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I consider this statue in Kensington Gardens to be an asset to the park unlike the Henry Moore one.
Physical Energy is a bronze equestrian statue by English artist George Frederic Watts. Watts was principally a painter, but also worked on sculptures from the 1870s. Physical Energy was first cast in 1902, two years before his death, and was intended to be Watts's memorial to "unknown worth". Watts said it was a symbol of "that restless physical impulse to seek the still unachieved in the domain of material things". The original plaster maquette is at the Watts Gallery, and there are four full-size bronze casts: one in London, one in Cape Town, one in Harare and one soon to be sited at Watts Gallery - Artists' Village in Compton, Surrey. Other smaller bronze casts were also made after Watts's death.
Title inspired by the Led Zeppelin studio album released in 1975.
Thai style graffiti on vacant buildings along the Phet Kasem Highway in Prachuap Khiri Khan.
In the previous photograph I explained the physical law of entropy. It is actually the most fundamental law in the universe. The only way entropy can be overcome is with an additional input of energy, i.e. work.
Here we see a once workable hut reduced to a ruin by the law of entropy. All things must return to their natural state. Ashes to ashes, dust to dust. You get the idea. So here we see the old hut's iron roof rusting away, its wooden boards rotten, and within a few short years (perhaps less) it will collapse with only the brick chimney left standing.
Already the trees are starting to grow inside and twist the building around on its axis. I didn't go inside because I'll wager there were one or two snakes in there too. And all Tasmanian snakes are venomous.
If we get the right information from our society during development, and if our body do chemical, physical, biological and psychological functions well, we do well.
Lysandra coridon has a wingspan of 30–36 millimetres (1.2–1.4 in).[4] These small butterflies present a sexual dimorphism. This species' physical appearance can be described as males having pale silvery-blue upperside of the wings with a submarginal line of grey spots on the hindwings and a thin brown and white chequered fringe. Females have dark brown upperside of wings, with marginal orange spots and also with chequered fringes.[5] The underside of the wings show a light ochre colouration, several dark spots surrounded by white, a submarginal line of black marks, a series of marginal orange spots on the hindwings and a blue dusting near the body.
As with many blue butterflies, separation from similar species in the field is on the underside markings. Aberrations are common.
Common love isn't for us..
We created something phenomenal..
Don't you agree?
Who needs to go to sleep, when I got you next to me?
El Garceta rojiza (Egretta rufescens) es una garza de tamaño medio conocida por ser uno de los miembros más activos y "dramáticos" de su familia. Es famosa por su inusual técnica de pesca, que parece un baile frenético sobre el agua.
CaracterÃsticas FÃsicas
Esta especie presenta dos variantes de color (morfos) que conservan durante toda su vida:
Morfo Oscuro (más común): Tiene el cuerpo de color gris pizarra con la cabeza y el cuello de un tono rojizo o canela intenso.
Morfo Blanco: Es completamente blanco.
Rasgos comunes:
Pico: Largo y puntiagudo, de color rosa con la punta negra (más brillante durante la época de crÃa).
Cuello: Presenta plumas largas y desgreñadas que le dan un aspecto "shaggy" o despeinado.
Patas: Son largas y de un color azul cobalto o negruzco.
Tamaño: Mide entre 68 y 82 cm de largo, con una envergadura de unos 116 a 125 cm.
Comportamiento y Alimentación
Se le apoda el "T-Rex de las marismas" por su estilo de caza agresivo y enérgico:
Baile de Pesca: A diferencia de otras garzas que esperan inmóviles, la rojiza corre, salta y gira en aguas poco profundas para perseguir a los peces.
Pesca con dosel: A menudo extiende sus alas formando una sombra sobre el agua; esto reduce el reflejo del sol y atrae a los peces que buscan refugio en la sombra, facilitando su captura.
Dieta: Se alimenta principalmente de pequeños peces, aunque también consume ranas y crustáceos.
Hábitat y Distribución
Es una especie casi exclusivamente costera.
Ubicación: Se encuentra en las costas del Golfo de México, el Caribe, América Central y el norte de Sudamérica. En EE. UU., es común en Texas y Florida.
Entorno: Prefiere marismas saladas, lagunas costeras, manglares y llanuras de marea.
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The Reddish Egret (Egretta rufescens) is a medium-sized heron celebrated for being the most energetic and "theatrical" hunter of the heron family. It is best known for its frantic, dance-like fishing technique.
