park is the Turó de l'Home 1706.7 meters.
Part of my major .
This image was very tricky to shoot and difficult to manipulate because I did not have any idea on how to make it work.
There's only very slight motion going on because I wanted to make it look almost like a freeze frame.
The final works are actually not in print format, they're projected onto the center of the frame she enters (in the First Phase) coupled with a soundtrack and sound effects. I have the video but didn't do a recording of it being projected onto the frame. It's probably going to go up for exhibition at my school so maybe I'll a recording then.
So glad it's over! Sleeping, getting back to games and online shopping are currently my top priorities.
I'll still be shooting, but I might be trying a new style. (This whole series was quite new to me, having the make the settings etc, it's also aesthetically quite different from my preferred ghostly themed work or vintage inspired photographs) I'm not sure yet but possibilities are endless. One thing though, I really don't like studio lights, it just doesn't seem to fit what I do so I'll still be using natural lighting :D Might want to try incorporating drawing with photography or maybe take up digital painting and see how things go from there.
Fire from : shaedsofgrey
Roccella Valdemone is found in the province in Messina, exactly to the feet of the point of Castelluzzo and to 810 meters on the level of the sea.
Its other geographical coordinates to be remembered are first of all the proximity with the Regional Park of the Nebrodis and that of the Etna, whose outline dominates the landscape city, and good part of the Stream Roccella. The city understands around 1.000 inhabitants.
From the 1296 Roccella it was initially barony and then marquisate of the noble family of the Spadaforas.
From the cultural point of view the city offers the possibility to admire the Mother Church the Church entitled to the hearing and the ruins of the feudal Castle. From the naturalistic point of view, instead, the excursions can be effected already near her quoted peak of the Point of Castelluzzo, near the End Left-handed Cross and to the strata of the Volcano Etna.
Roccella Valdemone si trova in provincia di Messina, esattamente ai piedi della punta di Castelluzzo e ad 810 metri sul livello del mare.
Le sue altre coordinate geografiche da ricordare sono innanzitutto la vicinanza con il Parco Regionale delle Nebrodi e quello dell'Etna, la cui sagoma domina il paesaggio cittadino, e buona parte del Torrente Roccella. La citta' comprende circa 1.000 abitanti.
Dal 1296 Roccella fu inizialmente baronia e poi marchesato della nobile famiglia dei Spadafora.
Dal punto di vista culturale la citta' offre la possibilita' d'ammirare la Chiesa Madre, la Chiesa intitolata all'Udienza ed i ruderi del Castello feudale. Dal punto di vista naturalistico, invece, si possono effettuare le escursioni presso la gia' citata vetta della Punta di Castelluzzo, presso il Pizzo Croce Mancina ed alle falde del Vulcano Etna.
Da: Sicilyweb.com
Church of St David , Llanddew.
Llanddew Church is in the Diocese of Swansea and Brecon, in the community of Llanddew in the county of Powys. It is located at Ordnance Survey national grid reference SO0548330743. At one time it may have been dedicated to the Holy Trinity.
Summary
St.David's Church at Llanddew is a large cruciform stone structure with a central tower, lying 2km to the north-east of Brecon. It is considered to be a 'clas' foundation, but the earliest parts of the structure date from the 13thC. There have been subsequent rebuildings in the 17thC and 19thC. Medieval survivals include two stoups, a font and two carved lintels, as well as a stone with a ring-cross which may be pre-Conquest. The churchyard may originally have been curvilinear but its form has been modified in later centuries.
Nave supposed to be earliest part of church; this could be true for the south wall excepting the window insertions, but the west wall is a complete Victorian rebuild and it is possible that a substantial part of the featureless north wall was treated likewise in the 19thC.
North transept has portions rebuilt, namely the upper part of the north wall and some of the west, but the remainder should be 13thC on the basis of the single lancet window in the east wall.
For both chancel and south transept, it is difficult to determine the degree of rebuilding, and while the 13thC date is not in doubt most of the window dressings are considerably more recent. The porch, too, is 19thC.
Parts of the following description are quoted from the 1979 publication 'The Buildings of Wales: Powys' by Richard Haslam
History
Llanddew was an early medieval clas foundation. There is also a tradition that Eluned, a daughter of Brecon, fled to this church about 500 AD.
The Bishop of St Davids established a palace here in the 12thC, and Giraldus Cambrensis, as archdeacon of Brecon, had a residence at Llanddew in the late 12thC.
Its appearance in the 1291 Taxatio as 'Ecclesia de Llandon' at a value of œ8 implies a more wealthy establishment than the average.
The central tower was rebuilt in 1629 as attested by a plaque in the west wall of the chancel, and was restored in c.1780, the date of the roof. It is claimed that the nave was also refurbished in the 1620s.
Damage to the church may have occurred in a fire early in the 19thC.
In 1865 Glynne recorded a small whitewashed cruciform church in a 'truely deplorable' condition. The nave alone was used for services, the unpaved north transept was dilapidated and the south transept was walled off for a school, which no longer operated because of a lack of funds. The chancel was Early English in design, vaulted in stone, with lancet windows in the sides and a triplet with hood mouldings in the east wall; the priest's door had a trefoil head and a good hoodmould. The rest of the church might also be Early English but its diagnostic features had been obliterated, the nave having modern windows, though the north side was windowless. The tower was low and clumsy, with square belfry windows and a tiled, pointed roof. It stood on four plain semi-circular arches. There was a plain south porch. Inside were pews and there was a shabby chest for an altar. The east wall of the chancel had a small square recess and there was a 'rude' pointed piscina. The font in the chancel with its large circular bowl on a quadrangular stem with chamfered angles was not used.
By 1875 only the nave was in use, the other parts of the building being closed off, because of their state of disrepair. Restoration occurred in 1884 when the chancel and south transept were refurbished, new roofs were put in place in the chancel and transepts, and there was some new flooring; and in 1900 the nave had new lancets, a new roof, and the walls were stripped. A number of fragmentary post-medieval wall paintings of texts were uncovered in the chancel during the works but these have since been destroyed.
Architecture
Llanddew church is a massive cruciform structure with short transepts and a longer nave and chancel. There is a tower over the crossing and a south porch towards the south-west angle of the nave. It is aligned east to west.
Fabrics: 'A' comprises slabs and a few blocks of predominantly grey and red sandstone, most of them small to medium in size but a few large. Better dressed stones selected for quoins. 'B' is of small rather haphazardly laid lumps of red, brown and grey sandstone. 'C' is of predominantly grey sandstone (though some red) masonry, irregular in appearance and in coursing, small to medium in size and less uniform than 'A'.
Roofs: shale tiles, ornamental terracotta ridge tiles; stone cross finials to nave, north transept and chancel but a metal cross above the porch.
Drainage: stone chipping around wall base of building indicates an underlying drain.
Exterior
Nave. General. Supposedly the earliest part of the building. However, the evidence might point to the north wall abutting the north transept, though reverse is true for the south wall.
North wall: in Fabric 'A' with a strong batter to height of 1.5m and then a general slope inwards; no windows. Highest quoins at north-west corner (the last 0.8m) replaced to support Victorian kneelers; limewash traces near north-east corner.
South wall: mainly Fabric 'A' with a faint batter at base. West of the first lancet the junction with the Victorian west wall is visible. Further east plaster/render remnants can be seen on 'A'. Three lancet windows, all Victorian, but a good job made of the insertions.
West wall: fabric is largely 'A' but almost certainly re-used, the whole having been rebuilt with the possible exception of the foundation at the north-west corner. Three lancet windows all with modern dressings.
North transept. General. Base battered to maximum height of over 2m on north, dropping to about 1m near the south-west angle. Basically Fabric 'A' throughout, though occasional anomalies visible.
