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Yes he was and our guide did an excellent job of finding him. Marie was her name and she earned the respect of her fellow male guides. Every morning she greeted us with colorful precise eye make up on, but it was obvious that she could drive her Land Rover with skill and her tracking abilities were great.
I cannot be precise as to exactly where this is - all I can say is we were driving west on 61 from Frackville and came across it - a quick U-turn took us to this grade crossing. Somewhere near Mount Carmel, from memory? Perhaps someone will be able to pinpoint it. Looks like a Reading & Blue Mountain local - a pair of Geeps doing the honours. Around 9-30 am, 31 October 2022.
[REPOST in BW]
Precise strides, along imprecise paths
Passos precisos, por caminhos imprecisos
São Paulo (Brazil) 2024
Folow me on Instagram too / Me siga no Instagram também: Contemplatives: www.instagram.com/yuribittar/
Portikus is an exhibition hall for contemporary art in Frankfurt am Main. Its name derives from the surviving portico of the Stadtbibliothek (public library) from 1825 that was destroyed during World War II. In 1987, the vestige of this classical building once again fulfilled its architectural function as a facade when the Frankfurt-based architects Marie-Theres Deutsch and Klaus Dreißigacker built a simple but precise white cube: the Portikus gallery. As well as presenting current work from internationally renowned artists, Portikus showcases important young perspectives from around the world.
(http://www.portikus.de/Building.html)
I sought to capture that precise moment when modern architecture aspires to invisibility—those blank storefronts, empty, awaiting a brand that doesn't yet exist. By framing the solitary figure against this impeccable geometry, I wanted to question the nature of contemporary urban space: one that erases as much as it welcomes. What struck me was the contrast between the pedestrian's mobility and the frozen immobility of the storefront, between the everyday gesture and suspended commercial anticipation. Black and white seemed the only honest response: an absence of color to reflect an absence of meaning, a raw texture of concrete and glass that screams its silence.
After darkness, light.
I'd forgotten how much fun microscale is! Not even sure where I got the aurora borealis idea, but it was a fun one to run with. Also coincidentally used a bunch of swords--5 to be precise (sadly, the little knives at the end of the drawbridge aren't categorized as swords by BrickLink), so though I had no intention of entering Iron Forge this year... well, I can't pass this up!
Check out my insta for a peek behind the scenes!
Flickr | YouTube | GenevaD.com | Rebrickable | Pinterest | Instagram
Alicja Kwade a créé un cadre spatial composé de murs de béton, de miroirs doubles, de cadres métalliques vides qui convoque le motif du labyrinthe, et plus précisément du dédale. À l'échelle de l'architecture de la nef, cette construction génère un rapport à l'espace, au temps et à la destinée. L’artiste entend décupler notre attention, nous désorienter et mettre nos sens en éveil en perturbant nos repères. Un jeu de réflexions grandeur nature qui lui permet de matérialiser les concepts abstraits de temps et d'espace.Au sol, est disposé un ensemble de 16 sculptures que l'artiste a modélisé en s'inspirant du concept de la suite de « Suite de Fibonacci » : selon ce principe, chaque sculpture constitue la somme des deux précédentes.
Pour Alicja Kwade, cette oeuvre fonctionne telle une image qui serait en constante évolution, au gré des déplacements du visiteur. En choisissant de faire se refléter ou non les objets à l'intérieur du dédale, l’artiste pousse les images à se mouvoir, les formes à se transformer selon une logique de séquençage. Au-dessus de nos têtes plane la menace d’un inquiétant pendule en action, composé d’une horloge et d’une pierre, qui tournent dangereusement à quelques mètres au-dessus de nos têtes au bout de chaines. L’espace est envahi du son amplifié du « tic-tac » généré par l’horloge. Cette vibration sonore dans l’espace matérialise le temps qui passe. Il illustre le souhait de l’artiste de rendre palpable, visible, concrète, une notion aussi abstraite que le temps qui s’écoule inéluctablement. Il souligne également une idée d’infini et nous pose la question de l’instant présent. Où sommes nous ? Est-ce le pendule qui tourne ou est-ce la Terre sur laquelle nous évoluons sans nous en rendre compte ?
Alicja Kwade has created a space frame consisting of concrete walls, double mirrors, empty metal frames that conjure the labyrinth pattern, and more precisely the maze. On the scale of the architecture of the nave, this construction generates a relationship with space, time and destiny. The artist intends to multiply our attention, to disorient us and to awaken our senses by disturbing our bearings. A game of life-size reflections that allows him to materialize the abstract concepts of time and space.At the ground, is arranged a set of 16 sculptures that the artist has modeled, inspired by the concept of the suite of "Suite de Fibonacci ": according to this principle, each sculpture constitutes the sum of the two preceding ones.
For Alicja Kwade, this work works like an image that would be constantly evolving, as the visitor moves. By choosing to reflect or not the objects inside the maze, the artist pushes the images to move, shapes to be transformed according to a logic of sequencing. Above our heads hangs the menace of a disturbing pendulum in action, composed of a clock and a stone, which turn dangerously a few meters above our heads at the end of chains. The space is invaded by the amplified sound of the "ticking" generated by the clock. This sound vibration in space materializes the passing time. It illustrates the desire of the artist to make palpable, visible, concrete, a notion as abstract as the time that elapses inevitably. He also emphasizes an idea of infinity and asks us the question of the present moment. Where are we ? Is the pendulum spinning or is it the Earth on which we move without realizing it?
"To photograph is to hold one's breath, when all faculties converge to capture fleeting reality. It's at that precise moment that mastering an image becomes a great physical and intellectual joy."
Henri Cartier-Bresson
SMC Takumar 50mm f1.4
Les Dioscures, ce sont les jumeaux Castor et Pollux. Tous deux étaient enfants jumeaux de Léda, ou plus précisément faux-jumeaux. En effet, Castor était le fils de Tindare et frère de Clytemnestre. Pollux était le fils de Zeus et frère d’ Hélène. Oui, c’est un peu compliqué, Castor et Pollux étaient donc de faux-jumeaux, nés de pères différents.
Retenez surtout que les grecs autant que les romains vénéraient les Dioscures. Ils symbolisaient l’aide apportée par les jeunes gens en âge de porter les armes. Et comme ils avaient souvent aidé les romains dans leurs combats, ils étaient particulièrement vénérés des romains. À l'ouest de l'Olympiéion s'étend jusqu'à la Porte V un quartier de la ville, avec des vestiges de maisons d'habitation. Du nord de ce temple part une voie processionnelle qui longe les habitations pour rejoindre la Porte V et le « temple des Dioscures ». Ce nom lui a été attribué arbitrairement : des sources antiques nous disent, certes, que Castor et Pollux étaient honorés à Acragas, mais les dernières recherches tendent plutôt à rattacher les jumeaux à celui qu'on appelle traditionnellement « temple de la Concorde ».
