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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?
Precise, lightweight, and powerful; the BR-81 is an excellent rifle for any scenario. While lacking the capability of full-auto fire, the easily controlled tri-burst more than makes up for it.
Base models come equipped with an integral flashlight, however it can be replaced with a rail system if desired.
Courtesy of ORION Technologies
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Credit to Shockwave for the charging handle.
And to CN for the 203 inspiration.
That is certainly an apt description for these incredibly talented pilots. Watching the Blue Angels do their amazingly precise maneuvers in San Francisco is beyond Awesome! Let that be an inspiration for fulfilling any task you put your mind to: Be precise.
Have a fabulous weekend everyone!
— in San Francisco, California.
From a photograph in my collection: The precise location of the scene in this photograph is unknown, but the penciled note on the reverse says "Bangor, 1912". Here a young lady is photographing a well-dressed couple (her parents?), in the yard of a wood shingle mill somewhere in Maine. The camera looks nearly new. Could it be a recent gift? There's no information in the photo giving any hint to where it was taken. The freight car to the left of the building has "Pennsylvania" on the side. The car between the couple being photographed is numbered A.C.L. 27525, an indication that it's an "Atlantic Coast Line" railroad car. This information does nothing to help pin down the location since rail cars traveled all over the country.
The original image was printed on Kodak "Velox" postcard paper, a product that was sold by Kodak from around 1903 to about 1930. The paper was a heavy-weight "post card" thickness paper imprinted on the back with a place for a stamp, plus a vertical line dividing the back into a message and address section, for sending through the mail. Kodak generated a great deal of business by offering this convenient way for folks to "share" their photos. This photo postcard was never stamped or mailed. The print was in a small lot given to me decades ago by a friend in China, Maine. I wish I had gone through them at the time asking for information about each photo.
Freight-yard-G-LCC20x05
"Hummingbird - Painterly Portrait" by Patti Deters.
This is a close-up portrait of a female ruby-throated hummingbird (Archilochus colubris) perched at the end of a small branch. It is the males that have the red throat - females have white throat feathers, although they may occasionally sport a single red feather. Females have rounded tail feathers with white tips. This tiny little hummer can beat her wings about 53 times a second. She has very short legs that prevent her from walking or hopping - the best she can do is shuffle along a perch. But she is an exceptionally quick precise flyer and you can even hear the beat of the wings if you ever get close enough. If you like this wildlife nature artwork, please see more birds, animals, painterly and more at patti-deters.pixels.com/featured/hummingbird-painterly-po....
Ektar ist a film that requires precise metering. Apparently, the old selenium meter on the Agfa Reflex is off by at least one stop.
Because of the resulting underexposure there is a colour shift and some loss of definition, which comes on top of the somewhat reduced sharpness of the triplet lens (the lens can do better than this). I'll have to keep that in mind for the next roll.
I didn't notice that on the previous roll because that was B&W and the film latitude absorbed the underexposure.
Agfa Optima Reflex 35mm TLR
Kodak Ektar 100 professional grade color negative film
Developed and scanned by www.meinfilmlab.de
{Explore} Highest Position: 452 on Thursday, May 7, 2009
We cannot tell the precise moment when friendship is formed. As in filling a vessel drop by drop, there is at last a drop which makes it run over; so in a series of kindnesses there is at last one which makes the heart run over.
~ James Boswell
This is so true and it is what essentially builds a genuine friendship. A friend who isn't just there because it's convenient but especially when it's not. I have had friends like these before and I wish I still have them around.
Then again, we meet new people as we journey down the path we have chosen. We choose then again to dispense a drop of kindness... and another... and yet another... until we've once more found ourselves to that last drop that "which makes our heart run over."
Photo taken at the Chicago Botanical Garden with our Chicagoland Digital Photography Meetup Group on May 3rd.
And as I previously stated, I'm working my way up all your streams... I will get to yours eventually. It's just taking a good deal of time not because I feel like I'm dragging my feet but because I'm having a lot of fun browsing through all your amazing imagery (and most of the times, that includes reading the comments in your photos too... you'd be surprise how delightful that can get). As such, I can't go on to the next one without ever leaving a note of praise or approval (or a very light constructive critique if it's going to be helpful). A little more patience please and I do hope you don't tire of my unintelligible rantings!
HBW my Flickr Friends!
Radiant by artist Nicky Assmann (1980, lives and works in Rotterdam), in TENT. Radiant is a dynamic ‘mobile’ sculpture in which optical patterns and colour effects appear, due to a precise balance between space, form, movement and light.
Over the last 24 hours, IDF, ISA, and Israel Border Police forces have operated on precise ISA intelligence to thwart terrorism and remove threats in the Jenin Camp and the city of Jenin.
IDF soldiers located and neutralized an explosives manufacturing facility containing dozens of pipe bombs, gas tanks, and remotely operated weapons. The entrance to the facility was booby-trapped with an explosive device, which was neutralized by the forces. This marks the fourth such facility located and neutralized by IDF soldiers in the Jenin area.
Simultaneously, IDF soldiers located and dismantled two operational situation rooms, in which a weapons shaft was found with a shotgun, 1,400 bullets and large quantities of terror funds inside.
IDF soldiers in the town of Burqin adjacent to the city of Jenin located and seized a significant number of weapons and terror funds. In total, 13 suspects were apprehended and transferred to security forces for further questioning.
At Pastor Charles Calvin's house, there is much preparation for the Thanksgiving meal. One of his twin daughters, Betsy Calvin, is working with the grinder.