Physical Appearance
This species is unique because it exists in two distinct color morphs, regardless of age or sex:
Dark Morph (Most Common): Features a slate-grey body with a contrasting shaggy, reddish-cinnamon neck and head.
White Morph: Completely white plumage.
Key Features:
Bill: Distinctive two-toned bill—bright pink at the base with a black tip.
Eyes: Pale, yellowish-white irises that give it a piercing gaze.
Legs: Long, cobalt-blue to blackish legs.
Size: Stands about 27–32 inches (68–82 cm) tall with a wingspan of approximately 46–49 inches.
The "Canopy" Hunting Behavior
The Reddish Egret’s hunting style is its most famous trait. Unlike other herons that stand still, it:
Dances: Runs through shallow water, spinning, leaping, and flapping its wings to startle fish.
Canopying: It often arches its wings over its head to create a shadow (canopy) on the water. This reduces glare, allowing the bird to see prey better, and lures fish into the shade for safety—at which point the egret strikes.
Habitat and Conservation
Range: A strictly coastal bird found along the Gulf Coast of the US (Texas, Florida), Mexico, the Caribbean, and Central America.
Habitat: It stays near salt water, favoring tidal flats, lagoons, and salt marshes.
Conservation: It is considered one of the rarest herons in North America, largely due to habitat loss and historical hunting for the plume trade.
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Lugar de Observación / Taken: Minas de sal, Monte Cristi,, República Dominicana.
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Scientific classification
Kingdom:Animalia
Phylum:Chordata
Class:Aves
Order:Pelecaniformes (disputed)
Family:Ardeidae
Genus:Egretta
Species:E. rufescens
Binomial name
Egretta rufescens
Redish_mtecristi-4340
Blythe Physical Challenge #33 - Me and my shadow
Eeeeek ... run Audrey, run ... the library claw is about to get you!!!
An improv with my collaborator, thank you my friend, it’s always a pleasure to work on something new.
"Sea Shell, Sea Shell, Sing me a song,
A song of ships, and sailor men,
And parrots, and tropical trees,
Of islands, fishes and corals under the waves
And seahorses stabled in great green caves"
Holding a beautiful seashell and connecting distant places as shells are a bridge between the physical and the supernatural realm.
Shot with an HTC RE from the white island 'magical island' at Ras Mohamed National Park, only visible during low tide.
One of the most beautiful sites all over the world known for its clear water and exquisite coral reefs.
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Do not download without my permission.
Gold teeth and lemon haze
Repeated for seven days
Reverb and tape delays
Ice cream and ultra phase
Fast food and microwaves
Physical burn and fade
Copy, paste and remade
No sleep till I get paid
Writers: Hugh James Pescod, Harriet Zoe Pittard
1 3/8 inches square.
… Let´s get physical...
Dorian
[WINGS DG] ER1105-Hair
[L'Emporio&PL ®] *Ligamentum*: Male Arm Bandage
[ ::GB::] Synchronicity Pants
Timmy
[VANGO] Neil (gg)
[L'Emporio&PL ®] *Judah*::Armour Sleeve-Belleza Jake V2.0 BENTO
[PARÉ.™] Ochi Dad Denims Fatpack
Scene
[DMCreations] Chess Climbing Ful Perm Mesh
[ACORN] Chess Piece Decor
[ACORN] Marble Knight
Scales of Emerald Swallowtail (Papilio palinurus)
The scales of this butterfly vary not only in shape and colour, but also in the physical nano-structure of the surface. The "outlier" shown here is very special in that sense, see below.
Visit the album to see some colour variants of the scales!
Mitutoyo 50xHR NA 0.75, tube lens: ITL200 (Nikon)
Illumination: Backlight and oblique
The "special" scales show structural (physical) colors. Oblique light produces blue/aquamarin, direct illumination results in a yellow reflection. Back-illumination yields red/brown. Thus, depending on illumination angle (and polarization) any mixture between yellow and blue can be obtained. In addition to the iridecent scales, there are several "normal scales" with pigment colours from brown to orange, yellow and almost white. If you are interested in the details, here is a nature article explaining this phenomenon:
The physical limits
Thanks to the confinement at home I have discovered a bush of begonias. This one is invaded by a swarm of tiny snails that feed on it. At first I wanted to eradicate them but later I decided to observe and photograph them. They are minuscule in size of just 4mm and this implies developing all the technique I have in macroscopic photography. I have worked with my Nikon D750 and D500 cameras, the TC 1´7 and a Kenko 36 mm extension ring. All this assembly has been stabilized by a BENRO LB200 rail and a Leofoto LH40 ball joint. I am enjoying a lot.