Le « temple des Dioscures » est un temple dorique périptère du milieu du Ve siècle av. J.-C., de plan semblable à celui « de la Concorde ». Le coin sud-est a été remonté au en 1836 par le sculpteur Valerio Villa Reale et l'architecte Saverio Cavallari. Le couronnement pourrait provenir du temple L. Cette reconstruction est certes très pittoresque, et elle est même devenue un symbole et l'un des sujets les plus photographiés des vestiges d'Agrigente, mais elle est refusée du monde professionnel, qui y voit un mélange d'éléments de différents styles et de différentes époques. De nombreux restes de tambours des colonnes cannelées qui formaient autrefois le péristyle sont disséminés sur toute la surface du temple. On peut aussi distinguer des restes de l'autel, du côté est.
The Dioscuri are the twins Castor and Pollux. Both were Léda's twin children, or more precisely false twins. Indeed, Castor was the son of Tindare and brother of Clytemnestre. Pollux was the son of Zeus and brother of Helen. Yes, it's a bit complicated, so Castor and Pollux were twins, born to different fathers.
Above all, remember that the Greeks as much as the Romans revered the Dioscuri. They symbolized the help given by young people of military age. And as they had often helped the Romans in their battles, they were particularly revered by the Romans. West of the Olympieion, up to Porte V, is a district of the city, with the remains of residential houses. From the north of this temple leaves a processional path that runs along the dwellings to reach Porte V and the "temple of Dioscuri". This name was arbitrarily assigned to it: ancient sources tell us, of course, that Castor and Pollux were honored at Acragas, but the latest research tends rather to link the twins to the one traditionally called "temple of Concord".
The "temple of Dioscuri" is a Doric temple periphers from the middle of the 5th century BC. J. - C., of plan similar to that of "Concorde". The southeast corner was reassembled in 1836 by sculptor Valerio Villa Reale and architect Saverio Cavallari. The crowning could come from temple L. This reconstruction is certainly very picturesque, and it has even become a symbol and one of the most photographed subjects in the remains of Agrigento, but it is refused from the professional world, which sees it as a mixture elements of different styles and different eras. Many remains of drums from the fluted columns that once formed the peristyle are scattered over the entire surface of the temple. We can also make out the remains of the altar on the east side.
The 425-meter rock face of Cape Horn at the southernmost point of Horn Island, Chile. Its precise geographical location is the southern headland of Horn Island, in the Tierra del Fuego archipelago at the bottom of South America, Chile.
Cape Horn lore is extensive, full of fear and fascination—summed up in the sailor’s motto “below 40 South there is no law, below 50 South there is no God.”
At this spot the Atlantic and Pacific oceans meet, often in a confrontation. No land to the east, none to the west—winds sweep all the way around the world from the west. The closest arm of Antarctica, Graham Land of the Antarctic Peninsula, lies six hundred miles to the south across the roughest stretch of water known on the planet, Drake Passage. Since its discovery by the Dutch mariners Jacques Le Maire and Willem Cornelisz Schouten in 1616, Cape Horn has become known as the graveyard of ships.
[...]. As ships got larger, they could not navigate the Magellan Strait and had to risk “rounding the Horn,” a phrase that has acquired almost mythical status. For most mariners, it means sailing windward, from the Atlantic to the Pacific, fighting winds, waves, and currents, for sailing with the wind is strategically simpler and carries no bragging rights.
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Historically, Gawn borrows from the 1920s flapper revolution, when hems rose in defiance and women claimed their freedom in movement and flesh. It recalls the Dior New Look of the late 1940s, cinching and shaping with sculptural precision, then strips that propriety away with transparency more akin to the 1990s slip-dress revival, when satin clung to supermodels like a second skin. Gawn distills all of these legacies — the rebellion, the elegance, the eroticism — into one modern silhouette that feels both timeless and transgressive.
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The Common Sailor butterfly has a stiff gliding characteristic when flying and uses the thermals to aid their flight, they are very precise when weaving around using short and shallow wing flaps to propel them around. The eggs are globular and are covered in a network of hexagonal ridges which have raised tiny spikes which sometimes look like sea urchins. When the caterpillar emerges it spends its early days hiding in curled up dead leaves and only comes out to feed. The chrysalis resembles a withered leaf and is suspended from a leaf or stem.
Around 2:10 a.m. local time (1:10 a.m. GMT), the temperature in my neighborhood of Pozuelo de Alarcón dropped to -2°C (28.4°F) on the night of December 23-24, 2025.
Furthermore, due to the high humidity, the mist appeared, so I thought it was the perfect time to recreate the weather conditions under which Mary, in the Holy Family (according to Christian tradition), gave birth to Jesus.
However, the exact date of Jesus' birth is unknown, as is whether it was summer or winter, or even the precise year of his birth, which ranges between four and six years before the official date, taking into account King Herod's death.
The monk who calculated Jesus' birth date and established the "BC/AD" dating system... It was Dionysius Exiguus, a 6th-century Byzantine monk, who, in 525 AD, determined that Jesus was born in the year 753 from the founding of Rome, establishing the following year as Year 1 (Anno Domini).
Although his system was revolutionary, we now know that he was off by a few years, placing Jesus' birth around 4 BC, as modern studies suggest, due to errors in his calculations regarding the reign of Herod the Great.
Despite the contradictions, the official date, which is the date that gives reference to the origin of the current Christian calendar, has remained unchanged.
There are also various academic estimates based on astronomical events, such as the appearance of a comet (recorded by the Chinese in those years), which may have guided the Magi...
But also, originally pagan traditions such as the Roman Saturnalia, the celebration of Natalis Sol Invictus, the Jewish Feast of Dedication, which takes place on the 25th of Kislev, and the description of shepherds tending their sheep, lead us to believe it was winter.
However, it is difficult to definitively determine, with objective paleometeorological data, the severity or mildness of winters in that region at that time.
But it is certainly curious that the birth of Jesus of Nazareth occurred so close to the winter solstice (December 21st) and that someone so influential in Jesus' life, such as John the Baptist, was born very close to the summer solstice (June 21st).
In the first and second centuries, the Lord's Day (Sunday) was the first Christian celebration to include a series of theological readings.
In the second century, the resurrection of Jesus became a separate feast (now called Easter), and in the same century, the Epiphany began to be celebrated in the Eastern Churches on January 6.
The feast of the Nativity, which later became Christmas, began to be mentioned in the Western Church from the fourth century onward, especially in Rome and North Africa, although it is not known exactly where and when it was first celebrated. (Source: Wikipedia)
LA SAGRADA FAMILIA EN LA NIEBLA, 2025
Sobre las 02:10 hora local, (01:10 GMT) la temperatura en mi barrio de Pozuelo de Alarcón, bajó a -2ºC (28.4ºF). En la noche del 23 al 24 de diciembre de 2025)
Además, debido al exceso de humedad, apareció la niebla, por lo que pensé que era el momento de reproducir las condiciones meteorológicas en las que en la Sagrada Familia (según la tradición cristiana), María dio a luz a Jesús.
Pera la fecha de nacimiento de Jesús no se conoce con precisión, ni si era verano o invierno, ni siquiera el año exacto de nacimiento, que oscila entre 4 y 6 años antes de la fecha oficial, teniendo en cuenta el fallecimiento del rey Herodes.