"There you go, Pa, I think you've fixed it!"
"Let's test it, Betsy. I know you want your measurements to be precise."
"It always reminds me, all of creation works on God's order, Pa. We're able to know and work with such accuracy because of how He designed it."
"Well, said, Betsy. God's truth defines reality. All we do every day, how we operate, from the smallest things to the most grand, all obey the truth of God's design."
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Ask anyone today, "What is truth?" and you’re sure to start an interesting conversation. Try it on a university campus and you’re likely to receive laughter, scorn, and derision. The concept of truth has clearly fallen on hard times, and the consequences of rejecting it are ravaging human society. So let’s go back to the starting point and answer the question: What is truth?
One of the most profound and eternally significant questions in the Bible was posed by an unbeliever. Pilate—the man who handed Jesus over to be crucified—turned to Jesus in His final hour, and asked, “What is truth?” It was a rhetorical question, a cynical response to what Jesus had just revealed: “I have come into the world, to testify to the truth.”
Two thousand years later, the whole world breathes Pilate’s cynicism. Some say truth is a power play, a metanarrative constructed by the elite for the purpose of controlling the ignorant masses. To some, truth is subjective, the individual world of preference and opinion. Others believe truth is a collective judgment, the product of cultural consensus, and still others flatly deny the concept of truth altogether.
So, what is truth?
Here’s a simple definition drawn from what the Bible teaches: Truth is that which is consistent with the mind, will, character, glory, and being of God. Even more to the point: Truth is the self-expression of God. That is the biblical meaning of truth. Because the definition of truth flows from God, truth is theological.
Truth is also ontological—which is a fancy way of saying it is the way things really are. Reality is what it is because God declared it so and made it so. Therefore God is the author, source, determiner, governor, arbiter, ultimate standard, and final judge of all truth.
The Old Testament refers to the Almighty as the “God of truth”.
"Into Your hand I commit my spirit; You have ransomed me, O Lord, God of truth." Psalm 31:5
When Jesus said of Himself, “I am…the truth” (John 14:6), He was thereby making a profound claim about His own deity. He was also making it clear that all truth must ultimately be defined in terms of God and His eternal glory. After all, Jesus is “And He [Jesus] is the radiance of His [The Father's] glory and the exact representation of His nature, and upholds all things by the word of His power.” Hebrews 1:3
Jesus is truth incarnate—the perfect expression of God and therefore the absolute embodiment of all that is true.
Jesus also said that the written Word of God is truth. It does not merely contain nuggets of truth; it is pure, unchangeable, and inviolable truth that according to Jesus, “cannot be broken”. (John 10:35)
Praying to His heavenly Father on behalf of His disciples, He said this: "Sanctify them by the truth; Your word is truth." John 17:17
Moreover, the Word of God is eternal truth “which lives and abides forever” (1 Peter 1:23).
Of course, there cannot be any discord or difference of opinion between the written Word of God (Scripture) and the incarnate Word of God (Jesus). In the first place, truth by definition cannot contradict itself. Second, Scripture is called “the word of Christ” (Colossians 3:16). It is His message, His self-expression. In other words, the truth of Christ and the truth of the Bible are of the very same character. They are in perfect agreement in every respect. Both are equally true. God has revealed Himself to humanity through Scripture and through His Son. Both perfectly embody the essence of what truth is.
Remember, Scripture also says God reveals basic truth about Himself in nature. The heavens declare His glory (Psalm 19:1). His other invisible attributes (such as His wisdom, power, and beauty) are on constant display in what He has created (Romans 1:20). Knowledge of Him is inborn in the human heart (Romans 1:19), and a sense of the moral character and loftiness of His law is implicit in every human conscience (Romans 2:15).
Those things are universally self-evident truths. According to Romans 1:20, denial of the spiritual truths we know innately always involves a deliberate and culpable unbelief. And for those who wonder whether basic truths about God and His moral standards really are stamped on the human heart, ample proof can be found in the long history of human law and religion. To suppress this truth is to dishonor God, displace His glory, and incur His wrath.
"18 For the wrath of God is revealed from heaven against all ungodliness and unrighteousness of men who suppress the truth in unrighteousness, 19 because that which is known about God is evident within them; for God made it evident to them. 20 For since the creation of the world His invisible attributes, His eternal power and divine nature, have been clearly seen, being understood through what has been made, so that they are without excuse." Romans 1:18-20
Still, the only infallible interpreter of what we see in nature or know innately in our own consciences is the explicit revelation of Scripture. Since Scripture is also the one place where we are given the way of salvation, entrance into the kingdom of God, and an infallible account of Christ, the Bible is the touchstone to which all truth claims should be brought and by which all other truth must finally be measured.
An obvious corollary of what I am saying is that truth means nothing apart from God. Truth cannot be adequately explained, recognized, understood, or defined without God as the source. Since He alone is eternal and self-existent and He alone is the Creator of all else, He is the fountain of all truth.
If you don’t believe that, try defining truth without reference to God, and see how quickly all such definitions fail. The moment you begin to ponder the essence of truth, you are brought face to face with the requirement of a universal absolute—the eternal reality of God. Conversely, the whole concept of truth instantly becomes nonsense (and every imagination of the human heart therefore turns to sheer foolishness) as soon as people attempt to remove the thought of God from their minds.