"To me the Fox Sparrow stands out as the singer of joy. Many birds are of this kind, but few are to such a degree as this inhabitant of the stunted woodlands of the North. The musical construction indicates it, for instance the dancing rhythm, the major keys, and the speed with which it fairly shoots through the central phrase. But deeper than these are certain qualities in his physical being and character, which make for happiness: his robustness and virility, his excessive activity in all his waking hours."
William Brewster (1883)
© Leanne Boulton, All Rights Reserved
It can happen to anyone, from any walk of life.
20 years ago I had a career that I was incredibly proud of, saving lives, I had a home, mortgage, car and disposable income. I was confident and, even though I hate to blow my own trumpet, I was incredibly good at the work that I did.
I was, however, bullied, harassed, abused, belittled and ostracised by management and many colleagues in a toxic environment where this behaviour had spread like a cancer. This went on daily for 13 years. I thought that I was 'ignoring' it and just knuckling down in my work. I didn't know, until it was too late, that this was damaging both my physical and mental health.
After some time off due to a stress breakdown I returned and the bullying turned into a witch hunt. They succeeded. My mental and physical health had been destroyed. I was wrongly advised to resign by a union that had representatives embedded in management. I was too unwell to pursue any means of recompense.
Losing my career lead to my first Takotsubo Cardiomyopathy attack. This one was nearly fatal.
I have suffered from Complex Post-traumatic Stress Disorder (CPTSD) for at least 20 years as a direct result of this. Only finally receiving help for the condition last year after years of medical denial because the establishment at the time did not understand the connection between non-life threatening instances and PTSD despite mounting evidence. Thankfully it is much better understood today.
The bullies took my career, my confidence, my identity, my physical health, my mental health and now they have taken my relationship and my home. My ex being unable to cope with my PTSD and reacting to it in a way that was making it worse in a cycle that just destroyed our relationship.
Now, unable to work and unable to claim benefits for the moment, unwell, terrified and struggling at times to cope with basic life things, I am facing this horrendous situation that is so daunting there are times that my thoughts go to a very dark place.
I never imagined any of this would happen to me. I was on top of the world back in the early 2000s. The best time of my entire life.
Maybe I deserved this. Maybe I did something terrible in a former life. I don't know. I can't make sense of it.
I don't want to give up just yet. I want to fight back. I just have so little actual physical support. PTSD can cause isolation. Distrust. Withdrawal.
I have lost my few best friends since moving to Scotland for numerous reasons outside of my control. My family are 300 miles away and offer just loving thoughts. I am on my own.
On Friday I will be completely on my own for the first time in 20 years. This time without the confidence and abilities I had back then. I have to try and find them but without safety, comfort and familiarity I face an impossible task. It can take monumental effort just to cook a simple meal. PTSD is a terrible thing to have.
I am sharing my story as I don't know when or how I will return to Flickr.
Photography has been my recovery. My saviour from PTSD. An adrenaline kick from street photography, the excitement of the edit when you return home. Sharing my photographs with you and taking time to enjoy your photographs. The Flickr routine has kept my sanity and been an important part of my day for years now. I fully intend to return but the odds are against me at least for the moment.
Some of you wanted to help by donating towards the expensive Internet costs I will face in temporary housing.
I hate asking for help but please know that I am incredibly grateful for the help that I have received, both financially and otherwise. Just knowing that people care is a help in itself.
If you wish to keep in touch with me via WhatsApp while I am unable to get my PC online then please Flickrmail me your contact details. (bearing in mind that over the next few days my time is limited).
My PC will be packed tomorrow so I may make one more post before I go. I'll make sure it is a happier picture.
Thank you for taking the time to read this. I am profoundly thankful for the friendships and acquaintances that I have made here. You are all wonderful, awesome people. Thank you.
Homelessness can happen to anyone.
Taken on Sankt Eriksbron in Stockholm. Kayaking is one of the things I miss most about living in Stockholm.
Here's the original.
This close-up photograph captures the rich textures and deep hues of assorted dried flowers, a subject that often symbolizes eternity, memory, and nostalgia. Unlike fresh blooms, dried flowers represent a beauty that endures over time, often used to signify lasting love or preserved memories.