El monje que calculó la fecha de nacimiento de Jesús y estableció el sistema de datación "a.C./d.C." fue Dionisio el Exiguo, un monje bizantino del siglo VI que, en el año 525 d.C., determinó que Jesús nació en el año 753 de la fundación de Roma, estableciendo el año siguiente como el Año 1 (Anno Domini).
Aunque su sistema fue revolucionario, hoy sabemos que se equivocó por unos años, situando el nacimiento de Jesús alrededor del año 4 a.C., como sugieren estudios modernos, debido a errores en sus cálculos sobre el reinado de Herodes el Grande.
A pesar de las contradicciones, la fecha oficial, que es la fecha que da referencia al origen del calendario cristiano actual, se ha mantenido inamovible.
También hay diferentes estimaciones académicas basadas en eventos astronómicos, como la aparición de un cometa (registrado por los chinos en aquellos años), que debió ser el que guió a los llamados Reyes Magos...
Pero también tradiciones originalmente paganas como las saturnales romanas, la celebración del Natalis Sol Invictus, también la Fiesta Judía de la Dedicación, que se produce el 25 de Kislev o la descripción de los pastores, cuidando de sus ovejas, nos animan a pensar que fuese invierno.
Sin embargo es difícil afirmar con datos paleometeorológicos objetivos la dureza o suavidad de los inviernos en aquella zona, en aquella época.
Pero sin duda no deja de ser curioso que el nacimiento de Jesús de Nazareth ocurra tan cerca del solsticio de invierno (21 de diciembre) y que una persona tan influyente en la vida de Jesús, como fue Juan el Bautista, naciese muy cerca del solsticio de verano (21 junio).
En los siglos I y II, el Día del Señor (domingo) fue la primera celebración cristiana que incluía una serie de lecturas teológicas.
En el siglo II, la resurrección de Jesús se convirtió en una fiesta separada (ahora llamada Pascua) y en el mismo siglo comenzó a celebrarse la Epifanía en las Iglesias orientales el 6 de enero.
La fiesta de la Natividad, que más tarde se convirtió en Navidad, fue una fiesta que se empieza a citar a partir del siglo IV en la Iglesia occidental, especialmente en Roma y el norte de África, aunque no se sabe exactamente dónde y cuándo se celebró por primera vez. (Fuente: Wikipedia)
Foto hecha con una cámara Nikon Z6III y una lente totalmente manual, BRIGHTIN STAR 50mm F0.95 II, que no tiene pines electrónicos de conexión, por lo que no existe intercambio de información entre cámara y lente, así que tanto el enfoque como la exposición se tiene que calcular de una manera manual, usando ventajas de estas nuevas cámaras como el visor electrónico (EVF) o la ayuda electrónica al enfoque (Focus Peaking). Usé la máxima apertura de la lente (F0.95) lo que me evitó tener que usar flash o trípode, a pesar de perder algo de nitidez.
photographer's note: Based on "The Calendar Buildings of Iran" [Persian:
Nezame Gahshomari dar Chartaghihaye Iran -نظام گاهشماري در چارطاقيهاي ايران ] by Author, Moradiye Ghias Abadi, Reza [Persian: رضا مرادي غياثآبادي], buildings such as the one above are the most precise and advanced buildings which were used to make calendars using the Sun by the ancient Persians.
Ka'ba-ye Zartosht; From Wikipedia, the free encyclopedia:
The Ka'ba-ye Zartosht (alt: Kaba-ye Zardusht, Kaba-ye Zardosht , Persian: کعبه زرتشت), meaning the "Cube of Zoroaster", is a 5th century B.C.E. Achaemenid-era tower-like construction at Naqsh-e Rustam, an archaeological site just northwest of Persepolis, Iran. This enigmatic structure is one of many surviving examples of the achaemenid architectural design.
The name Ka'ba-ye Zartosht probably dates to the 14th century, when many pre-Islamic sites were identified with figures and events of the Qur'ān or the Shāhnāme. The structure is not actually a Zoroastrian shrine, nor are there reports of it ever having been a pilgrimage site.
The structure, which is a copy of a sister building at Pasargadae, was built either by Darius I (r. 521–486 BCE) when he moved to Persepolis, by Artaxerxes II (r. 404–358 BCE) or Artaxerxes III (r. 358–338 BCE). The building at Pasargadae is a few decades older. The wall surrounding the tower dates to Sassanid times.
بنايي با معماري خاصي در «نقش رستم» وجود دارد كه از زمان حمله اعراب به ايران به اشتباه، نام «كعبه زرتشت» را به آن دادند، چون كاربرد واقعي آن را نميدانستند. آن زمان فكر ميكردند كه هر ديني بايد براي خود بُتكده يا عبادتگاهي داشته باشد، براي همين فكر كردند اين بنا هم مركزيت يا كعبه زرتشتيان است.
در ديوار داخل اين ساختمان لغت «کعبه» حکاکي شده است. در کتابهاي زرتشتي آمده است که حضرت زرتشت «زاراتشترا» در اين محل، نيايش ميکرده است. اعراب، لغت کعبه را از پارسي پهلوي گرفتند. همانطور که در زمان داريوش کبير به كشور «عمان» امروزي «مکه» ميگفتند؛ بنابراين كلمه مكه نيز فارسي است.
در محاسبه روز نوروز در کتب زرتشتي نوشته شده است که زرتشت در اين رصدخانه، محل شروع نوروز را محاسبه کرد. نوروز در روز اول فروردين از محلي شروع ميشود که اولين اشعه آفتاب در آنجا بتابد. بر اساس برآورد گاهنامه زرتشت، هر 700 سال يکبار نوروز از ايران شروع ميشود. آخرينباري که نوروز از ايران شروع شد، 300 سال پيش بود. در سال 1387، نوروز از پاريس و بروکسل و در سال 1388 ار تورنتو و نيويورک شروع شد. سال آينده هم نوروز از محلي بين آلاسکا و هاوايي شروع خواهد شد.
از زمان حمله اعراب به ايران تا به امروز، يعني قرن بيست و يكم ميلادي، كاربرد و تعريف اين بنا كشف نشده بود. خوشبختانه پژوهشگر ايراني «رضا مرادي غياثآبادي» كه تحقيقات فراواني در زمينه ايران باستان داشته است، نتيجه كشف خود را در كتابي به نام «نظام گاهشماري در چارطاقيهاي ايران» توسط انتشارات «نويد شيراز» به چاپ رسانده و راز اين بنا را منتشر كرده است.
تا امروز حدث ميزدند كاربرد اين بنا، محل نگهداري كتاب اوستا و اسناد حكومتي يا محل گنجينه دربار و يا آتشكده معبد بوده است. اما غياثآبادي با تحقيقات خود ثابت كرد اين بنا با مقايسه با تمامي بناهاي گاهشماري (تقويم) آفتابي در سرتاسر جهان، پيشرفتهترين، دقيقترين، و بهترين بناي گاهشماري آفتابي جهان است. اين در حالي است كه تا قبل از اين بنا هم «چارطاقيها» در نقاط مختلف ايران احداث شده بودند و همين وظيفه را با شيوهاي بسيار ساده اما دقيق و حرفهاي بر عهده داشتند.