That, of course, is precisely how the apostle Paul traced the relentless decline of human ideas in Romans 1:21-22: “Although they knew God, they did not glorify Him as God, nor were thankful, but became futile in their thoughts, and their foolish hearts were darkened. Professing to be wise, they became fools.”
There are serious moral implications too, whenever someone tries to dissociate truth from the knowledge of God. Paul went on to write, “Even as they did not like to retain God in their knowledge, God gave them over to a debased mind, to do those things which are not fitting” (Romans 1:28).
Abandon a biblical definition of truth, and unrighteousness is the inescapable result. We see it happening before our eyes in every corner of contemporary society. In fact, the widespread acceptance of all forms of iniquity that we see in our society today is a verbatim fulfillment of what Romans 1 says always happens when a society denies and suppresses the essential connection between God and truth.
If you reflect on the subject with any degree of sobriety, you will soon see that even the most fundamental moral distinctions—good and evil, right and wrong, beauty and ugliness, or honor and dishonor—cannot possibly have any true or constant meaning apart from God. That is because truth and knowledge themselves simply have no coherent significance apart from a fixed source, namely, God. How could they? God embodies the very definition of truth. Every truth claim apart from Him is preposterous.
Elaborate epistemologies have been proposed and methodically debunked one after another—like a long chain in which every previous link is broken. After thousands of years, the very best of human philosophers (Socrates, Plato, Aristotle, Descartes, Locke, Kant, Hegel, Kierkegaard, Nietzsche, Marx, James, and others) have all utterly failed to account for truth and the origin of human knowledge apart from God.
In fact, the one most valuable lesson humanity ought to have learned from philosophy is that it is impossible to make sense of truth without acknowledging God as the necessary starting point.
Truth is not subjective, it is not a consensual cultural construct, and it is not an invalid, outdated, irrelevant concept. Truth is the self-expression of God. Truth is thus theological; it is the reality God has created and defined, and over which He rules. Truth is therefore a moral issue for every human being.
How each person responds to the truth God has revealed is an issue of eternal significance. To reject and rebel against the truth of God results in darkness, folly, sin, judgment, and the never-ending wrath of God. To accept and submit to the truth of God is to see clearly, to know with certainty, and to find life everlasting.
-Excerpt from 'What Is Truth?'
John MacArthur, Grace To You, 2008
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Happy Thanksgiving 2022 as we at Paprihaven celebrate gratitude through God through the Psalms!
Previous Thanksgivings from Paprihaven:
2015
www.flickr.com/photos/paprihaven/23317280855/
2016
www.flickr.com/photos/paprihaven/31221411415/
2017
www.flickr.com/photos/paprihaven/38546538356/
2018
www.flickr.com/photos/paprihaven/45192078954/
2019
www.flickr.com/photos/paprihaven/49118690462/
2020
www.flickr.com/photos/paprihaven/50625872238/
2021
This one is from a couple grids ago, February's to be precise. This grid, H5, straddled Hwy 30 just east of the St. Johns Bridge. It was an odd grid, with off-limits natural gas plants in one part, Forest Park in another, and a small patch of residential neighborhood tucked away like an afterthought. I am not sure what it must be like to live on Hwy 30. It seems like it would be noisy and dirty and backing out of your driveway must require a specific sort of nerve, but there are a few dozen homes found along this stretch. Many of them are a block or so off of the highway itself, but several are right up on it, like this one. I am not sure what story of action and violence this splattered mud is a remainder of, but it caught my eye as I walked along the short stretch of highway that enjoys a sidewalk. I was testing out a Canon AF35M from the shop that day and had loaded it with some Lomochrome Metropolis film. The camera was potentially faulty and the film has not proven a favorite of mine, so I was allowing myself plenty of liberty in snapping off shots and not taking my usual slow, methodical, careful approach. It is nice to change it up now and then, just as the Grid Project has been nice in getting me off my beaten paths and into some other areas of Portland I do not explore much.
Canon AF35M
Lomochrome Metropolis
Grid H5 - Portland Grid Project
There are, or to be more precise, there were, three castles on different islands within Loch Awe. The castles, although now ruined, are all still there, but only two of them now stand on islands. The Campbell castle of Kilchurn (visible in the distance on the right side of the far end of the loch, above the left end of the left island), is now on a headland, due to people fiddling around with the loch's outlet, which resulted in a lowering of the loch's water level. Innis Chonnell, also a Campbell castle, stands towards the southern end of the loch and the third stands among the trees of the right-hand of these two islands - Fraoch Eilean, sometimes abbreviated to Frechelan. Given the success I had yesterday flying out over Loch Ard, this was the first of four 'over water' excursions I made today!
There are two explanations for the island's name:
The first is that it is Gaelic for Heather Island.
The second is that the name relates back to the name of a hero from Celtic mythology. A young man named Fraoch heard that fruit, capable of restoring youth and curing hunger, grew on a Rowan tree on the island, so he went out to the island to get some for Mengo, the love of his life. He found the tree guarded by a serpant or dragon which was wrapped around its trunk, but succeeded in stealing some and returning to Mengo. He was then sent back to get the tree itself (which goes to show that 'enough was never enough' for women even back in those far-off days), but this time the dragon pursued him and in the ensuing battle, both Fraoch and the dragon were killed. (And presumably, and more importantly, the tree!) A cairn was raised on the spot where Fraoch fell and the island named in his honour.
Personally, I lean towards the second explanation!
Quote on the right side is a German idiom. Precise translation is: "It is laying on the hand". That means "It is obvious" and so is the normal translation into English.
Mont Blanc massif, Italy.