North wall: batter in Fabric 'A' but higher up on either side of the window (though not perhaps as far as the wall angles) the masonry is in 'B'. Lancet window with grey sandstone dressings - Victorian.
East wall: fabric akin to 'A', and batter not as pronounced as on north side. A single, small, narrow lancet now used as an electricity cable inlet is 13thC; some jambstones replaced but others could be original.
West wall: in Fabric 'A' but close to angle with nave the upper part of the wall appears to have been replaced. One Victorian lancet window, the inserted masonry around it just visible.
Tower. General. Pyramidal roof to tower which was rebuilt in 1623 and restored in 18thC; with weathercock. It is not centrally placed but stands a little south of the east/west axis.
North wall: masonry of Fabric 'A' with quoins some of which are dressed, others poorly so. Rectangular, louvred, belfry window with wooden lintel and projecting stone sill. Apex of north transept roof to within one metre of the window and above the meeting place is a stone drip-course with lead flashing beneath.
East wall: chancel roof higher than that of north transept, and belfry window, though of exactly the same form as on the north, is commensurately smaller.
South wall: as north wall in all aspects.
West wall: as east wall but to south and below belfry level is a small, glazed slit window without dressings.
Chancel. General. Low batter on all sides, rising to no more than 0.5m. Fabric 'C'.
North wall: some reconstruction adjacent to north transept wall where a narrow vertical band of masonry is slightly inset. Three Victorian lancets though just possible that the most easterly window has one or two original jambstones.
East wall: Three lancet windows with continuous hoodmould arching over each individually. The smaller, outer lancets have new yellow stone heads, but the jambs of all of them are flaking and weathering, and conceivably some might be earlier. Fabric above the hoodmould is more weathered and lichened and this runs down almost to the bottom of the corners where there are dressed yellow freestone quoins of Victorian date. It thus appears that the upper part of the wall has been reconstructed using original weathered masonry.
South wall: weathered 'C'. Three lancets; the jambs eroding on the most easterly and in grey sandstone with a yellow sandstone head; the other two have red sandstone dressings but none are convincingly original. Trefoil-headed priest's door in Decorated style, and while the yellow sandstone head is undoubtedly relatively new some of the jambs could be original, and likewise the hoodmould in the form of a two-centred arch with worn extremities.
South transept. General. Battered to height of 1.6m on south side, 1.3m on west. Fabric 'C'.
East wall: appears to be 'C' though perhaps 'B' in places. Large two-centred arch turned in edge slabs with carefully selected jambstones; this must be Victorian or later
South wall: heavy repointing above eaves level; dressed quoins. Victorian lancet in flaking grey sandstone.
West wall: one Victorian lancet.
Porch. General. Abuts nave and was constructed in the 19thC.
East wall: plain. Appears to be an 'A'-type fabric.
South wall: two-centred archway employing large voussoirs; no dressed quoins. Gable projects with collar showing externally.
West wall: plain.
Interior
Porch. General. Flagged floor; bare walls; Victorian roof of collars and rafters, replacing earlier roof for which a ledge is still visible on the south wall of the nave. Resting on the ground against the east and west walls are the carved lintels from an earlier church (see below).
North wall: doorway to church has modern segmental arch and large jambstones of red sandstone which are probably original.
East and west walls: plain.
South wall: reveal of doorway turned in edge stones at outer face.
Nave. General. Floored with red tiles, benches raised on wooden boarding, and the aisle carpet-covered with several grilles over the heating duct. Walls bare of plaster. Roof has two tie beams with king posts supporting a collar purlin and collar beams above.
North wall: nothing of note.
East wall: plain, off-centre, round-headed arch turned in edge stones; jambstones not chamfered. Wall battered at base and north wall of nave appears to butt against it.
South wall: uniformly splayed windows, each having a two-centred internal arch turned in edge stones. One corbel at a height of c.3m beside most easterly window might have supported a loft or gallery.
West wall: windows as south wall.
Crossing:. One step up from nave. Tiled floor; bare walls. Ceiled in wood just above the apex of the arches; the ceiling rest on eleven corbels, not of uniform design.
North wall: two-centred arch, smaller than its counterparts in the east and west walls, leads into north transept; its soffit is turned in edge stones.
East wall: round-headed arch in edge stones.
South wall: round-headed arch with a keystone and the arch turned in blocks with similar jambs; the arch is only one block deep. Two mural tablets of 1814 and 1823 in south-east corner.
West wall: round-headed arch as on east side.
North transept. General. Now used as a vestry. Tiled floor; walls plastered and whitewashed. Older roof than that in nave with a tie beam and collar against the north wall and two tiers of triangular windbraces.
North wall: splayed window but nothing of note.
East wall: the small lancet is backed on the inside by a large two-centred alcove for an altar. In south-east corner is a squint into the chancel.
South wall: wall has battered base. A gallery approached by a ladder is supported on corbels and gives access via a rectangular doorway to the tower.
West wall: splayed window but nothing of note.
Chancel. General. One step up from crossing, a further two steps up to sanctuary and one to altar. Tiled floor with encaustic tiles in sanctuary; choir stalls on raised wooden platforms. Walls plastered and whitewashed, except for internal jambs and sills of windows. Roof of four bays, the same form as the nave.
North wall: three splayed windows; squint at north-west angle. Corbel to east of central window, again at a height of c.3.0m, and either for a rood screen or a statuette.
East wall: splayed windows.
South wall: splayed windows, Victorian piscina with two-centred arched recess and a flat base. A corbel matches that on the north wall. 17thC graveslab fragment leans against south wall of chancel near priest's door.
West wall: round-headed arch. Plaque of 1629 set into wall face just to north of it, reads: 'This steeple was newly erected and made in Apriel Anno Dom. 1629. William Havard and William Griffith Gent then churchwardens'. Two coats-of-arms of the churchwardens also set into wall.
South transept. General. Used as a separate chapel with an altar against the south wall, and in the 19thC as a schoolroom. Tiled floor; walls plastered and whitewashed. Roof of braced collars; that against the north wall could be original, the rest are replaced.
North wall: wall face shows disconformity at eaves level which could indicate rebuilding; squint in north-east corner and redundant stoup placed in it.
East wall: doorway of no age. Monument of 1855 near south-east corner.
South wall: splayed window; monument of 1833.
West wall: splayed window; two monuments, that of 1848 above that of 1864.
Churchyard
Llanddew has an irregular churchyard, best described as a polygonal D-shape; the only hint of curvilinearity is around the east side, though this does hint at an earlier oval enclosure. To the south of the church the ground is level, but on the north side it drops away, and this reflects the general siting which is on the southern edge of a dry valley.
The enclosure is well maintained and is used for current burials.
Boundary: buildings fringe the churchyard on the south, and there is a drystone wall on the west and further short stretches of wall on either side of the eastern entrance. On the north a garden hedge gives way to a hedged drop to the road. The churchyard area is raised on the north and east sides and there is internal banking on the west and south though the former may not be of any great age.
Monuments: these are spread out around the south and east sides of the church with a few on the west. Most are 19thC and 20thC and there are only a couple of 18thC examples to the east of the chancel.
Furniture: none.
Earthworks: there are minor earthworks on the south side which cannot be characterised and might even be derived from the construction of the adjacent house, though this does seem unlikely. A low scarp just inside the east entrance reveals the original course of the churchyard perimeter.
Ancillary features: stone and timber lychgate at the east, a small wooden gate into field on west side of the churchyard, and a farm gate at the north-west corner.
Vegetation: there are two yews, one each on the east and west sides, and pines along the west side.
Let me hold you for the last time
It's the last chance to feel again
But you broke me, now I can't feel anything
When I love you and so untrue
I can't even convince myself
When I'm speaking it's the voice of someone else
Oh, it tears me up
I tried to hold on but it hurts too much
I tried to forgive but it's not enough
To make it all okay
You can't play our broken strings
You can't feel anything
That your heart don't want to feel
I can't tell you something that ain't real
Oh, the truth hurts and lies worse
How can I give anymore
When I love you a little less than before?