تمامي بناهاي گاهشماري آفتابي در جهان فقط ميتوانند روزهاي خاصي از سال (مانند روزهاي سرفصل) را مشخص كنند و حتي با سال خورشيدي هم تنظيم نيستند. اما اين بنا با دقت و علمي كه در ساخت آن اجرا شده، قادر است بسياري از جزئيات روزهاي مختلف سال و ماهها را مشخص كند. زرتشتيان با استفاده از اين بنا ميتوانستند بسياري از مناسبتها و جشنهاي سال را روز به روز دنبال كنند و از زمان دقيق آنها آگاه شوند.
بسياري از بناهاي چارطاقي در سطح كشور (به تصور آتشكده) يا به طور كامل تخريب شده و يا تغيير كاربري داده شده است. ولي خوشبختانه تعدادي هم مانند چارطاقي «نياسر» و چارطاقي «تفرش»، سالم مانده و براي ما و نسلهاي بعدي باقي ماندهاند.
متأسفانه بناي «كعبه زرتشت» با آن كه تقريباً سالم باقي مانده است به ثبت ميراث جهاني سازمان ملل نرسيده است. حتي سازمان ميراث فرهنگي هم اين بنا را همراه بناهاي عجايب هفتگانه جديد (كه برج ايفل هم يكي از كانديداها بود) پيشنهاد نداد. حتي با كشف راز اين بنا هم هيچگونه انعكاس و جنجالي به پا نشد.
اين بنا، يك گاهشمار تمام سنگي ثابت در جهان است كه بايد سازندگان آن از بسياري از نكات علميِ جغرافيايي، نجومي، سال كبيسه، انحراف كره زمين نسبت به مدار خورشيد، تفاوت قطب مغناطيسي با قطب جغرافيايي، مسير گردش زمين به دور خورشيد و... را در 2500 تا 3000 سال پيش، در دوران حكومت هخامنشيان آگاهي ميبودند. حال آنكه خيلي از آنها را مانند كروي بودن كره زمين و گردش زمين به دور خورشيد را در چهارصد سال اخير در اروپا كشف كردند و به نام خودشان ثبت كردند.
رجوع شود به : نظام گاهشماری در چارتاقی های ايران تاليف : مرادی غياث آبادی، رضا
A day hiking in Rivington this morning.. All this right on our doorstep (20mins away to be precise!)
Minolta X-700 Minolta 50mm 1:3.5 MC Macro Celtic 1:1 Extension Adox HR-50 LegacyPro EcoPro 1:1 05/04/2024
Could use help with a more precise ID! Head over to iNaturalist if you can help. Yard macro after some rain.
Panasonic G9 with Olympus 60mm F/2.8 macro and diffused Godox TT350o flash.
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P1137478_CrEtc
The Mercedes-Benz 300SL was introduced in 1954 as a two-seat, closed sports car with distinctive gull-wing doors. Later it was offered as an open roadster. It was the fastest production car of its day.
Built by Daimler-Benz AG and internally numbered W198, the fuel-injected road version was based (somewhat loosely) on the company's highly successful competition-only sports car of 1952, the somewhat less powerful carbureted Mercedes-Benz 300SL (W194).
The road model was suggested by Max Hoffman. Being intended for customers in the booming post-war American market it was introduced at the 1954 New York Auto Show, unlike previous models introduced at either the Frankfurt or Geneva shows. In Mercedes-Benz fashion, the "300" referred to the engine's three litre cylinder displacement. The "SL" stood for "Sport Leicht" (Sport Light).
The 300SL was best known for both its distinctive gull wing doors and being the first-ever four-stroke car equipped with a Gasoline direct injection. The gull wing version was available from March 1955 to 1957. Production of the roadster ended in 1963 with the introduction of the 230SL.
New York Mercedes distributor Max Hoffman, Daimler-Benz's official importer in the USA, suggested to DBAG management in Stuttgart that a street version of the 300SL would be a commercial success, especially in America.
The racing W194 300SL was built around a tubular chassis to offset its relatively underpowered carbureted engine. Designed by DBAG's chief developing engineer, Rudolf Uhlenhaut, the metal skeleton saved weight while still providing a high level of strength. Its unique architecture gave birth to the model's distinctive gull wing doors, as part of the chassis passed through what would be the lower half of a standard door. Even with the upward opening doors, the 300SL had an unusually high sill, making entry and exit from the car's cockpit problematic. A steering wheel with a tilt-away column was added to improve driver access.
The 300SL's body was mainly steel, except for the aluminum hood, doors and trunk lid. It could also be ordered with an all-aluminium outer skin at tremendous added cost, saving 80 kg (176 lb).
More than 80% of the vehicle's total production of approximately 1400 units were sold in the US, making the Gull wing the first Mercedes-Benz which sold in bulk outside its home market and confirming the validity of Hoffman's suggestion. The 300SL is credited for changing the company's image in America from a manufacturer of solid, but staid, automobiles to that of a producer of sporty cars.
The 300SL's engine, canted at a fifty-degree angle to the left to allow for a lower hoodline, was the same 3.0 litre straight-6 as the regular four-door 300. Fitted with a Bosch mechanical Gasoline direct injection system it had almost double the power of the original 86 kW (115 hp) carbureted version.
While not the first fuel-injected car - Mercedes engineers who had developed the principle for the DB 601 fighter aircraft engine had used fuel injection in the tiny 2-stroke Gutbrod they had designed after the War - it was the first to inject fuel directly into the cylinders. This innovation allowed a top speed of up to 260 km/h (161 mph) depending on gear ratio and drag, making the 300SL the fastest production car of its time.
The engine's maintenance requirements were high. Unlike the current electrically-powered fuel injection systems, the mechanical fuel pump would continue to inject gasoline into the engine during the interval between shutting off the ignition and the engine's coming to a stop; this gasoline was of course not burned, and washed the oil from the cylinder walls and ended up diluting the engine's lubricating oil, particularly if the engine was not driven hard enough nor long enough to reach a temperature high enough to evaporate it out of the oil.
Exacerbating the problem were the large oil cooler as well as the large volume of oil (10 liters), both oriented more to racing than to street driving, which virtually guaranteed that the oil would not reach a high enough temperature. In practice, many street drivers would block off airflow through the oil cooler, and the recommended oil change interval was 1,000 miles (1,600 km). Operation of the clutch was initially very heavy, later roadsters having an improved clutch arm helper spring which reduced the pedal force. From March 1963 to the end of production, a light alloy crankcase was used on a total of 209 vehicles.[2]
Aerodynamics played an important role in the car's speed, Mercedes-Benz engineers even placing horizontal "eyebrows" over the wheel openings to reduce drag. Unlike many cars of the 1950s, the steering was relatively precise and the four-wheel independent suspension allowed for a reasonably comfortable ride and markedly better overall handling. However, the rear swing axle, jointed only at the differential, not at the wheels themselves, could be treacherous at high speeds or on imperfect roads due to extreme changes in camber.