The pyramid of the Grandes Jorasses, to be precise the south-east face of the Pointe Walker (4,208 m; 13,806 ft), portrayed from a slightly different angle compared to the previous photo.
Here, for a change, the treatment is monochromatic. The light is always lunar and the mists were fluttering, perfectly accomplishing their job.
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©Roberto Bertero, All Rights Reserved. This image is not available for use on websites, blogs or other media without the explicit written permission of the photographer.
This is a shot of the precise spot where the Byzantine Cathedral of the Taxiarchs (of St. Michael the Archangel) once stood in Ioannina, Greece, within the South-Eastern citadel (aka Iç-Kale) of the Castle. The church was deliberately demolished in c.1430, then on the exactly same spot the “FETHİYE Câmii” (Turkish for “mosque of the Conquest”) was erected by the Ottoman Turks.
It was in writing that the latter had promised certain privileges (such as the freedom of worship with no conversion of churches into mosques etc.) to the people living in Ioannina as conditions of the surrender agreement reached (“Sinan Paşa's designation”, ratified by imperial decree of Sultan Murad II).
This gull is flying so close to the water that I though he will crash... Unbelievable precise flight!
Brooks Saddles to be precise.
Protecting peoples derrière since 1866 ;)
Beautifully Comfortable and Long Lasting Bicycle Saddles.
The renowned quality of the saddles has made Brooks England a household name in the world of cycling. The slogan 'The Best For Riding’ describes exactly why their popularity has endured. The're committed to providing the very best in design and comfort by way of proven designs and contemporary technologies.
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Seen at The Vintage Retreat, Northampton.
♫ Recommended: Maroon 5 - Lips On You ♫
[Not-So-Short Story]
It was a special, long weekend for them. He had given her precise instructions on everything except what to wear. He had full confidence that she knew how to knock the wind out of him when he'd look at her, and she did not disappoint.
Earlier that evening, he had set his things up in the hotel room hours before she arrived. Hung his other suit up beside the rest of her clothes he packed for her. Placed his toiletries in the bathroom in his usual OCD fashion; from left to right, toothbrush, toothpaste, mouthwash, deodorant, comb, hair wax, cologne. He placed her shower necessities, and some of his own on the marble shelf inside the shower behind the glass. Her hair straightener ready to be plugged in and her bag neatly to the side. His journal went to the table near the window with their camera. Lastly, he dropped a small black leather duffel bag on the bed, unzipping it and taking out what he needed to set up for now. After inconspicuously tucking things in at each corner under the bed, he slid the leather bag under also on his side. He looked around, checking off his mental checklist, wondering if he should close the curtains now, or later.... Then, smirked, looking out across to the other wing of the hotel windows that were visible from their suite with the L-shaped hotel wings. His smirk turned into a wicked smile as he turned and left the room.
By the time he got downstairs, she was already poised, sitting at the bar. He watched a moment as another man elbowed in beside her, smiling. Probably offered her a drink. The smile she gave him was brilliant. Absolutely gorgeous, and genuine, in fact. Surely melted the man as he was politely declined the privilege. He gave his own smile to the man as they walked past each other, giving him a nod. Then he replaced the man's spot at the bar, adding the touch of his hand on her knee as he smiled at the woman who owned his heart.
Now, here they were, a few drinks in. The beat of the jazz band making her bop her body in various ways. It gave him such joy to watch her relax and let loose. Speaking of loose, his eyes loved to catch the side of her dress where the diamond studded strap framed the delicious curve of her breasts. She knew what she was doing, and she wore a dress like this on purpose. God he loved her....
They were standing together about 20 feet away from the stage now, him behind her. She kept moving against him, dancing and grazing. God, she fucking knew it too, and it only fueled him. She swished her ass across the front of him, her arms up and bent, flexing her dress so it flashed the sides of her breasts off and on. Between all of that, and her soft giggle and breathtaking smile....
Fuck her. What a relentless tease. He kept up the charade of pretending to be unphased beyond the fact that he was completely enamored with her, until...
The music enveloped them, then threaded straight through their bodies. Moving, together.... Tight. So close... Literally breathing in the heat that came off of her body. Tasting it too. God. That. There was no stopping what was happening now as he felt his body rise in every way, inducing a low growl from his throat.
He took her elbow, firmly and with grace. The thin layer of her hair separating his hot breath from her flesh was probably a good thing. He was ready to fucking devour her right there. Instead, gruffly he told her, "We're leaving. Now."
They reached the elevator, the tension tight and tangible, surely. His hand on the skin of her lower back seemed gentlemanly enough, until the elevator door opened and he had to resist shoving her in. The inertia of the elevator gliding up at such speed added to the thickness of their lust. He was pressing her against the mirror, fully aware of the camera over his left shoulder. It was why he chose that leg of hers to hoist up beside his hip and roll his hips into, looking her dead in the eyes and eliciting that whimper he so wanted. When the door opened, he grinned at her, then straightened his jacket. Turning and pulling her in front of him tenderly without a care of how she looked slightly used to the other couple that replaced them in the elevator. That made him smirk, because he knew that would both annoy her and push her mind right where he wanted her. Needed her.
"I'm not waiting any longer. When I put my lips on you, that may be the last gentle thing I do to you all night."