Symbolism and Meaning Eternal Love & Resilience: Dried flowers are powerful symbols of bonds that survive the passage of time. Nostalgia: They serve as physical touchstones, capturing a moment or season frozen in time. Transformation: They embody a beauty that ages gracefully, offering a different kind of wisdom than fresh blooms.
El AlbaicÃn o AlbayzÃn es un barrio del este de la ciudad española de Granada, en la comunidad autónoma de AndalucÃa. Está situado a una altitud de 700 a 800 m sobre el nivel del mar.
El tipo tradicional de vivienda es el carmen, compuesto por una vivienda exenta rodeada por un alto muro que la separa de la calle y que incluye un pequeño huerto o jardÃn.
Fue caracterÃstico de dicho barrio la canalización y distribución del agua potable a través de aljibes; en total se han podido constatar unos 28; de los cuales, una gran mayorÃa se conservan pero no siguen en uso debido a que sus canalizaciones se han roto con el paso del tiempo.
En 1994, el AlbaicÃn fue declarado Patrimonio de la Humanidad por la Unesco como ampliación del conjunto monumental de la Alhambra y el Generalife.
es.wikipedia.org/wiki/Albaic%C3%ADn
The AlbaicÃn, also known as AlbayzÃn is a district of Granada, in the autonomous community of
Andalusia, Spain. It is centered around a hill on the north side of the Darro River which passes through the city. The neighbourhood is notable for its historic monuments and for largely retaining its medieval street plan dating back to the Nasrid period (13th to 15th centuries), although it nonetheless went through many physical and demographic changes after the end of the Reconquista in 1492.
It was declared a World Heritage Site in 1994, as an extension of the historic site of the nearby Alhambra
Photo Description (Gemini AI)
The Spiritual Realism of Gib Singleton: Materiality and Supplication in "Opening the Heart"
Visual Analysis of the Monumental Courtyard Installation
The photograph showcases a monumental, life-sized bronze sculpture titled Opening the Heart by the renowned American sculptor Gilbert "Gib" Singleton. The sculpture is installed in an outdoor courtyard along Canyon Road in Santa Fe, New Mexico, positioned directly in front of the Legacy Gallery. The composition is framed against a classic Pueblo Revival adobe building with soft, rounded, terracotta-tinted plaster walls, exposed dark wooden vigas (roof beams) projecting above a recessed entryway, and a partially visible bronze plaque reading "LEGACY GALLERY" in the background.
At the center of the image, the bronze figure of a Native American man stands on a flat, circular bronze base, which rests on a elevated, square masonry pedestal topped with a cracked, rustic stone slab. The figure is captured in a state of profound spiritual supplication, with his head tilted completely backward, facing the sky. His eyes are closed, his face is serene yet emotionally charged, and his mouth is slightly parted in prayer or song. His muscular arms are thrown wide and high in a dramatic "V" shape, with his hands open and palms facing upward to the heavens. He is adorned with traditional Native American elements: multiple strands of thick, textured beaded necklaces, bracelets on his wrists, a loincloth, and heavily textured, fringed leather leggings and moccasins.
To the right of the figure’s feet, resting on the masonry pedestal, is a highly detailed, hollow bronze sculpture of a bighorn sheep or ram skull, its prominent curled horns adding a stark, desert-themed iconographical element to the base of the monument. To the left of the sculpture, also resting on the stone-slab pedestal, sits a large, rounded ceramic planter. The planter features a rich, glossy glaze that transitions from a deep, earthy crimson red at the base to a dripping, cobalt blue and turquoise wash at the rim. This vessel is overflowing with vibrant, living flora, including tall, spiky green ornamental grasses, purple petunias, yellow pansies, and bright red tubular wildflowers.
The scene is bathed in the brilliant, high-altitude sunlight characteristic of northern New Mexico, which casts sharp shadows beneath the pedestal, the planter, and the sculptural folds of the bronze figure’s clothing. Behind the adobe building, a delicate deciduous tree with deep burgundy or reddish-purple leaves stands out against the warm plaster, while taller green trees frame the left side of the composition under a vibrant blue sky filled with soft, wispy white cirrus clouds.
The Artist and the Aesthetic of Spiritual Realism
To understand the stylistic and emotional weight of the sculpture in the photograph, one must examine the life and artistic philosophy of its creator, Gib Singleton (1935–2014). Represented heavily in the elite gallery spaces of Santa Fe, Singleton pioneered a genre he termed "spiritual realism" or "emotional realism". Trained at the Art Institute of Chicago and later at the prestigious Accademia di Belle Arti in Florence, Italy, Singleton developed a deep mastery of classical European bronze casting. While in Italy, his technical expertise was so highly regarded that he assisted in the restoration of Michelangelo’s damaged Pietà .