In 1952, the original 300SL (model Mercedes-Benz W194) [3] scored overall wins at the 24 Hours of Le Mans, in Bern-Bremgarten, in the sportscar race of the Eifelrennen at the Nürburgring, and in Mexico's Carrera Panamericana. It also managed second and fourth places at its first outing, the Mille Miglia in 1952.
These successes, especially those on the high speed open road races, were rather surprising as the engine then was fitted only with carburetors, producing 175 hp (130 kW), which was not only less than the competing cars by Ferrari and Jaguar, but also less than the road car of 1954. Low weight and low aerodynamic drag made the 300SL fast enough to be competitive in endurance races.
I love nature, arts and crafts, i love photgraph ,i love nature. This is my inspirations to make my crafts being different from them,i love to promote my craft in this way
CRAFT REVOLUTION / MOSAIC APPLICATION IN A PATCHWORK APPROACH, A TRULLY NEW LINE IN A ROW
Doing things like no other before is like walking in another line, why we need to do being different from them, how do we see things in another side? Is this possible to have a new line in a row?
New line in a row is a fresh and clear action ,as an artist , as a creator of this particular crafts , I love to share what I have after my long journey , this world is so fast in many particular , technology ,development, high-rise building new phone , everything that we can consider as our home outside our home or a chips on our big pockets , weight less but full of everything what we put inside that chips for our own purposes,
This new craft was born in this particular world of arts but I found out, this craft is out of the line , the material is there , the colors is in there, the meaning is there , the message is there , everything is there , and still I cannot fine the right line for this particular crafts,
I start doing craft on my early age, I still remembering cutting pages of full colored magazine cut in a small piece and paste it, collect all the colored papers and cut and paste it just my start, I love to draw plant animals flowers birds everything about nature, and this track considering of my actions whom I am now, in my own world,
I never finish college, as my root, but I take a fine arts courses in one best school in Philippines (U.S.T. University Of Santo Tomas) Manila the oldest School in Asia the school for Architecture and Fine Arts, that time I feel bless, it because I never dream to get enter in that school, I walk barefooted in my young age, I never dream one day I was in one of the room in there. In my teenage days I was always in a church I am a member of a choir group, but my voice is not good at that time, but I feel important when I am part of this group , our master telling me you are part of this group and your voice is to important to us, I joint also a theater club my master told me , here in our company money is hard to find and the only things I can share to you is how they praise you after the production is done, this group is a community base just for a public information and services, and that’s true I feel different from other person when I joint in this group I have many friends , they all like me as a devil in my characters I always portray , this group give ME more opportunity to explore my space more on the way I never do and think before, or maybe I get out of that box I never notice in this way, or I walk in a new line in a row ,
This group also sent me to college, and I walk out in this group and stop my study up to 2nd years in colleges of course the main reason is money, yes this is my hard times at that moment I need to decide which way I need to walk, to finish or make another way like a new line in a row, I need to force my self to work hard for my daily bread.
New line in a row is a formation of things on how we see and need to act patiently specially in our materials that surround us. Or a CALL on how we make a line in a way we can move perfectly, and this is what I want to share to you,
New line in a row is my greatest achievement, after searching and looking for arts and crafts, i look more books, searching more artist, looking for the master, site in the internet, regarding arts and crafts, and still I never see anything that need to compare on my crafts, but this crafts more on mosaic, patchwork, color pixel in our computer and idea coming from cross stitching, and how it make it different from them,?
Mosaic is a form of arts more on glass and stone or anything that form pattern and pastes it,
Patchwork is a form of arts too start from our old clothes recycled it and form pattern too.
Cross stitching is also form of arts that need to count and have pattern too.
Color pixel normally found in our computer if we want to see or using magnifying glass to see thing clear.
I never research much on this particular meaning (mosaic, patchwork, cross stitching, pixels,) suggestion is always welcome or comment to this particular is will help much,
This kind of words build my composition and remind me, where I start thinking and looking in different way, how can I called my crafts , or where can I place it , I thinking is there a room for me, the answer is YES , I can place it in a galleries of mosaic,
In a patchwork, in pixel room, but not in a wall that hangs cross stitching arts,
But more on more that way, my experiment get more wild and run, colored pixel is always many colors in his single square form, I decide to get out in this category,
I try more research about patchwork , and I see more clear things in this room , the next things I open my mind to the mosaic room and get involved more on more , and I notice a clear picture and help me to categories my craft more in this way.
I draw another line, a new line in a row
After fifteen years searching for the soul of my arts, I try to make room for them, I want to be different from them, I want to be more careful and I want to have a free form from them,
Arts is copying nature I thought, and maybe I think in this way, but copying is like doing things you admire and seeing things that guide us, copying is the only easy way to make us more competitive or maybe more to be exact, new line in a row starting in this way collect the things that have a connection on me make a clear picture and transform in a way I do now,
New line in a row is a form of arts with the relationship to the crafts world,
Arts is different from the crafts, arts is unique form and creation of human no same things have in common with out copying using special tools we have..
Crafts are more on copying have pattern to create more precise and get to perfectly conclusion.
New line in a row is my first step to get out of the box, I never notice for long way before.
New line in a row is a form of CRAFTS after all!
I called this crafts MOSAIC CLOTH IN A PATCHWORK APPROACH
A truly NEW LINE IN A R0W
Only the dead man can make his canvass clear and white
Oktavdsaint
The author
Pierre-Joseph Redouté was born 1759 in Saint-Hubert, Belgium and he died in Paris in 1840 at the age of 80 while sitting at his easel painting a lily.
Nicknamed "The Raphael Of Flowers" he was painter and botanist, best known for his watercolors of roses, lilies and other flowers. He was the official court artist of Queen Marie Antoinette and he continued painting through the French Revolution and the Reign of Terror.
Redouté survived the turbulent political upheaval to gain international recognition for his precise renderings of plants, which remain as fresh in the early 21st century as when they were first painted.
Lìincredibile versalità della proboscide, uno strumento tanto potente quanto delicato e preciso.
The incredible versatility of the trunk, a tool as powerful as it is delicate and precise.
_MG_0446m
Passos precisos, por caminhos imprecisos
São Paulo (Brazil) 2024
Folow me on Instagram too / Me siga no Instagram também: Contemplatives: www.instagram.com/yuribittar/
Street: www.instagram.com/yuribittar_street/
#yb_passos #yb_street_2024 #fotografiacallejera #streetphotography #fotografiaderua #streetphotographyworldwide #streetlovers #streetshot #streetphoto #callejeros #callejeando
From Fernando Pessoa's Alberto Caeiro (translated into English):
Sometimes on days when the light is perfect and precise,
When things have all the reality they can,
I ask myself slowly
Why do I even attribute
Beauty to things.
(...)