Thanks for reading :)
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And this is just if anyone likes to see the layers I added to create this photo. gyazo.com/76cfb47c5c6347844823fa8829e804a3
«Être homme, c'est précisément être responsable. C'est connaître la honte en face d'une misère qui ne semblait pas dépendre de soi. C'est être fier d'une victoire que les camarades ont remportée. C'est sentir, en posant sa pierre, que l'on contribue à bâtir le monde.»
(Antoine de Saint-Exupéry "Terre des hommes")
«To be a human is, precisely, to be responsible. It is to feel shame at the sight of what seems to be unmerited misery. It is to take pride in a victory won by one's comrades. It is to feel, when setting one's stone, that one is contributing to the building of the world»
(Antoine de Saint-Exupéry "Wind, Sand and Stars")
«Να είσαι άνθρωπος, σημαίνει ακριβώς να είσαι υπεύθυνος. Να γνωρίσεις την ντροπή απέναντι σε μια δυστυχία που δε μοιάζει να έρχεται από σένα. Να νιώθεις περηφάνια για μια νίκη που πέτυχαν οι συνάδελφοί σου. Να αισθάνεσαι, βάζοντας κι εσύ το λιθαράκι σου, πως συντελείς στο κτίσιμο του κόσμου»
(Antoine de Saint-Exupéry "Γη των ανθρώπων")
San Lorenzo Maggiore is a church in Naples, Italy. It is located at the precise geographic center of the historic center of the ancient Greek-Roman city, at the intersection of via San Gregorio Armeno and via dei Tribunali. The name "San Lorenzo" may also refer to the new museum now opened on the premises, as well as to the ancient Roman market beneath the church itself, the Macellum of Naples.
The church's origins derive from the presence of the Franciscan order in Naples during the lifetime of St Francis of Assisi, himself. The site of the present church was to compensate the order for the loss of their earlier church on the grounds where Charles I of Anjou decided to build his new fortress, the Maschio Angioino in the late 13th century.
San Lorenzo actually is a church plus monastery. The new museum takes up the three floors above the courtyard and is given over to the entire history of the area that centers on San Lorenzo, beginning with classical archaeology and progressing to a chart display of historical shipping routes from Naples throughout Magna Grecia and the Roman Empire. The museum provides a detailed account of the local "city hall" that was demolished in order to put up the church in the 13th century and continues up past the Angevin period and into more recent history.
Beneath San Lorenzo, about half of an original Roman market has been excavated.The site has been open since 1992, the result of 25 years of painstaking excavation. The market place is the only large-scale Greek-Roman site excavated in the downtown area.
In this church Boccaccio met his beloved Fiammetta (1338) (Wikipedia)
"Talvez você só precise (re)organizar as coisas por dentro, rearrumar os sentimentos, refazer as prioridades.
Tira a poeira desse sorriso, desengaveta teus sonhos.
Joga fora o que pesa na alma, o que te desassossega.
Manda embora o que tira teu sorriso frouxo.
Faz uma faxina e deixa aí só o que for bonito."
[Monalisa Macedo]
falso-íris, lírio-roxo, lírio-roxo-das-pedras, lírio-roxo-das-pedreiras, pseudo-íris-azul, alho-do-mato, maricá, doze-apóstolos, íris-da-praia-azul, Apostle plant, marica, twelve apostles, walking íris.
Nome Científico: Neomarica caerulea
Família (Cronquist (APG2): Iridaceae
Gênero: Neomarica
Luftwaffe Tornado ECR swoops down onto the runway for a precise and smooth landing. 1/160 second exposure panning shot.
The jet is wearing a '60 Jahre Luftwaffe' sticker to celebrate 60 Years since the formation of the modern Luftwaffe der Bundesrepublik Deutschland. To apply the sticker, they cleaned the upper half of the fin. The jet is pretty dirty, that is because the reverse thrust kicks soot back onto the tailplane.
Categories:
Tornado - Luftwaffe - Bundeswehr - Hohn 2016
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Photo taken by Herwart Schneider and kindly provided by him for inclusion on this page.
München-Riem
ca. May 1975
F-BVPY
Aerospatiale SE-210 Caravelle 12
271
Catair
F-BVPY was noted at Riem on 29 May 1975, probable the precise date for this shot. As OY-SAB with Sterling, this airframe would be seen at Riem at least twice, on 27 February 1977 and 22 December 1979.
Information from airhistory.net - thanks to Paul Seymour:
Delivered to Sterling Airways as OY-SAB in 1971. To Catair as F-BVPY in 1975 then to Air Inter and returned to Sterling Airways as OY-SAB in 1976. To Air Inter as F-BNOG in 1980. Withdrawn from use at Paris-Orly in 1991 and scrapped in 1993.
Registration details for this airframe:
rzjets.net/aircraft/?reg=93763
This airframe as OY-SAB with Sterling Airways at MLA in May 1974:
www.oy-reg.dk/billeder/l29636.jpg
F-BVPY with Air Inter at BSL in July 1976 (basic Catair colours):
imgproc.airliners.net/photos/airliners/2/4/0/0097042.jpg
OY-SAB with Sterling Airways at SZG in December 1979:
www.flickr.com/photos/190105067@N03/50701527746
This airframe as F-BNOG with Air Inter at ORY in September 1989:
www.flickr.com/photos/85374400@N03/53338492272
Scan from Kodachrome slide.
So that’s it from me, and that’s it from him (Christopher Robin, to be precise, with Winnie-the-Pooh in tow). Farewell to the Royal Horticultural Society’s 2023 Chelsea Flower Show, the first one I’ve ever attended.