Despite his classical European training, Singleton returned to the American West, where he fused his deep spiritual beliefs and familiarity with Biblical narratives with the mysticism and iconography of Native American culture. His works are instantly recognizable by their highly expressive, tactile surfaces. Singleton chose not to polish his bronzes to a smooth finish; instead, the bronze retains the raw, gestural finger marks, tool textures, and clay-working scars from the original wax and clay maquettes.
When placed in the intense, direct sunlight of Santa Fe's high-altitude environment, these heavily textured surfaces perform a critical visual role. The rough, hand-worked bronze catches the light unevenly, generating deep shadows within the hollows of the muscles and brilliant highlights along the raised ridges of the figure's arms, necklaces, and fringed leggings. This interaction between light and rough metal gives the sculpture a flickering, lifelike quality, making the stationary figure appear to vibrate with spiritual energy as the sun moves across the sky.
Iconography and the Southwestern Landscape Dialogue
The composition of Opening the Heart utilizes a powerful triad of visual elements—the supplicant human figure, the hollow ram skull, and the thriving floral planter—to establish a symbolic dialogue on life, mortality, and transcendence.
The Supplicant Figure
The central figure's physical posture is a universal gesture of surrender and connection to a higher power. By throwing his arms wide and tilting his head completely back, the figure exposes his chest and throat, displaying vulnerability and absolute trust in the cosmos. The closed eyes and slightly parted mouth suggest an internal, meditative state that transcends the physical surroundings, converting the gallery courtyard into a sacred space.
The Bighorn Ram Skull
Positioned at the figure’s feet, the bronze ram skull serves as a classic Southwestern memento mori. It represents the harsh, uncompromising reality of the desert, physical mortality, and the remnants of past life. The contrast between the upright, living posture of the man and the hollow, earthbound skull beneath him emphasizes the cyclical nature of existence.
The Glazed Planter and Living Flora
The inclusion of the glazed ceramic pot, bursting with green grasses and brightly colored wildflowers, acts as a vital counterpoint to the static bronze and dry adobe walls. While the bronze skull represents death and the bronze figure represents spiritual aspiration, the living plants represent the physical renewal of the earth. The dripping blue and red glaze of the pot mimics the colors of water and earth, anchoring the installation to the immediate, tangible ecosystem of the high desert.
Cultural and Architectural Integration on Canyon Road
The placement of Opening the Heart in front of the Legacy Gallery highlights the deliberate spatial curation that defines the Canyon Road art district. By positioning a highly vertical, expressive sculpture against the low, heavy, horizontal planes of a Pueblo Revival adobe building, the curators create a powerful visual tension.
Adobe architecture, rooted in the ancient building traditions of the Pueblo and Spanish cultures, represents a grounded, earthbound aesthetic. The soft mud-plastered walls seem to emerge directly from the soil, emphasizing mass, shelter, and horizontal lines. When Singleton's figure is placed in this context, his upward-reaching arms and skyward gaze break through this horizontal plane, acting as a visual lightning rod that directs the viewer's attention away from the terrestrial architecture and up toward the vast New Mexico sky. This architectural dialogue reinforces the core theme of the sculpture: the human attempt to rise above physical boundaries and establish a direct connection with the infinite.
The most famous street in Santa Fe, New Mexico, is Canyon Road. Located near downtown, this historic half-mile stretch is world-renowned for its high concentration of art galleries, studios, restaurants, and adobe architecture.
www.tripadvisor.com/Attraction_Review-g60958-d117221-Revi...
Over 80 art galleries line this charming Santa Fe street. Make sure you set aside a few hours of your stay to walk down Canyon Road and see the world-class art on display here, which ranges in style from historic Native American art to contemporary painting. In addition to art galleries, you'll also find boutiques and restaurants along Canyon Road. Be sure to take note of the adobe architecture in this atmospheric arts district. Canyon Road has a very long history, and many of today's galleries and shops are located historic buildings that were once homes, schools, or grocery stores. You can wander Canyon Road on your own, or for more insight on the history of the area and the artwork on view, guided tours are available.
New Mexico 2026
Canyon Road Santa Fe