A precise plane of shade, held by a quiet structure, turning open air into architecture. When the canopy moves, the character of the space changes with it. Black and white versions. Only 1 land impact!
Now available at mainstore and on marketplace.
📍 Mainstore: maps.secondlife.com/secondlife/Canarun/244/131/24
Marketplace: marketplace.secondlife.com/p/Modern-Ay-Umbrella-CANARUN-R...
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photographer's note: Based on "The Calendar Buildings of Iran" [Persian:
Nezame Gahshomari dar Chartaghihaye Iran -نظام گاهشماري در چارطاقيهاي ايران ] by Author, Moradiye Ghias Abadi, Reza [Persian: رضا مرادي غياثآبادي], buildings such as the one above are the most precise and advanced buildings which were used to make calendars using the Sun by the ancient Persians.
بنايي با معماري خاصي در «نقش رستم» وجود دارد كه از زمان حمله اعراب به ايران به اشتباه، نام «كعبه زرتشت» را به آن دادند، چون كاربرد واقعي آن را نميدانستند. آن زمان فكر ميكردند كه هر ديني بايد براي خود بُتكده يا عبادتگاهي داشته باشد، براي همين فكر كردند اين بنا هم مركزيت يا كعبه زرتشتيان است.
در ديوار داخل اين ساختمان لغت «کعبه» حکاکي شده است. در کتابهاي زرتشتي آمده است که حضرت زرتشت «زاراتشترا» در اين محل، نيايش ميکرده است. اعراب، لغت کعبه را از پارسي پهلوي گرفتند. همانطور که در زمان داريوش کبير به كشور «عمان» امروزي «مکه» ميگفتند؛ بنابراين كلمه مكه نيز فارسي است.
در محاسبه روز نوروز در کتب زرتشتي نوشته شده است که زرتشت در اين رصدخانه، محل شروع نوروز را محاسبه کرد. نوروز در روز اول فروردين از محلي شروع ميشود که اولين اشعه آفتاب در آنجا بتابد. بر اساس برآورد گاهنامه زرتشت، هر 700 سال يکبار نوروز از ايران شروع ميشود. آخرينباري که نوروز از ايران شروع شد، 300 سال پيش بود. در سال 1387، نوروز از پاريس و بروکسل و در سال 1388 ار تورنتو و نيويورک شروع شد. سال آينده هم نوروز از محلي بين آلاسکا و هاوايي شروع خواهد شد.
از زمان حمله اعراب به ايران تا به امروز، يعني قرن بيست و يكم ميلادي، كاربرد و تعريف اين بنا كشف نشده بود. خوشبختانه پژوهشگر ايراني «رضا مرادي غياثآبادي» كه تحقيقات فراواني در زمينه ايران باستان داشته است، نتيجه كشف خود را در كتابي به نام «نظام گاهشماري در چارطاقيهاي ايران» توسط انتشارات «نويد شيراز» به چاپ رسانده و راز اين بنا را منتشر كرده است.
تا امروز حدث ميزدند كاربرد اين بنا، محل نگهداري كتاب اوستا و اسناد حكومتي يا محل گنجينه دربار و يا آتشكده معبد بوده است. اما غياثآبادي با تحقيقات خود ثابت كرد اين بنا با مقايسه با تمامي بناهاي گاهشماري (تقويم) آفتابي در سرتاسر جهان، پيشرفتهترين، دقيقترين، و بهترين بناي گاهشماري آفتابي جهان است. اين در حالي است كه تا قبل از اين بنا هم «چارطاقيها» در نقاط مختلف ايران احداث شده بودند و همين وظيفه را با شيوهاي بسيار ساده اما دقيق و حرفهاي بر عهده داشتند.
تمامي بناهاي گاهشماري آفتابي در جهان فقط ميتوانند روزهاي خاصي از سال (مانند روزهاي سرفصل) را مشخص كنند و حتي با سال خورشيدي هم تنظيم نيستند. اما اين بنا با دقت و علمي كه در ساخت آن اجرا شده، قادر است بسياري از جزئيات روزهاي مختلف سال و ماهها را مشخص كند. زرتشتيان با استفاده از اين بنا ميتوانستند بسياري از مناسبتها و جشنهاي سال را روز به روز دنبال كنند و از زمان دقيق آنها آگاه شوند.
بسياري از بناهاي چارطاقي در سطح كشور (به تصور آتشكده) يا به طور كامل تخريب شده و يا تغيير كاربري داده شده است. ولي خوشبختانه تعدادي هم مانند چارطاقي «نياسر» و چارطاقي «تفرش»، سالم مانده و براي ما و نسلهاي بعدي باقي ماندهاند.
اين بنا، يك گاهشمار تمام سنگي ثابت در جهان است كه بايد سازندگان آن از بسياري از نكات علميِ جغرافيايي، نجومي، سال كبيسه، انحراف كره زمين نسبت به مدار خورشيد، تفاوت قطب مغناطيسي با قطب جغرافيايي، مسير گردش زمين به دور خورشيد و... را در 2500 تا 3000 سال پيش، در دوران حكومت هخامنشيان آگاهي ميبودند. حال آنكه خيلي از آنها را مانند كروي بودن كره زمين و گردش زمين به دور خورشيد را در چهارصد سال اخير در اروپا كشف كردند و به نام خودشان ثبت كردند!
رجوع شود به : نظام گاهشماری در چارتاقی های ايران تاليف : مرادی غياث آبادی، رضا
Ka'ba-ye Zartosht; From Wikipedia, the free encyclopedia
Ka'ba-ye ZartoshtThe Ka'ba-ye Zartosht (alt: Kaba-ye Zardusht, Kaba-ye Zardosht , Persian: کعبه زرتشت), meaning the "Cube of Zoroaster", is a 5th century B.C.E. Achaemenid-era tower-like construction at Naqsh-e Rustam, an archaeological site just northwest of Persepolis, Iran. This enigmatic structure is one of many surviving examples of the achaemenid architectural design.
The name Ka'ba-ye Zartosht probably dates to the 14th century, when many pre-Islamic sites were identified with figures and events of the Qur'ān or the Shāhnāme. The structure is not actually a Zoroastrian shrine, nor are there reports of it ever having been a pilgrimage site.
The structure, which is a copy of a sister building at Pasargadae, was built either by Darius I (r. 521–486 BCE) when he moved to Persepolis, by Artaxerxes II (r. 404–358 BCE) or Artaxerxes III (r. 358–338 BCE). The building at Pasargadae is a few decades older. The wall surrounding the tower dates to Sassanid times.
the universe is built from simple things.
a single thread, drawn from nothing.
a patient waiting. a precise geometry.
from this, a world is spun.
a map of forces, a trap for the unwary,
a fragile, shimmering home.
it is the work of a silent engineer,
drawing a new reality
out of the darkness.
Not sure of the precise species (and it could be a hybrid) but I think this is probably the stream water-crowfoot (R. penicillatus)
on the river today - such an attractive sight to see I think.
There are 2 patches of this in the river at the edge of my ground. They are looking particularly good this year as the river has been very undisturbed with nobody wading/fishing.