I’m no gardener by any stretch of the imagination (give me some summer geraniums in a few pots and I’m happy) but it was interesting to see the top echelon of the horticultural world as it really is – an industry, and a busy one at that. Which is fine, of course, because it encourages healthy competition and the creation of new species of all descriptions.
So will I attend another ‘Chelsea’? Given the opportunity… yes, I think I would... but probably not for a year or two.
San Lorenzo Maggiore is a church in Naples, Italy. It is located at the precise geographic center of the historic center of the ancient Greek-Roman city, at the intersection of via San Gregorio Armeno and via dei Tribunali. The name "San Lorenzo" may also refer to the new museum now opened on the premises, as well as to the ancient Roman market beneath the church itself, the Macellum of Naples.
The church's origins derive from the presence of the Franciscan order in Naples during the lifetime of St Francis of Assisi, himself. The site of the present church was to compensate the order for the loss of their earlier church on the grounds where Charles I of Anjou decided to build his new fortress, the Maschio Angioino in the late 13th century.
San Lorenzo actually is a church plus monastery. The new museum takes up the three floors above the courtyard and is given over to the entire history of the area that centers on San Lorenzo, beginning with classical archaeology and progressing to a chart display of historical shipping routes from Naples throughout Magna Grecia and the Roman Empire. The museum provides a detailed account of the local "city hall" that was demolished in order to put up the church in the 13th century and continues up past the Angevin period and into more recent history.
Beneath San Lorenzo, about half of an original Roman market has been excavated.The site has been open since 1992, the result of 25 years of painstaking excavation. The market place is the only large-scale Greek-Roman site excavated in the downtown area.
In this church Boccaccio met his beloved Fiammetta (1338) (Wikipedia)
The Hubble Space Telescope has spotted a UFO — well, the UFO Galaxy, to be precise. NGC 2683 is a spiral galaxy seen almost edge-on, giving it the shape of a classic science fiction spaceship. This is why the astronomers at the Astronaut Memorial Planetarium and Observatory gave it this attention-grabbing nickname. While a bird’s eye view lets us see the detailed structure of a galaxy (such as this Hubble image of a barred spiral), a side-on view has its own perks. In particular, it gives astronomers a great opportunity to see the delicate dusty lanes of the spiral arms silhouetted against the golden haze of the galaxy’s core. In addition, brilliant clusters of young blue stars shine scattered throughout the disc, mapping the galaxy’s star-forming regions. Perhaps surprisingly, side-on views of galaxies like this one do not prevent astronomers from deducing their structures. Studies of the properties of the light coming from NGC 2683 suggest that this is a barred spiral galaxy, even though the angle we see it at does not let us see this directly. NGC 2683, discovered on 5 February 1788 by the famous astronomer William Herschel, lies in the Northern constellation of Lynx. A constellation named not because of its resemblance to the feline animal, but because it is fairly faint, requiring the “sensitive eyes of a cat” to discern it. And when you manage to get a look at it, you’ll find treasures like this, making it well worth the effort. This image is produced from two adjacent fields observed in visible and infrared light by Hubble’s Advanced Camera for Surveys. A narrow strip which appears slightly blurred and crosses most the image horizontally is a result of a gap between Hubble’s detectors. This strip has been patched using images from observations of the galaxy made by ground-based telescopes, which show significantly less detail. The field of view is approximately 6.5 by 3.3 arcminutes.
Credit: ESA/Hubble & NASA
NASA Goddard Space Flight Center enables NASA’s mission through four scientific endeavors: Earth Science, Heliophysics, Solar System Exploration, and Astrophysics. Goddard plays a leading role in NASA’s accomplishments by contributing compelling scientific knowledge to advance the Agency’s mission.
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...film! 35mm Film to be precise, something I've never really done 'properly' before, and I've been doing it with one of these: a Pentax Spotmatic from the 60's (Thank you Grandad!). It's been... a learning curve. From destroying an entire roll of film because I messed up the rewinding of it (newb!), to over exposing near enough half the photos, I think I found a middle ground. In which was the above photograph.
It's Fran! Washing her face first thing in the morning and probably the best photo I took on the entire roll; I've always been a fan of more candid portraits, natural is best!
Another without a precise date but it must be late 1963. Class 85 E3090 was built at Doncaster Works and is seen here sitting outside soon afterwards. Her official date to traffic was 29th October 1963.
The loco became 85035 and 85109 in later life and was withdrawn in July 1991, she was cut up at MC Metals around July 1992.
Image from a slide in my collection by an unknown photographer.
Excerpt from Wikipedia:
The Church of Our Lady is a historical building in Kalundborg, northwestern Zealand, Denmark. The precise date of construction is not known with any certainty, though its architecture indicates the early part of the 13th century. With its five distinctive towers, it stands on a hill above the harbour, making it the town's most imposing landmark.
The church is built of red brick, indicating that it was constructed no earlier than 1170 when brick was first used in Denmark.
At the time when the church was built, a small medieval town stood on the hill. It was originally fortified by Snare's castle but this was replaced in the 14th century by Kalundborg Castle, now in ruins, with its ring walls and ditches. Much of this has now disappeared but the old churchyard walls are still intact. Two brick houses from 1500 form part of the boundary walls and a few brick houses near the church are evidence of the prosperity the town enjoyed in the 15th century.
The central tower of the church collapsed in 1827 due to structural flaws and incautious repairs inside the church. Collapse did not cause any injuries but many medieval furnishings were destroyed .