Oh, what are we doing?
We are turning into dust
Playing house in the ruins of us
Running back through the fire
When there's nothing left to say
It's like chasing the very last train
When it's too late, too late
Oh, it tears me up
I tried to hold on but it hurts too much
I tried to forgive but it's not enough
To make it all okay
You can't play our broken strings
You can't feel anything
That your heart don't want to feel
I can't tell you something that ain't real
Oh, the truth hurts and lies worse
How can I give anymore
When I love you a little less than before?
But we're running through the fire
When there's nothing left to say
It's like chasing the very last train
When we both know it's too late, too late
You can't play our broken strings
You can't feel anything
That your heart don't want to feel
I can't tell you something that ain't real
Oh, the truth hurts and lies worse
So how can I give anymore
When I love you a little less than before?
Oh, you know that I love you a little less than before
Let me hold you for the last time
It's the last chance to feel again
James Morrison
........................................................................Más grande - View On Black
Aún tengo que aprender sobre cómo hacer una nocturna en modo manual, se que es bastante mejorable, pero me "peleé" con la máquina (y mi ignorancia) hasta conseguir ésta foto porque había bastante diferencia de luz entre los dos edificios y estaba muy lejos como para utilizar el flax. Quería mostrar los contrastes que en Barcelona, como en cualquier gran ciudad, también existen, pero en ocasiones no vemos o no queremos ver.
Muchas gracias a aenm49 Albert y a yutis2003 Reyes,
por tener la paciencia de esperar a que yo consiguiera algo "potable".
También a Piriskoskis y Color-de-la-vida Bea
por esperar a "los tardones" (ahora sabeis la causa) al pié de la torre.
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I have a lot of things to learn about how to make nocturnal in the manual mode. This can be better, but was very difficult for me because there was a lot light difference and it was very far like using flax. It wanted to show the diferences that in Barcelona, like in any city, also exist… but sometimes we don't see… or we don't want to see.
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La TORRE AGBAR es un rascacielos de Barcelona, Tiene 145 metros de alto y 34 plantas. Fue diseñada por el estudio del francés Jean Nouvel en colaboración con la firma de arquitectos barcelonesa b720 Arquitectos.
La torre fue diseñada por el estudio del francés Jean Nouvel en colaboración con la firma de arquitectos barcelonesa b720 Arquitectos. Jean Nouvel explica que su torre "no es un rascacielos en el sentido norteamericano del cielo. Es una experiencia única, singular, en medio de una ciudad más bien tranquila. Pero no se trata de una vertical espigada y vigorosa, como las agujas o los campanarios que suelen acentuar las ciudades horizontales". En contraposición a la rigidez y la simetría de torres emblemáticas como las desaparecidas Torres Gemelas neoyorquinas, Nouvel buscó que su obra emerja del suelo de una forma especial. Y pensó una metáfora arquitectónica: combinó el agua (en referencia al Grupo Aguas de Barcelona, que ocupará el edificio) con el verbo "emerger". También encontró referencias formales en los pináculos de la montaña sagrada de Cataluña, Montserrat, y los campanarios de la Sagrada Familia.
El edificio se conforma como la unión de dos conceptos opuestos: ligereza del vidrio que recubre el edificio en forma de lamas de 120 x 30 cm, formando un gran brise-soleil y masividad del hormigón de su estructura. El hormigón va recubierto de placas de aluminio que dan color al conjunto, con una superficie difuminada de 16.000 m2. Las lamas de vidrio presentan diferentes inclinaciones, y opacidades provocando un juego de luz, según el momento del día y la estación del año, con las chapas de aluminio lacadas que recubren el hormigón. La forma de cilindro ovoidal o "bala" se forma a través de dos cilindros no concéntricos de planta ovoidal, hasta la planta 26 llega el anillo exterior. A partir de esta planta se levanta una cúpula ligera de vidrio y acero. El cilindro interior alberga los ascensores, escaleras e instalaciones, el exterior presenta aperturas, las ventanas (4.400 en total), formando un gran fractal.
Un elemento muy característico del edificio es su iluminación nocturna. Dispone de más de 4.000 dispositivos luminosos que utilizan la tecnología LED y que permiten la generación de imágenes luminosas en su fachada. El sistema ideado permite iluminar de forma independiente cada una de las 4500 luminarias que componen el alumbrado de la Torre. Permite proyectar 16 millones de colores, gracias a un sofisticado sistema de hardware y software, además de la capacidad de crear transiciones de color también independientes, sin apreciarse retrasos y creando un efecto impactante.
es.wikipedia.org/wiki/Torre_Agbar
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The AGBAR TOWER, is a 21st-century skyscraper at Barcelona, Catalonia, Spain. It was designed by French architect Jean Nouvel in association with the Spanish firm b720 Arquitectos.
According to Jean Nouvel, the shape of the Torre Agbar was inspired by Montserrat, a mountain near Barcelona, and by the shape of a geyser rising into the air. Jean Nouvel, in an interview, described it as having a phallic character.[6][7] As a result of its unusual shape, the building is known by several nicknames, such as "el supositori" (the suppository), "l'obús" (the shell) and some more scatological ones.[6] It is also somewhat similar in shape to Sir Norman Foster's 30 St. Mary Axe in London, often called "the Gherkin". It has 30,000 m² (323,000 ft²) of above-ground office space, 3,210 m² (34,500 ft²) of technical service floors with installations and 8,351 m² (90,000 ft²) of services, including an auditorium. The Agbar Tower measures 144.4 m (473.75 ft) in height[8] and consists of 38 storeys
Its design combines a number of different architectural concepts, resulting in a striking structure built with reinforced concrete, covered with a facade of glass, and over 4,500 window openings cut out of the structural concrete. The building stands out in Barcelona; it is the third tallest building in Barcelona, only after the Arts Hotel and the Mapfre Tower, both 154 m (505.25 ft).
A defining feature of the building is its nocturnal illumination. It has 4,500 LED luminous devices that allow generation of luminous images in the façade. In addition, it has temperature sensors in the outside of the tower that regulate the opening and closing of the glass blinds of the façade of the building, reducing the consumption of energy for air conditioning.
San Miguel de Allende, ciudad del estado mexicano de Guanajuato, se encuentra a una altitud de 1910 m y dista 274 km de la Ciudad de México.
El 7 de julio de 2008 fue inscrita por la Unesco en el Patrimonio cultural de la Humanidad. Anteriormente fue parte del proyecto de "pueblos mágicos", pero debido a esta última distinción de la Unesco, fue cambiada su designación.
La ciudad fue fundada en 1542 por el monje franciscano Fray Juan de San Miguel, quien bautizó el asentamiento como San Miguel el Grande. Era un punto de paso importante del Antiguo Camino Real, parte de la ruta de plata que se conectaba con Zacatecas.
El pueblo se destacó durante la Guerra de Independencia de México. Ignacio Allende, nativo de San Miguel, fue un líder clave en la guerra. Capturado cuando marchaba hacia Estados Unidos en busca de armas, fue juzgado en Chihuahua, sentenciado y fusilado. Su cabeza fue expuesta en uno de los ángulos de la Alhóndiga de Granaditas en Guanajuato junto a las de Miguel Hidalgo, Juan Aldama y Mariano Jiménez. La población de San Miguel el Grande fue elevada a ciudad el 8 de marzo de 1826 y cambió el nombre por "San Miguel de Allende" en honor al héroe nacional.
Durante la década de 1950,
San Miguel de Allende se convirtió en un lugar turístico conocido por su bella arquitectura colonial y sus fuentes termales.