Velvet Underground & Nico - Sunday Morning
Spider webs are precise lightweight structures made of spider silk, a family of proteins (spidroins) produced by different glands for different purposes: dry, load-bearing frame and radial threads, and elastic capture spirals coated with sticky glycoprotein droplets.
The silk is both strong and tough, stretches substantially, and “supercontracts” when wet (the fibers shorten, pre-tensioning the web and improving vibration transmission). Many species recycle material by eating their old webs. The web also functions as a sensory organ: vibrations reveal the direction and nature of a disturbance, and some spiders actively pluck the threads to communicate. Besides glue-based webs, there is cribellate silk: a woolly nanofibril fluff without adhesive.
A spectacular behavior is “ballooning,” in which fine silk threads carry spiders on updrafts and electrostatic forces. Stabilimenta can reflect UV light, potentially luring prey or warning larger animals to avoid collisions. For humans, webs are useful (catching mosquitoes) and inspire tough, biocompatible materials.
A supermoon is a full moon or a new moon that nearly coincides with perigee—the closest that the Moon comes to the Earth in its elliptic orbit—resulting in a slightly larger-than-usual apparent size of the Moon as viewed from Earth.[1] The technical name is a perigee syzygy (of the Earth–Moon–Sun system) or a full (or new) Moon around perigee.[a] Because the term supermoon is astrological in origin, it has no precise astronomical definition.[2]
The real association of the Moon with both oceanic and crustal tides has led to claims that the supermoon phenomenon may be associated with increased risk of events like earthquakes and volcanic eruptions, but no such link has been found.[3]
The opposite phenomenon, an apogee syzygy or a full (or new) Moon around apogee, has been called a micromoon.
A blue moon is an additional full moon that appears in a subdivision of a year: the third of four full moons in a season.
The phrase in modern usage has nothing to do with the actual color of the Moon, although a visually blue Moon (the Moon appearing with a bluish tinge) may occur under certain atmospheric conditions—for instance, if volcanic eruptions or fires release particles in the atmosphere of just the right size to preferentially scatter red light.
Wikipedia
The Dolmen de Kermario at the side of the alignments of Kermario, one of the three major groups of stone rows at the megalithic sites of Carnac, Brittany, France
Some background information:
The Carnac stones are an exceptionally dense collection of megalithic sites near the south coast of Brittany in in the French department of Morbihan. They consist of stone alignments, dolmens (stone tombs), tumuli (burial mounds) and single menhirs (standing stones). More than 3,000 prehistoric standing stones were hewn from local granite and erected by the pre-Celtic people of Brittany and form the largest such collection in the world. Most of the stones are within the Breton municipality of Carnac, but some to the east are within neighboring La Trinité-sur-Mer. The stones were erected at some stage during the Neolithic period, probably around 3300 BC, but some may date to as early as 4500 BC.
There are three major groups of stone rows – Ménec, Kermario and Kerlescan, which altogether are known as the alignments of Carnac. Another much smaller group of stones, the Petit-Ménec alignments, can be found in the neigbouring village of La Trinité-sur-Mer. These four groups may have once formed a single group but have been split up as stones were removed for other purposes. The standing stones are made of weathered granite from local outcroppings that once extensively covered the area.
The Ménec alignments near the village of Le Ménec consist of eleven converging rows of menhirs stretching for 1,165 by 100 metres (3,822 by 328 feet). At either end the remains of stone circles can still be seen. The largest stones, around 4 metres (13 feet) high, are at the wider, western end. The stones then become as small as 0.6 metres (2 feet 0 inches) high along the length of the alignment before growing in height again toward the extreme eastern end.
The Kermario alignments consists of 1029 stones in ten columns, about 1,300 m (4,300 feet) in length. At their eastern end, where the stones are shorter, a stone circle was revealed by aerial photography. The Kerlescan alignments are a smaller group of 555 stones, further to the east of the other two sites. They are composed of 13 lines with a total length of about 800 metres (2,600 feet), ranging in height from 80 cm (2 feet 7 inch) to 4 m (13 feet). At the extreme west, where the stones are tallest, there is another stone circle which has 39 stones.
There are several dolmens scattered around the area, like the one of Kermario in this picture. These dolmens are generally considered to have been tombs. However, the acidic soil of Brittany has eroded away the bones. They were constructed with several large stones supporting a capstone, then buried under a mound of earth. In many cases, the mound is no longer present, sometimes due to archeological excavation, and only the large stones remain, in various states of ruin.
At the end of the 18th century, the alignments of Carnac were attributed to druidic gatherings. But just a few years later, it was claimed that they represent stars in the sky. A later theory from 1887 argued for a connection between the rows of stones and the directions of sunsets at the solstices. More recent studies assume an astronomical purpose or support the concept of a geometric megalithic yard. However, the most modern theory suggests that the stone rows belonged to some kind of defensive structure against preternatural menaces originating from the nearby sea. Anyway, a generally valid theory regarding the purpose of the alignments has not been agreed on yet.
Since 1996, the alignments of Carnac – or to be more precise – the Ménec alignments are part of the UNESCO tenative list, a list of worldwide architectural and cultural heritage sites, which are considered to become UNESCO world heritage sites sometime. If you plan a visit there, please be aware that Carnac can be overcrowded by tourists at certain hours of the day. There are also several touristic offers of clever tradespeople that cost money. However, you can still eplore the alignments on your own, although it’s no longer possible to stroll around between the stone rows as they are protected from regardless visitors by having been fenced in for quite some time.
A SWEET disorder in the dress
Kindles in clothes a wantonness :
A lawn about the shoulders thrown
Into a fine distraction :
An erring lace which here and there
Enthrals the crimson stomacher :
A cuff neglectful, and thereby
Ribbons to flow confusedly :
A winning wave (deserving note)
In the tempestuous petticoat :
A careless shoe-string, in whose tie
I see a wild civility :
Do more bewitch me than when art
Is too precise in every part
DELIGHT IN DISORDER.
by Robert Herrick
This is not blight. To be more precise this is the future and, if the folks in this cooperative are any indication, the future for the city is bright. I spoke with Jerry about his project, the area around the Michigan Central Station, and mostly about why Detroit. I came away very encouraged. You can learn more about Jerry and his group of creative pioneers at facethestation.com/people/.
That all said, the Roosevelt Park area tells an interesting tale of economics, will and responsible behavior. On the one hand you have the Imagination Station people, the owners of Slow’s BBQ (http://slowsbarbq.com/) and community groups like the Corktown Development Corporation (http://www.corktowndetroit.org/) pooling limited resources to restore and reshape a vital and historic neighborhood, while the slumlord/ billionaire sits on his cash and watches nature reclaim his derelict buildings. It almost makes you think money and character are mutually exclusive in some folks.
I took advantage of the precise moment the fish counter's high-pressure misters started working to take the photo.
These devices project microparticles of water (dry mist) that evaporate before reaching the product, maintaining the necessary humidity for preservation and reducing the ambient temperature.