As the church had fallen into a state of disrepair by the beginning of the 19th century, restoration work was carried out first from 1867 to 1871 under the leadership of Vilhelm Tvedes when the central tower was rebuilt, and later from 1917 to 1921 when the three entrances and the windows were reconstructed under architects Andreas and Mogens Clemmensen. From the square nave, four arms of equal length stretch out to a polygon terminal. These proportions have been compared to the description of the New Jerusalem in the Book of Revelation. While the original barrel vaults of the transepts are still in place, the columns in the nave and the vaults have been reconstructed.
The medieval sacristy (1400) along the north wall of the chancel is well preserved. In about 1500 it was given an upper storey.
The plan is in the form of a Greek cross with four arms of equal length. The window arches as well as the pilasters and sunken columns inside the church suggest the involvement of Lombard builders from northern Italy. It is said to be Denmark's most important contribution to architecture during the Middle Ages.
The church's central tower, known as Mary's tower (after the Virgin Mary), is 44 m tall and square-shaped while the four lateral towers, each 34 m tall, are octagonal. The other towers are also named after saints: St. Anne's to the east, St. Gertrude's to the west, St. Mary Magdalene's to the south and St. Catherine's to the north. The four columns supporting the central tower are made of granite, providing additional strength. With five towers in all, the church is unique.
The architecture reveals similarities with the Church of the Holy Sepulchre, as well as with grouped towers in the great churches of France and the Rhineland. In particular, both the church's age and its architectural style have much in common with Tournai Cathedral in the south of Belgium. The masonry, on the other hand, is comparable to that of other early brick buildings in the area such as St. Bendt's Church in Ringsted.
Don't have a more precise date than February 1968 for this one and the location is Welwyn Garden City thanks to the Gents below.
The class 15's hauling the train of coal wagons are D8233 in green and the one with the double arrows was given as D8231 but I can not make out the number. They were both allocated to Finsbury Park at this time.
D8233 was new to Stratford in August 1960 and withdrawn in February 1969, it then moved into departmental service which happily lead to it now being preserved. D8231 was not so lucky, being withdrawn in March 1971 and cut up at Crewe within a year.
Image from a slide in my collection by an unknown photographer.
Thai dragon peppers, to be precise. These babies are about 50k-100k Scoville units (compare to habaneros at 100k-350k), and have a unique pain profile that is sharp and pulsing. They also have a pleasant fruity taste. They are good in anything spicy, but best when soaked in fish sauce, allowing the heat, salt, fruitiness and umami to complement each other.
I've seen then classified as both Capsicum frutescens and Capsicum annuum.
AKAs include Thai volcano pepper, facing-heaven pepper.
Usually they are green, ripening to red, but these also go through a purple phase, where they express anthocyanin (the same pigment as blueberries). Unfortunately, like many purple fruit and vegetables (like purple beans and purple asparagus), the purple turns green when cooked.
One thing to remember for those who are not fire eaters, if you get too much heat, drinking something usually won't help, unless it has sugar (this is why many commercial hot sauces add fruit or carrots).
Water helps while it's in your mouth, but when you swallow, the pain comes back. Capsaicin is a fat soluble molecule, so alcohol just spreads it around your mouth. Carbonation hits the same pain receptors as the capsaicin, so beer is probably the worst choice.
Milk is supposed to be a good cure, but I hate milk. Luckily, I have rarely had anything that was too hot for me.
Ahi weaves precise slashes and pyroclastic strikes to form his unique eruptive fighting style, leaving only ash and obsidian in his wake.
Made some changes to Ahi. The shins have been replaced to be more sleek, and some of the torso colors have been changed to be less messy. Also, the sword blade is the correct color. The leg articulation is a lot better in this version, so he can actually pull off some neat poses.
The precise moment that the guy in the turban and the woman with the camera engaged. Priceless encounter for the woman. India.
No matter how precise the manufacture of a mechanical instrument, proper servicing and regular use is necessary to keep it running smoothly. This is certainly the case with my vintage Leica IIf from 1952.
It is more than likely that this old camera has not been used to take photographs in decades. So what could go wrong?
Recently our fully mechanical Dugena clock manufactured in East Germany in 1960 simply stopped working. It is now undergoing a proper service. It appears the problem is simply one of lubrication. Over time the lubricants wear out and need to be replaced. Mechanically the clock is fine.
There are two problems with the camera that you can see in these samples: (1) One of the shutter curtains appears to be closing fractionally late and shows up "ghosting" in the sky. (2) Those little spots of light on the dark wood panels are telltale signs of pinholes that have formed in the cloth shutter curtains allowing light leaks onto the negative.
I did a precise measurement and approximately 59 seconds out of every minute was spent visualizing myself slipping and falling into the water, then washed over the waterfall forever. The other 1 second was spent partially slipping and feeling intense panic that everything visualized in the previous 59 seconds was about to come true.
A few streets removed from Long Beach’s tourist strip stands an exceptionally well-composed late Victorian house—apparently uncelebrated, yet deserving the sort of careful notice usually reserved for an officially inventoried landmark. Its precise date is not yet documented, but the architecture strongly suggests about 1890–1905, with the balance of evidence pointing toward the later 1890s.
The house belongs broadly to the vernacular Queen Anne tradition, enriched by ornamental details derived from the Stick and Eastlake modes. It is not a flamboyant “high-style” Queen Anne: there is no turret, restless roofline or riot of contrasting materials. Its distinction lies instead in discipline. A long, two-story, side-gabled main block is interrupted by a large projecting front gable, producing just enough asymmetry to enliven an otherwise calm rectangular composition. The generous full-width porch gives the façade a strong horizontal base, while the steep front gable, tall windows and slender porch supports draw the eye upward. These competing horizontal and vertical impulses are held in unusually graceful equilibrium.