El lugar es famoso por su clima templado, los ojos de agua termal y su arquitectura.
La iglesia de San Francisco de Asís se comenzó a construir en 1778 y tardó más de 20 años en terminarse, se observan diferentes cambios arquitectónicos de acuerdo con el periodo y la moda. La fachada es churrigueresca pura, con una enorme cantidad de figuras labradas de piedra y afiladas columnas. Sin embargo, el campanario, construido en 1799 por el famoso arquitecto, Francisco Eduardo Tresguerras, es de estilo neoclásico, el cual estaba de moda entonces.
New York City.
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New York is the most populous city in the United States and the center of the New York metropolitan area, one of the most populous urban agglomerations in the world.[6] The city is referred to as New York City or the City of New York to distinguish it from the State of New York, of which it is a part. A global power city,[7] New York exerts a significant impact upon commerce, finance, media, art, fashion, research, technology, education, and entertainment. The home of the United Nations Headquarters,[8] New York is an important center for international diplomacy[9] and has been described as the cultural capital of the world.[10][11]
On one of the world's largest natural harbors,[12] New York City consists of five boroughs, each of which is a county of New York State.[13] The five boroughs—the Bronx, Brooklyn, Manhattan, Queens, and Staten Island—were consolidated into a single city in 1898.[14] With a census-estimated 2013 population of 8,405,837[4] distributed over a land area of just 305 square miles (790 km2),[15] New York is the most densely populated major city in the United States.[16] As many as 800 languages are spoken in New York,[17][18] making it the most linguistically diverse city in the world.[19] By 2013 census estimates, the New York Metropolitan Area's population remains by a significant margin the United States' largest Metropolitan Statistical Area, with approximately 19.9 million people,[20] and is also part of the most populous Combined Statistical Area in the United States, containing an estimated 23.4 million people.
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La ameba Nebela se ha echado a dormir, se ha enquistado dentro de su cascarón de pepitas de cuarzo formando una esfera como el mundo; así estará bien arropada y protegida, y quizá de esa forma pueda pasar mejor el invierno de hielo, en la Sierra de la Culebra le espera bajo los aullidos sobrecogedores de los lobos que a veces visitan la charca en la que vive.
Hoy la Naturaleza ha gastado una broma a esta ameba discreta, colocando sobre la cúpula de su casa un tirabuzón. Molinete verde que adorna su cabeza haciéndola presumida en este tiempo de sueño invernal. La espiral de la vida seguirá su ciclo y este filamento que adorna como una joya minúscula, la minúscula casa de joya de Nebela se irá despertando al desperezarse la espiral, cuando sople el viento de primavera.
Cuando ella llegue se convertirá en hilo ondulado...hilo de vida de una cianobacteria que aunque recuerda a Lyngbia contorta probablemente sea Scitonema...y que ha hecho lo mismo que Nebela. Se ha convertido en un ovillo para pasar estos fríos de invierno junto a la compañía de esta ameba. Cuando la primavera empiece a despertar ellas lo harán también transformando su belleza estática en latido.
La ameba Nebela protege su cuerpo dentro de un cascarón fuertemente comprimido en forma de gota y ese cascarón de doble capa, se cubre hoy de pepitas de cuarzo transparentes que ella misma fabrica como gotas de cristal.
La cápsula que encierra el cuerpo de Nebela suele ser ligeramente ocre o amarillenta, comprimida lateralmente y presenta pequeños poros laterales difíciles de observar. El cuello tras el que se encuentra la apertura de su casa - que puede ser lineal, ligeramente o fuertemente curvada - es muy corto, apenas está marcado y su borde está rodeado por un collar de materia orgánica.
El caparazón y casa de esta ameba puede estar compuesto de dos capas una interna constituida por un cemento orgánico y la más externa donde se adhieren partículas minerales, restos de diatomeas o placas de sílice fabricadas por ella misma, como ocurre en la Nebela de hoy. El caso es que para que pueda tener esta capa exterior fabricada con placas, necesita alimentarse de otras amebas que también tengan caparazón. Si no lo tienen y se alimenta solo de amebas desnudas, su cuerpo estará también semidesnudo y únicamente protegido por la capa más interna de cemento traslúcido.
Cuando camina por los fondos Nebela desparrama sus brazos en el agua abriéndose en ella y abrazándola como gruesas raíces móviles que se funden y desaparecen para volver a surgir en mil formas diferentes.
Nebella tubulosa , no es una ameba común, la de hoy vive entre los esfagnos de una turbera situada en las inmediaciones de la pequeña localidad de Boya, situado en pleno corazón de la Sierra de la culebra de Zamora y ha sido fotografiada a 400 aumentos con la técnica de contraste de interferencia.
1BRETHREN, IF any person is overtaken in misconduct or sin of any sort, you who are spiritual [who are responsive to and controlled by the Spirit] should set him right and restore and reinstate him, without any sense of superiority and with all gentleness, keeping an attentive eye on yourself, lest you should be tempted also.
2Bear (endure, carry) one another's burdens and [a]troublesome moral faults, and in this way fulfill and observe perfectly the law of Christ (the Messiah) and complete [b]what is lacking [in your obedience to it].
3For if any person thinks himself to be somebody [too important to condescend to shoulder another's load] when he is nobody [of superiority except in his own estimation], he deceives and deludes and cheats himself.
- Galatians 6:1-3 (Amplified Bible)
www.lokomotivy.net/adm/zobraz2.php?rada=r744&loko=17900
Dne 28. února 2025 se stala ve stanici Hustopeče nad Bečvou vážná železniční nehoda, při které došlo k vykolejení několika cisteren ložených benzenem a jejich následnému rozsáhlému požáru. Vlivem toho byl zcela přerušen provoz v úseku Hranice na Moravě – Lhotka nad Bečvou, a to na delší dobu. Nákladní vlaky, které měly tímto úsekem projíždět, byly odkloněny, což byl i případ vlaku loženého sklářským pískem pro sklárnu ve slovenském městě Nemšová. Jeho odklonová trasa ovšem vedla netradičně přes Staré Město u Uherského Hradiště, Uherský Brod, Bylnici a Vlárský průsmyk. Po této trase již tento vlak jezdil v roce 2022, kdy došlo k sesuvu svahu v úseku Valašská Polanka – Horní Lideč. V té době se vozba ložených vlaků odehrávala v noci nebo nad ránem, což se mělo dít i nyní, ale vlivem husté osobní dopravy se jízda vlaku protáhla o několik hodin a bylo možné ho tedy spatřit za denního světla. To dokazuje snímek pořízený dne 6. března 2025 nedaleko bývalé stanice Pitín, na kterém je zachycena lokomotiva 744.179 v čele 1774 tun těžkého vlaku Nex 52755 [Jestřebí–Nemšová]. Na postrku na plný výkon pracovala dvojice strojů 742.075+426. Vlak již měl v tomto místě nejnáročnější stoupání za sebou, tím bylo stoupání okolo obce Pitín, ale do vrcholového bodu tratě před Slavičínem mu ještě chybělo několik kilometrů. Jednalo se tak, na místní poměry, o nevšední podívanou, jelikož v úseku Bojkovice–Bylnice již není provozována žádná pravidelná nákladní doprava. Zachytit tak nákladní vlak s dvěma nejvýznamnějšími památkami mikroregionu Bojkovska - kostelem sv. Vavřince a zámkem Nový Světlov, vyžaduje notnou dávku štěstí.
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Turbio fondeadero donde van a recalar,
barcos que en el muelle para siempre han de quedar...
Sombras que se alargan en la noche del dolor;
náufragos del mundo que han perdido el corazón...
Puentes y cordajes donde el viento viene a aullar,
barcos carboneros que jamás han de zarpar...