Benefits: They reduce shrinkage (weight loss due to evaporation) and improve the appearance, making the product look freshly caught. (Source: Wikipedia)
NEBULIZADORES DE ALTA PRESIÓN, 2026
Aproveché justo el momento en que los nebulizadores de alta presión de la pescadería comenzaron a actuar para hacer la foto.
Estos equipos proyectan micropartículas de agua (niebla seca) que se evaporan antes de mojar el producto, manteniendo la humedad necesaria para conservarlo y reducen la temperatura ambiental.
Beneficios: Reducen las mermas (pérdida de peso por evaporación) y mejoran la estética, haciendo que el producto parezca recién traído del mar. (Fuente: Wikipedia)
Bac Ha (Vietnam) - Pas la peine de préciser que nous sommes toujours sur le marché aux buffles. Ce qui a attiré mon attention, c’est l’harmonie des couleurs entre le pelage des bovins et les vêtement de l’homme. La scène me semblait amusante. Il s’agit d’un boucher qui cherche un animal a exposer façon puzzle sur l’étal de son échoppe. Cela dit, il faudrait être naïf pour s’étonner du sort réservé à la quasi-totalité des buffles présents sur ce marché.
The buffalo terminus 2
Bac Ha (Vietnam) - Needless to say, we are still on the buffalo market. What caught my attention was the harmony of colors between the cattle's coats and the human's clothing. The scene seemed amusing to me. It's a butcher looking for an animal to display like a puzzle on his stall. That said, you'd have to be naive to be surprised by the fate of almost all the buffaloes present in this market.
Vilhelm Hammershoi ranks among the pre-eminent Scandinavian artists from the turn of the twentieth century. At once traditional and avant-garde - maintaining a self-conscious dialogue with the artistic traditions of his homeland while being thoroughly conversant with contemporary European trends
- Hammershoi helped redefine modernism, both in terms of its aesthetic quality and geographic range.
He was first and foremost a painter of interiors - of hushed, near-deserted spaces populated by a solitary, seemingly spellbound figure. Contemplative and hauntingly still, these scenes comprise the majority of his oeuvre and are the works for which the artist is best known.
Landscapes, however, also played a central role in Hammershoi's art. This sheet is a magnificent example of the artist's unique approach to the genre, where strangeness and silence prevail, and space and line defy all expectations. The work is a precise preparatory study for the central
portion of a large-scale painting. . . .Hammershoi worked meticulously on
each individual tree, deftly defining the structure of the trunk and crown, establishing its precise position in relation to the road and imbuing it with a particular personality.
While "Group of Trees" depicts a deserted-looking thoroughfare flanked by trees, the Royal Road was in actual fact one of Copenhagen's busiest arterial roads. Unlike his Nordic contemporaries Hammershoi eschewed Romantic notions of pure nature untouched by civilization and instead transformed populated areas into desolate, barren landscapes seemingly abandoned by humanity. A sense of alienation and disquiet pervades his work.
Despite the low horizon and resulting high sky in this drawing, there seems to be a total absence of air or atmosphere - an emptiness all around. The grouping of trees, suspended in time, is a microcosm of the world, their seriality suggesting infinite expansion. And yet there is a claustrophobic quality to the scene.
Equally unconventional in "Group of Trees" is the distance between the scene and the beholder: no one has ever perceived and painted a Danish landscape that way before. The road is no longer as it traditionally was: a route into the internal space of the picture, a powerful source of connection. Here it runs parallel to the sheet - there is no way in. For Hammershoi, the work of art no longer served to mediate between humans and nature, but rather emphasized the distance between them.
-- notes from the catalogue "Gathered Leaves" --
Generated By Midjourney V6
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**Prompt :**
Gros plan cinématographique ultra détaillé d’un visage féminin au réalisme saisissant, éclairage doux et diffus de type studio, peau porcelaine parsemée de légères taches de rousseur naturelles, texture de peau visible avec micro-détails (pores, reflets subtils, imperfections authentiques). Regard intense et hypnotique, yeux iridescents aux teintes turquoise et violet, avec reflets lumineux complexes simulant une profondeur presque surnaturelle, pupilles nettes, humidité oculaire réaliste.
Chevelure longue et volumineuse séparée en deux teintes distinctes : côté gauche rose pastel dégradé vers un rose plus saturé, côté droit bleu cyan évoluant vers un bleu profond, fibres capillaires finement détaillées, mèches légèrement en mouvement comme animées par une brise imperceptible. Éclairage colorimétrique contrasté renforçant la dualité chromatique, avec rim light subtil sur les contours des cheveux.
Maquillage artistique mais crédible : fard à paupières vibrant assorti aux cheveux, dégradés complexes, eyeliner précis, mascara détaillant chaque cil, lèvres légèrement brillantes avec texture humide réaliste. Expression neutre mais captivante, entre douceur et mystère.
Accessoire : collier métallique avec chaîne épaisse et plaque type militaire, rendu métallique réaliste avec micro-rayures, réflexion HDR environnementale.
Arrière-plan flou (bokeh) gris neutre, profondeur de champ très faible (objectif 85mm f/1.4), mise au point chirurgicale sur les yeux. Color grading cinématographique, style photographie éditoriale haut de gamme, rendu 8K, ultra net, global illumination, subsurface scattering sur la peau, rendu photoréaliste proche d’un portrait capturé avec une caméra plein format.
Ambiance visuelle : mélange de mode contemporaine et d’esthétique néo-fantastique, équilibre entre réalisme brut et aura presque irréelle.
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**Prompt:**
Ultra-detailed cinematic close-up of a female face with striking hyperrealism, soft diffused studio lighting, porcelain skin with subtle natural freckles, visible skin texture including pores, fine highlights, and authentic imperfections. Intense, mesmerizing gaze, iridescent eyes blending turquoise and violet tones, with complex light reflections creating an almost supernatural depth, sharp pupils, realistic eye moisture.
Long, voluminous hair split into two distinct tones: left side in pastel pink transitioning into a richer pink, right side in cyan evolving into deep blue. Individual hair strands finely rendered, slight natural movement as if touched by a gentle breeze. Color-contrasting lighting enhancing the dual-tone effect, subtle rim light outlining the hair.
Artistic yet believable makeup: vibrant eyeshadow matching the hair tones with smooth gradients, precise eyeliner, defined lashes with high-detail mascara, slightly glossy lips with realistic moisture texture. Neutral yet captivating expression, balancing softness and mystery.
Accessory: metallic chain necklace with a military-style dog tag, highly realistic material rendering with micro-scratches and HDR environmental reflections.
Background softly blurred with neutral gray bokeh, very shallow depth of field (85mm lens, f/1.4), razor-sharp focus on the eyes. Cinematic color grading, high-end editorial photography style, 8K resolution, ultra-sharp, global illumination, subsurface scattering on skin, photorealistic rendering comparable to a full-frame camera capture.
Visual mood: fusion of contemporary fashion and neo-fantasy aesthetic, balancing raw realism with an almost otherworldly aura.
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--ar 2:3 --v 6 --style raw --q 2 --s 150 --chaos 5 --uplight