The principal gable is the architectural climax. Its broad field of diamond-pattern shingles rises above the second-story windows to an elaborate apex treatment: a central upright divides two spreading, fanlike panels whose scalloped lower edges create the effect of a partially opened shell or sunburst. This is not a structural bracket in the strictest sense but an ornamental gable screen—a piece of applied carpentry intended to animate the triangular void beneath the roof. It belongs to the late nineteenth-century world of pattern books, mill-produced trim and local carpenters who could combine standardized parts in highly individual ways. The result is decorative without becoming fussy: the ornament fills the apex neatly, reinforces the roof geometry and gives the house an immediately recognizable silhouette.
Below it, the paired second-story windows are tall and narrow, with plain surrounds and a modest projecting sill. Their vertical proportions continue on the ground floor, where the unusually elongated window openings lend the porch elevation an almost stately rhythm. The windows appear largely to retain the simple one-over-one sash configuration favored during the final decades of the nineteenth century, when larger panes of glass were becoming affordable and the more subdivided sash of earlier houses was falling from fashion.
The porch is nearly as important as the gable. It extends across the entire façade and wraps slightly around the ends, functioning both as outdoor living space and as the house’s principal architectural stage. The roof rests on slender square posts rather than turned columns. At each post, delicate diagonal braces form a repeated pattern of crosses, forks and small triangular openings. These are characteristic products of the Stick–Eastlake ornamental vocabulary: flat, sawn members arranged to suggest joinery and structure, though their chief purpose is visual. Their repeated cadence gives the porch something of the lightness of a wooden arcade. The balustrade below is intentionally quieter, composed of close-set vertical rails that allow the upper brackets to remain the dominant feature.
The house is also notable for what it avoids. Its ornament is concentrated at points of structural emphasis—the porch posts, cornice line and gable apex—rather than scattered indiscriminately over the walls. Broad areas of shingle siding are therefore allowed to read as texture and plane. The façade possesses variety, but not visual noise. Even the projecting gable is placed with care: offset from the center, it establishes the asymmetry expected of Queen Anne design while leaving the long porch and main roof sufficiently continuous to preserve an air of repose.
Its materials contribute substantially to its character. The weathered cedar shingles of the upper walls retain the subdued mottling produced by decades of salt air, rain and coastal vegetation. Painted lower walls and white trim distinguish the building’s structural and ornamental elements without obscuring its essentially wooden character. The hydrangeas and marguerites are not historically diagnostic, but they suit the architecture wonderfully, softening the porch lattice and reinforcing the impression of a long-established coastal garden.
The building should also be understood in relation to Long Beach’s emergence as a resort community. The settlement developed around H. H. Tinker’s hotel in the early 1880s and was already attracting summer visitors before the Ilwaco railroad arrived in 1888. The rail line then made the peninsula far more accessible to travelers arriving by steamer from Portland and Astoria, encouraging the construction of hotels, cottages and permanent houses during the prosperous decades around 1900. ([Revisiting Washington][1]) This house appears to belong to that formative period, when Long Beach was making the transition from scattered seaside settlement to established resort town.
Whether it began as a year-round residence, a boarding house or an unusually substantial summer home cannot be determined from the photograph alone. Its scale, multiple upstairs windows and extraordinarily broad porch would be compatible with any of those uses. The porch in particular belongs to a coastal culture in which the boundary between domestic interior and resort landscape was meant to remain permeable: it offered shelter from rain, shade in summer, a place to receive visitors and an elevated platform from which to observe street life.
From a preservation standpoint, the house appears to retain a high degree of architectural integrity. Its overall massing, roof form, porch, window proportions, shingle cladding and ornamental woodwork remain legible and mutually coherent. Some siding, sash, porch fabric or foundation screening may have been repaired or replaced over time, as would be expected in a coastal environment, but no conspicuous alteration has overwhelmed the historic design. The front elevation still conveys the workmanship, materials, feeling and domestic scale of late nineteenth-century Long Beach.
Its potential significance would most plausibly rest on architecture and local development rather than association with a famous person. It is an unusually accomplished example of a substantial vernacular Victorian residence, distinguished by its proportions, intact porch arcade and rare gable ornament. It may also illustrate the residential expansion that accompanied Long Beach’s emergence as a rail-accessible seaside resort. A formal evaluation would require the address, parcel history, tax records, Sanborn maps, historic photographs and examination of the interior and side elevations. Washington’s statewide inventory system contains many such survey records, but absence from an inventory would not imply absence of significance. ([Washington Archaeology][2])
What makes the house memorable is not merely the survival of ornamental fragments. It survives as a complete composition. The long roof, projecting gable, narrow windows, deep porch and repeated brackets still act together, giving the building a poise that is both picturesque and remarkably restrained. It is precisely the sort of unheralded place that gives a town historical depth: not a monument imposed upon the streetscape, but a beautiful ordinary building whose quality becomes apparent only when someone pauses, looks closely—and discovers it.
[1]: revisitwa.org/side_trip/long-beach/?utm_source=chatgpt.com "Revisiting Washington — Long Beach"
[2]: dahp.wa.gov/historic-registers/national-register-of-histo... "National Register of Historic Places | Washington State ..."