Torvo cementerio de las naves que al morir,
sueñan sin embargo que hacia el mar han de partir...
Amarrado al recuerdo
yo sigo esperando...
¡Niebla del Riachuelo!...
De ese amor, para siempre,
me vas alejando...
Nunca más volvió,
nunca más la vi,
nunca más su voz nombró mi nombre junto a mí...
esa misma voz que dijo: "¡Adiós!".
Sueña, marinero, con tu viejo bergantín,
bebe tus nostalgias en el sordo cafetín...
Llueve sobre el puerto, mientras tanto mi canción;
llueve lentamente sobre tu desolación...
Anclas que ya nunca, nunca más, han de levar,
bordas de lanchones sin amarras que soltar...
Triste caravana sin destino ni ilusión,
como un barco preso en la "botella del figón"
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Nieblas del Riachuelo - Letra Enrique Cadícamo / Interpretada por Bebo y Cigala
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{Foto de Archivo} otras del 2009 cuando me estrenaba con mi cámara....
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No usar esta imagen en páginas web, blogs u otros soportes sin mi autorización, © Todos los derechos reservados.
Don't use this image on websites, blogs or other media without my explicit permission. © All rights reserved
“Y estos derechos... a respetarlos, ¿eh? ¡No vaya a pasar como con los diez mandamientos!” (Mafalda)
For someone who lives in a place where it never snows, it was pretty exciting to wake up the other day and have such a thick layer of frost on everything! Skylar and I had some fun running around in our yard and garden taking photos before school.
The frost was beautiful and so was the light! A perfect opportunity! I haven't been this photographically excited in a while! ;)
www.burnham-on-sea.com/berrow-wreck.shtml
VIEW MY GETTY COLLECTION HERE
www.gettyimages.com/search/search.aspx?assettype=image&am...
VIEW MY WEB SITE AND SHOP HERE
Here is my first published work even though i did it as a freebie its great seeing your work on a web site !
www.thewhitehartvillageinn.com/index.html
Here is the flickr set
ENGLISH
Bread is one of the oldest prepared foods, dating back to the Neolithic era. The first breads produced were probably cooked versions of a grain-paste, made from ground cereal grains and water, and may have been developed by accidental cooking or deliberate experimentation with water and grain flour. Descendants of these early breads are still commonly made from various grains worldwide, including the Mexican tortilla, Indian chapatis, rotis and naans, Scottish oatcake, North American johnnycake, Middle Eastern Pita bread (Kmaj in Arabic and Pitot in Hebrew) and Ethiopian injera. The basic flat breads of this type also formed a staple in the diet of many early civilizations with the Sumerians eating a type of barley flat cake, and the 12th century BC Egyptians being able to purchase a flat bread called ta from stalls in the village streets.
The development of leavened bread can probably also be traced to prehistoric times. Yeast spores occur everywhere, including the surface of cereal grains, so any dough left to rest will become naturally leavened. Although leavening is likely of prehistoric origin, the earliest archaeological evidence is from ancient Egypt. Scanning electron microscopy has detected yeast cells in some ancient Egyptian loaves. However, ancient Egyptian bread was made from emmer wheat and has a dense crumb. In cases where yeast cells are not visible, it is difficult, by visual examination, to determine whether the bread was leavened. As a result, the extent to which bread was leavened in ancient Egypt remains uncertain.
There were multiple sources of leavening available for early bread. Airborne yeasts could be harnessed by leaving uncooked dough exposed to air for some time before cooking. Pliny the Elder reported that the Gauls and Iberians used the foam skimmed from beer to produce "a lighter kind of bread than other peoples." Parts of the ancient world that drank wine instead of beer used a paste composed of grape juice and flour that was allowed to begin fermenting, or wheat bran steeped in wine, as a source for yeast. The most common source of leavening however was to retain a piece of dough from the previous day to utilize as a form of sourdough starter.
Even within antiquity there was a wide variety of breads available. In the Deipnosophistae, the Greek author Athenaeus describes some of the breads, cakes, cookies, and pastries available in the Classical world. Among the breads mentioned are griddle cakes, honey-and-oil bread, mushroom shaped loaves covered in poppy seeds, and the military specialty of rolls baked on a spit. The type and quality of flour used to produce bread could also vary as noted by Diphilus when he declared "bread made of wheat, as compared with that made of barley, is more nourishing, more digestible, and in every way superior." In order of merit, the bread made from refined flour comes first, after that bread from ordinary wheat, and then the unbolted, made of flour that has not been sifted."
More info: en.wikipedia.org/wiki/Bread
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CASTELLANO
El pan fue el alimento básico de la humanidad desde la Prehistoria. Probablemente, los primeros panes estarían hechos con harinas de bellotas o de hayucos. Los arqueólogos han desenterrado fragmentos de pan ácimo en las excavaciones de los poblados cercanos a los lagos suizos. Se sabe que los egipcios elaboraban pan desde hace mucho tiempo y de ellos datan también las primeras evidencias arqueológicas de la utilización de la levadura en el pan, se cree que descubrieron la fermentación por casualidad. El pan comido por los Hebreos no llevaba ningún tipo de levadura.
En Roma, en la República ya había hornos públicos. Para los legionarios romanos el pan era un alimento habitual y era corriente que su dieta fuese en gran medida aceitunas y pan. Se les entregaba tres libras de trigo al día, que trituraban en un molinillo de mano compartido por un grupo limitado de soldados. La harina se hacía bucellatum o se metía en el horno para hacer pan. En algunas regiones que no formaban parte del imperio como Alemania o Suecia, algunos habitantes que habían combatido en el ejercito romano adoptaban el consumo de pan, y de aquí se extendía a sectores de la población.
Este gran consumo de pan durante el imperio romano implicó la gran importancia que tuvo el cultivo y comercio del trigo.
Con la caída del imperio romano se produjo un desabastecimiento de trigo en casi toda Europa, que ya se había acostumbrado de manera masiva a su consumo. Las exportaciones hacia el norte desaparecieron por completo. Prueba de la amplia difusión del pan en esa época la palabra inglesa "lady" significa en inglés antiguo "la persona que amasa el pan".
En Escandinavia, la población, ante la escasez de trigo tuvo acostumbrarse a elaborar panes de centeno y cebada, siendo corriente que se le añadiese a la masa corteza de pino molida.
En la Edad Media empiezan a elaborarse distintos tipos de pan ante la escasez de trigo, y como consecuencia de ello comienza su comercio; el pan blanco era un privilegio de los ricos y el pan negro de cebada, centeno o avena era para el resto de la población. Se hacía a mano, en el propio hogar o en hornos públicos.
Más info: es.wikipedia.org/wiki/Pan
Depuis le 3 Octobre, plus de 200 familles dorment dans la rue de la Banque pour protester contre l'absence de logements décents. Français ou immigrés en situation régulière, tous travaillent mais vivent dans des conditions déplorables: le plus souvent à l'hôtel, ou dans des appartements minuscules, parfois menacés d'expulsion.
Dimanche 11 Novembre, une manifestation de soutien aux mal logés a réuni de 2000 à 3000 personnes, malgré la pluie. Monseigneur Gaillot, Josiane Balasko, Patrick Pelloux étaient présents dans le cortège au départ de la rue de la Banque, qui est ensuite passé devant le passage Brady, où un incendie a fait 3 morts cette semaine, et devant l'hôtel Paris Opéra, au 76 rue de Provence, où un incendie en avril 2005 avait fait plus d'une vingtaine de victimes. L'occasion pour les associations de dénoncer les "marchands de sommeil" qui continuent à profiter d'une politique d'hébergement désastreuse en partie financée par l'Etat lui-même, dont le budget hôtelier a été multiplié par 10 en 5 ans...
Merci de lire les explications en début d'album / Please read the explanations at the beginning of the set
¡¡Bellezón total :)))!! ¿Verdad que si amigos? ¡¡Que bien me lo he pasado contigo teacher tanto en tus clases como en las sesiones de fotos que hemos hecho en el plató de la Escuela :)))))!! Un besazooooooooooooooooooo for you baby :))).
Please don't use this image on websites, blogs or other media without my explicit permission - All Rights Reserved ©.
Pezzi di storia, pezzi di divisione
Pezzi di Resistenza, pezzi di Nazione
Pezzi di Casa Savoia, pezzi di Borbone
Pezzi di corda, pezzi di sapone
Pezzi di bastone, pezzi di carota
Pezzi di motore contro pezzi di ruota
Pezzi di fame, pezzi di immigrazione
Pezzi di lacrime e pezzi di persone
Ognuno è figlio della sua sconfitta
Ognuno è libero col suo destino
Butta la chiave e vai in Africa, Celestino!
"Vai in africa, Celestino" - F. De Gregori
Nikon N8008s
Ilford Hp5 400
Happy Tall Ship Tuesday everyone! LOL
What:
The Virginia
(State Ship of Virginia)
Where:
Halifax, Nova Scotia, Canada
When:
During the Tall Ships Festival of 2009
About the Ship:
Two-masted pilot schooner 122' sparred length, 24' beam, 99 gross tons
Owner - Virginia Maritime Heritage Foundation,
The schooner Virginia is a reproduction of an early 20th century Virginia pilot schooner, originally used to help guide vessels into Virginia’s ports at the mouth of the Chesapeake Bay. Launched in December 2004, the Virginia is one of the newest Tall Ships in the United States.
Links:
Tall Ships Festival Nova Scotia
Please, no invites or crazy glittery graphics. Just a simple comment is nice.
Thank You
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Nikon D90 : Nikkor 18-200mmVR : B&W polarizer @ 48mm : 1/200s @ f/8 : ISO 200
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Italia a Zandvoort
The Orange Bull
Another shot of this great day!
I really liked the angle on the SV here, I don't know why I didn't put this shot on my stream before.
This Lamborghini Murcielago LP670-4 SuperVeloce probably was the most eye-catching car at the track. It stood in the boxes at the paddock and only came out a few times to do some laps on the track.
I was at the paddock when this beast came of the track, immediately a crowd formed around the car but I managed to get this shot just before it took off for some more laps.
I was glad to have taken a few decent shots of this car at the event but I was really amazed when I encoutered this car, and was able to get some trackingshots of it, very unexpected on the highway that evening.
Chongqing is called Yu for short. It is situated in the southeast of the Sichuan Basin and the confluence between the Yangtze River and the Jialing River. It is the largest and most densely populated municipality directly under the Central Government. Efforts are being made to turn Chongqing into a modern metropolis with the largest foreign market oriented industrial base in West China. On March 14, 1997, Chongqing was officially proclaimed the fourth municipality directly under the jurisdiction of the Central Government.
This wonderful scene is from Julia Pfeiffer Burns State Park in Bug Sur. This particular spot might be one of the prettiest locations I've ever been to. It is just gorgeous. And a beautiful waterfall (McWay Falls) spilling out into the ocean just tops it off.
Single exposure with CPL.
I have to say thanks very much to Joshua Cripps for the tips on what beaches to visit during my time here. I would have likely stumbled across some of the places, but his tips proved invaluable.
Thanks also to Jill Clardy for her tips in and around San Francisco.
My own little disclaimer to myself...I'm working off the laptop screen, so I may have to go back and re-look at a number of the shots I post while on travel.
Thanks for looking!
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Comments and constructive criticism always appreciated.
View Mauna Kea Sunset on Black
View Mauna Kea Sunset Map/EXIF
NIKON D810 + 24-70 mm f/2.8 @ 58 mm - 2.5 sec at f/8.0, ISO 31
Manual mode @ 1 EV E.C - Pattern metering - no flash
Subject Distance: unknown
Haley and I drove up past Waimea to Saddle Road and steadily climbed towards the top of Mauna Kea. Unlike Maui's volcano, the drive seemed to take very little time - maybe because I was looking forward to it so much.
We ended up at the visitor's center at around 9200 feet and went for a short hike up to the crest of a small butte to watch the sunset from. We settled in and I ended up down the crest of the hill a bit to get out of other's folks' way while still being able to compose from a variety of angles.
This was taken just after the sun had dropped below the horizon. Soon thereafter, it got bitter cold. I stayed out for another 30-45 minutes to watch the stars rise, and was the last person to leave the hilltop.
Haley and I then finished off our awesome night by gazing at the Orion Nebula, Venus, and the moon through a number of scopes the astronomical society had set up.
19°45'14" N 155°27'32" W, 9452.1 ft
Mauna Kea Visitor's Center, Mauna Kea
Hawaii County, Hawaii, United States
Taken on 01.09.2017, uploaded on 01.21.2017.
©2017 Adam James Steenwyk. Please contact me at ajamess [at] gmail [dot] com if you would like to use this photo. Blog: www.f128.info
Saint-Jeannet a l'apparence de tous ces villages perchés, si nombreux en Provence et dans le comté de Nice, qui répondaient jadis à un souci de protection. Largement ensoleillé et protégé des vents du nord, il offre un panorama grandiose jusqu'à la mer.
Blotti au pied de son célèbre Baou, "rocher" en provençal, le village est resté authentique et plein de charme. Le vieux Saint-Jeannet, qui s'agrippe à une pente abrupte, est parcouru de ruelles tortueuses, souvent en pente - les calades - et de nombreuses impasses et placettes.
(Saint-Jeannet, village perché dans l'arrière-pays de Nice)
[fr]: Belle soirée au café Louis-Philippe, Paris, France
[image info]: DRI from average (HDR from 5 exposures) and minimum exposures- Nikon D200 - tripod - Sigma 10-20mm@16mm - 5000K WB
[Level of Retouching]: 15% (averaging, blending, perspective correction, basic levels and curves (dodging)) - total processing: 25 minutes
please view BIGGER On Black
More of the set Paris By Night | More of the set Night Scenes
See my most interesting pictures here or take some time to view the slideshow
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Gewölbe-Gang zwischen Nordtor und Südtor im Landhaus in Linz in Oberösterreich
Vaulted corridor between North Gate and South Gate in the Landhaus in Linz, Upper Austria
Dried wheat kernels from Sweden. These are about 38 years old! Believe it or not, when I lived on a farm in Sweden I sometimes helped with the harvesting of the wheat by driving a tractor....oh those were days long ago...
INFORMATION ON WHEAT:
Wheat (Triticum spp.), is a worldwide cultivated grass from the Levant region of the Middle East. Globally, after maize, wheat is the second most-produced food among the cereal crops just above rice. Wheat grain is a staple food used to make flour for leavened, flat and steamed breads; cookies, cakes, breakfast cereal, pasta, juice, noodles and couscous; and for fermentation to make beer, alcohol, vodka or biofuel. Wheat is planted to a limited extent as a forage crop for livestock, and the straw can be used as fodder for livestock or as a construction material for roofing thatch. Although wheat supplies much of the world's dietary protein and food supply, as many as one in every 100 to 200 people has Coeliac disease, a condition which results from an immune system response to a protein found in wheat: gluten (based on figures for the United States).
Wheat originated in Southwest Asia in the area known as the Fertile crescent. The genetic relationships between wild and domesticated populations of both einkorn and emmer wheat indicate that the most likely site of domestication is near Diyarbakır in Turkey.
Wild wheats were domesticated as part of the origins of agriculture in the Fertile Crescent. Cultivation and repeated harvesting and sowing of the grains of wild grasses led to the domestication of wheat through selection of mutant forms with tough ears that remained intact during harvesting, larger grains, and a tendency for the spikelets to stay on the stalk until harvested. Because of the loss of seed dispersal mechanisms, domesticated wheats have limited capacity to propagate in the wild.
The exact timing of the first appearance of domesticated wheats is currently uncertain, but is either in the PPNA period (9800-8800 cal BC) or the early-mid PPNB (8800-7500 cal BC). Domesticated einkorn and emmer wheat has been identified at three PPNA sites in the northern Levant, Iraq ed-Dubb, Jericho and Tell Aswad, but both the dating and the domesticated status of these cereals is disputed. Domesticated wheats (and other Neolithic founder crops) are unambiguously present at early-mid PPNB sites in the northern Levant, such as Ain Ghazal, Abu Hureyra and Tell Aswad, and in southeast Turkey at Cafer Höyük and Çayönü. As a round figure, it is correct to say that wheats have been domesticated for about 10,000 years.
The cultivation of wheat began to spread beyond the Fertile Crescent during the Neolithic period, reaching the Aegean by 8500 cal BC and the Indian subcontinent by 6000 cal BC. By 5,000 years ago, wheat had reached Ethiopia, Great Britain, Ireland and Spain. A millennium later it reached China. Claims have been made for independent domestication of wheat outside the fertile crescent, but these lack evidence of the presence of wild wheats or of early domesticated wheat.
Three thousand years ago wheat was grown in the southern Oregon peninsula. Agricultural cultivation with horse-drawn plows increased cereal grain production, as did the use of seed drills to replace broadcast sowing in the 18th century. Yields of wheat continued to increase, as new land came under cultivation and with improved agricultural husbandry involving the use of fertilizers, threshing machines and reaping machines, tractor-drawn cultivators and planters, and varieties adapted to intensive cultivation (see green revolution and Norin 10 wheat).
Raw wheat can be powdered into flour; germinated and dried creating malt; crushed and into cracked wheat; parboiled (or steamed), dried, crushed and de-branned into bulgur; or processed into semolina, pasta, or roux. Wheat is a major ingredient in such foods as bread, porridge, crackers, biscuits, Muesli, pancakes, pies, pastries, cakes & cupcakes, cookies, muffins, rolls, doughnuts, gravy, boza (a fermented beverage), and breakfast cereals (e.g. Wheatena, Cream of Wheat, Shredded Wheat, and Wheaties).
100 grams of hard red winter wheat contain about 12.6 grams of protein, 1.5 grams of total fat, 71 grams of carbohydrate (by difference), 12.2 grams of dietary fiber, and 3.2 mg of iron (17% of the daily requirement); the same weight of hard red spring wheat contains about 15.4 grams of protein, 1.9 grams of total fat, 68 grams of carbohydrate (by difference), 12.2 grams of dietary fiber, and 3.6 mg of iron (20% of the daily requirement). Gluten, a protein found in wheat (and other Triticeae), cannot be tolerated by people with celiac disease (an autoimmune disorder in ~1% of Indo-European populations).
Source: Wikipedia
La Plaza Borda es la plaza principal de Taxco. Su nombre refiere a José de la Borda, empresario que labró su fortuna por las minas de plata que poseía a las afueras de la ciudad. Se halla rodeada de antiguos y nobles edificios y es un lugar de intercambio comercial.
El Templo de Santa Prisca es un monumento colonial que se localiza en la ciudad mexicana de de Taxco, población cuya principal actividad fue y es la minería de la Plata. La iglesia es la principal representación del barroco novohispano.
La construcción del templo de Santa Prisca en Taxco duro 15 años y tuvo como propósito la creación de un espacio desde donde el sacerdote Manuel de la Borda —hijo de José de la Borda, benefactor y fundador de la parroquia— pudiera oficiar misa. El diseño arquitectónico estuvo a cargo del arquitecto francés Diego Durán, y el español Cayetano Sigüenza. Los retablos son obra de los también españoles Isidro Vicente y Luis de Balbás. En el lugar suele decirse, incluso por los guías turísticos, que el templo fue construido en siete años. Esto no es más que una pintoresca leyenda, si bien es cierto que aún está por averiguar el tiempo y técnicas utilizadas en su construcción.
La construcción fue ordenada por el minero catalán José de la Borda, uno de los más prósperos de la región del siglo XVIII. Aunque había llegado a Taxco sólo unos treinta y cinco años antes de la construcción del templo de Santa Prisca, José de la Borda ya era uno de los personajes más importantes del mineral, razón por la cual el Arzobispado de México le permitió erigir la parroquia a su entero gusto.
Desde 1758 hasta 1806, el templo fue el edificio más alto de México, pero fue sobrepasado por el Templo de Nuestra Señora del Carmen.
I've been waiting for my dreams
To turn into something
I could believe in
And looking for that
Magic rainbow
On the horizon
I couldn't see it
Until I let go
Gave into love and watched all the bitterness burn
Now I'm coming alive
Body and soul
And feelin' my world start to turn
And I'll taste every moment
And live it out loud
I know this is the time,
This is the time
To be more than a name
Or a face in the crowd
I know this is the time
This is the Time Of My Life
Time of my life
Holding onto things that vanished
Into the air
Left me in pieces
But now I'm rising from the ashes
Finding my wings
And all that I needed
Was there all along
Within my reach
As close as the beat of my heart
And I'm out on the edge of forever
Ready to run
I'm keeping my feet on the ground
My arms open wide
My face to the sun
Excerpts from, "The Time of My Life", by David Cook
Detail: Sayote (chayote) shoot
VER GRANDE SOBRE FONDO NEGRO I VIEW LARGE ON BLACK
Mañañana, jueves, día 16 de mayo de 2013, a las 20.00 horas, será proyectado en el Salón de Actos del Centro Cívico Juan de Austria, el audiovisual CANCIÓN DE MAR, realizado por un servidor, en versión ampliada del que fuera presentado el jueves, día 19 de abril de 2012, en el marco de la celebración del II Maratón Audiovisual Ciudad de Valladolid , en la cuarta jornada de dicha edición.
Este trabajo ha sido elaborado conjuntamente con una exposición y una publicación, integrantes de un proyecto fotográfico que inicié en el año 2006, hasta darlo por concluido en el año 2010, bajo el título "De boquerones y marengos", que trata de contar a través de imágenes el día a día de las duras jornadas de trabajo de los pescadores del litoral malagueño. Para poder elaborar el proyecto, en el que inicialmente trabajé sobre un total de más de 2.000 instantáneas, me embarqué en un pesquero de arrastre patroneado por un buen amigo, Sebastián, durante los veranos de los años 2006, 2007 y 2010. A él, a su tripulación, y al resto de marineros del litoral de la Axarquía está dedicado esta pequeña muestra del proyecto.
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I know, I'm totally crazy, but here's another piece of my wristwatch collection: AVIATOR (АВИАТОР)
This watch was made as tribute to the Russian "Strizhi" pilots (The Swifts), a famous aerobatic performance demonstrator team.
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Movement: SU-3105 (Poljot), handwinding
Functions: hour, minute, sub-second at 9, date at 3
Dial: watch hands and indexes luminescent (Superluminova), Below 12 the "Aviator" logo and the lettering "AVIATOR" in cyrillic letters, at the sub-second the "Strizhi" logo with the lettering "Strizhi" and "Kubinka" (the city near Moscow where they are based), between 4 and 5 a MIG-29 is pictured, above 6 the lettering "MIG-29" in cyrillic letters
Diameter: 45 mm without crown
Back: see through window
Strap: 20 year old Florentine calf leather, handsewed in Germany
Buckle: satined PRE-V buckle, stainless steel L316
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Watch: www.poljot.at
Strap and buckle: www.uhrenbaender.de
Toy soldiers and plane by courtesy of my son Nino. :)
www.meucat.com/maps/mapa_satelite.php?COD=roma&NOME=P...
Fonte do Mouro (Fontana del Moro) - Fountain of the Moor - At the southern end of Piazza Navona, in front of the brazilian embassy, we find the Fontana del Moro, designed by Giacomo della Porto and erected in 1575. The fountain has statues of four Tritons and the basin is made of special antique rose marble. In 1654, Bernini carved the central figure, a muscular Triton riding a dolphin, that resembles a "Moor". Thus, the fountain is called the Fountain of the Moor. During a restoration in 1874, the original sculptures were moved to the Villa Borghese and substitute copies were made and are still on the fountain.
Navona Square (Piazza Navona).
Following, a text, in english, from Wikipedia, the free encyclopedia:
Piazza Navona is a city square in Rome, Italy. It is built on the site of the Stadium of Domitian, built in first century AD, and follows the form of the open space of the stadium.[1] The ancient Romans came there to watch the agones ("games"), and hence it was known as 'Circus Agonalis' (competition arena). It is believed that over time the name changed to 'in agone' to 'navone' and eventually to 'navona'.
Defined as a public space in the last years of 15th century, when the city market was transferred to it from the Campidoglio, the Piazza Navona is a significant example of Baroque Roman architecture and art. It features sculptural and architectural creations: in the center stands the famous Fontana dei Quattro Fiumi or Fountain of the Four Rivers (1651) by Gian Lorenzo Bernini; the church of Sant'Agnese in Agone by Francesco Borromini and Girolamo Rainaldi; and the Pamphilj palace also by Rainaldi and which features the gallery frescoed by Pietro da Cortona.
The Piazza Navona has two additional fountains: at the southern end is the Fontana del Moro with a basin and four Tritons sculpted by Giacomo della Porta (1575) to which, in 1673, Bernini added a statue of a Moor, or African, wrestling with a dolphin, and at the northern end is the Fountain of Neptune (1574) created by Giacomo della Porta. The statue of Neptune in the northern fountain, the work of Antonio Della Bitta, was added in 1878 to make that fountain more symmetrical with La Fontana del Moro in the south.
At the southwest end of the piazza is the ancient 'speaking' statue of Pasquino. Erected in 1501, Romans could leave lampoons or derogatory social commentary attached to the statue.
During its history, the piazza has hosted theatrical events and other ephemeral activities. From 1652 until 1866, when the festival was suppressed, it was flooded on every Saturday and Sunday in August in elaborate celebrations of the Pamphilj family. The pavement level was raised in the 19th century and the market was moved again in 1869 to the nearby Campo de' Fiori. A Christmas market is held in the piazza.
Other monuments on the Piazza Navona are:
Stabilimenti Spagnoli
Palazzo de Cupis
Palazzo Torres Massimo Lancellotti
Church of Nostra Signora del Sacro Cuore
Palazzo Braschi (Museo di Roma)
Sant'Agnese in Agone
Literature and films
The piazza is featured in Dan Brown's 2000 thriller Angels and Demons, in which the Fontana dei Quattro Fiumi "The Fountain of the four rivers"(the Danube, the Gange, the Nile and the River Plate) is listed as one of the Altars of Science. During June 2008, Ron Howard directed several scenes of the film adaptation of Angels and Demons on the southern section of the Piazza Navona, featuring Tom Hanks.
The piazza is featured in several scenes of director Mike Nichols' 1970 adaptation of Joseph Heller's novel, Catch-22.
The Fontana dei Quattro Fiumi was used in the 1990 film Coins in the Fountain. The characters threw coins into the fountain as they made wishes. The Trevi Fountain was used in the 1954 version of the film.
Fonte do Mouro.
Fontana del Moro está localizada ao sul da Piazza Navona. Tem este nome devido à representação de um etíope (mouro) a lutar com um golfinho. A obra foi projetada por Bernini, para dar conclusão à fonte de Giacomo Della Porta, construída em 1576, e esculpida por Giovanni Antonio Mari, em 1654. A estátua do etíope é acompanhada por tritões e máscaras, que são cópias das originais hoje postas em algumas fontes dos jardins da Villa Borghese.
Praça Navona.
A seguir, um texto em português, da Wikipédia a Enciclopédia livre:
A Praça Navona (em italiano: Piazza Navona) é uma das mais célebres praças de Roma. A sua forma assemelha-se à dos antigos estádios da Roma Antiga, seguindo a planificação do Estádio de Domiciano (também denominado entre os italianos de Campomarzio, em virtude da natureza rude e esforçada dos exercícios - manejo de armas - e desportos atléticos que aí se realizavam). Albergaria até 20 mil espectadores sentados nas bancadas. A origem do nome deve-se ao nome pomposo que lhe foi dado ao tempo do Imperador Domiciano (imperador entre 81-96 d.c.): "Circo Agonístico" (do étimo grego Agonia, que significa precisamente - exercício, luta, combate). Actualmente o nome corresponde à corruptela da forma posterior in agone, depois nagone e finalmente navone, que por mero acaso significa também "grande navio" na língua italiana.
As casas que entretanto e com o passar dos anos foram sendo construídas sobre as bancadas, delimitariam e circunscreveriam até à actualidade o tão afamado Circo Agonístico.
A Navona passou de fato a caracterizar-se como praça nos últimos anos do século XV, quando o mercado da cidade foi transferido do Capitólio para aí. Foi remodelada para um estilo monumental por vontade do Papa Inocêncio X, da família Pamphili e é motivo de orgulho da cidade de Roma durante o período barroco. Sofreu intervenções de Gian Lorenzo Bernini (a famosa Fontana dei Quattro Fiumi (Fonte dos Quatro Rios, 1651) ao centro); de Francesco Borromini e Girolamo Gainaldi (a igreja de Sant'Agnese in Agone); e de Pietro de Cortona, que pintou a galeria no Palácio Pamphilj, sede da embaixada do Brasil na Itália desde 1920.
O mercado tradicional voltou a ser transferido em 1869 para o Campo de' Fiori, embora a praça mantenha também um papel fundamental em servir de palco para espectáculos de teatro e corridas de cavalos. A partir de 1652, em todos os Sábados e Domingos de Agosto, a praça tornava-se num lago para celebrar a própria família Pamphili.
A praça dispõe ainda duas outras fontes esculpidas por Giacomo della Porta - a Fontana di Nettuno (1574), na área norte da praça, e a Fontana del Moro (1576), na área sul.
Na extremidade norte da praça, por debaixo dos edifícios, foram postas a descoberto ruínas antiquíssimas, a uma cota muito abaixo da actual, comprovando a primeva utilização daquele imenso terreiro. Outros monumentos com entrada para a praça:
Stabilimenti Spagnoli
Palazzo de Cupis
Palazzo Torres Massimo Lancellotti
Church of Nostra Signora del Sacro Cuore
Curiosidades
Na Piazza Navona, está localizado o Palazzo Pamphilj, propriedade da República Federativa do Brasil, sede da Embaixada Brasileira e da Missão Diplomática do Brasil para a Itália.
FR
Une photo de nuit et sous la neige de mon vieil ami le réverbère qui est en bas de chez moi. C'est la dernière photo que j'ai de lui (j'en ai fait beaucoup mais publié très peu), il a été remplacé par un autre réverbère, beaucoup plus petit et moins intéressant.
Je n'ai pas utilisé de texture, c'est juste la neige qui tombe et un coup de flash (que je n'utilise jamais en temps normal, je crois même que c'est la seule photo avec flash de ma galerie).
EN
This is a night shot of my old friend the streetlight which is in front of my place (i took a lot of shot of it but posted very few). It had been replaced by another streetlight, far smaller an less interesting.
I didn't use any texture. It is only snow and built-in flash light (i usualy never use it. I think this photo is the only with flash light in my whole stream).