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Until 1973 North American Juncos with dark eyes were split into five different species. Two of these were widespread; The Slate-colored Junco of the eastern United States and most of Canada (which is blue grey throughout with a white belly), and Oregon Junco in the East (with a dark hood, brown upperparts and pinkish flanks). But all forms have now been lumped into a single species known as Dark-eyed Junco, although people still refer to the distinctive races as if they were species. There are now 15 named races but recent molecular analysis found little difference between them.
This is the western race of Dark-eyed Junco, also known as Oregon Junco (Junco hyemalis subsp thurberi). It was also formerly known as Thurber's Junco after George Thurber, a 19th century American botanist. Apparently the name Junco was an old Spanish name for Reed Bunting deriving from the Latin for rush (Juncus), though the bird isn't associated with rushy habitats. Hyemalis means of the winter, because it is a winter visitor to much of the United States. Mark Catesby (1663-1749 the English Naturalist who wrote the Natural History of Carolina, Florida and the Bahamas) called it Passer nivalis (Snow Sparrow) and Snowbird was an alternative name for it as it arrives with the snow over much of the USA. In fact, it was Dark-eyed Junco that was the bird that Anne Murray sang about in her 1975 hit Snowbird ("Spread your tiny wings and fly away. And take the snow back with you where it came from on that day").
In the early days of American ornithology a number of birds carried the name Oregon (eg Jay, Chickadee, Towhee) but these old names have fallen into disuse as less geographically precise names have gained acceptance. But when these "Oregon" birds were first named in the first half of the 19th century, Oregon Country then Territory was a much larger area, before the State of Oregon was founded in 1859. Oregon Country comprised of Oregon, Washington, parts of Idaho and Montana, and even part of British Columbia in Canada. It seems inappropriate that geographically widespread birds should bear the name of a single place, though this tradition persists in the American Warblers (eg Tennessee, Nashville, Cape May, Connecticut, Kentucky).
Dear Friends, you'll sometimes see captures of exhibitions in my gallery, because throughout the year, in Arles, we have exhibitions of every kind that I will share you...
THE MAN-MACHINE: JORDAN WOLFSON ON HIS GIANT NEW ROBOT, HUNG BY CHAINS AT ZWIRNER
It was a gigantic steel outline of a cube with cylinders spinning and whirring to release metal chains that were holding up the larger-than-life figure, which had joints throughout its body to allow it to be contorted in harrowing, grotesque ways. The winches that held up the chains went left to right in various speeds, and the chains were coiled and released in different measures, allowing for the figure to get twisted into any number of permutations—it’s a precise dance that Wolfson programmed himself, to allow for viewers to watch the figure float within the space in a carefully calibrated cycle of movements: quick starts, long silences and placid moments, atonal spasms, swooping glides, and those punishing falls to the floor. It became more wrenching and
powerful the more cycles I took in. After some slow movements and dramatic silences, the figure would get thrashed toward me, the chains making deafening noises and the figure’s head getting smashed again and again on the ground.
During certain points, the hanging man came to the foreground, and hung perpendicular to the ground, no limb askew, and then slowly glided left-to-right, like a nonthreatening ghost just kind of hovering in front of you. And then the eyes: they lit up with LED screens, and the pupils and irises dilated in a way that seems deeply familiar. The eyes use facial recognition technology to lock gazes with visitors in the room, and then employ fiber optics to intimate an expression of deep pain. (They also have the capability to show some of the video works that Wolfson is known for—though he’s never shown any in an environment quite like this.)
The entire presentation could remind one of Wolfson’s singing robot sculpture (Female figure) 2014 (2014) Wolfson’s last foray into robotics, two years ago at this same space. And while the two works are quite different—the new “robot” is now being jerked around by a mechanical puppet master in the form of chains on pulleys, instead of relying on combustion from an internal motorized system—Wolfson admits that “it’s kind of an extension” of that show.
A strange, fascinating, and very interesting exhibition with an unexpected music...
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?
Astronomers using NASA’s Hubble Space Telescope have for the first time precisely measured the distance to one of the oldest objects in the universe, a collection of stars born shortly after the big bang.
This new, refined distance yardstick provides an independent estimate for the age of the universe. The new measurement also will help astronomers improve models of stellar evolution. Star clusters are the key ingredient in stellar models because the stars in each grouping are at the same distance, have the same age, and have the same chemical composition. They therefore constitute a single stellar population to study.
Image Credit: NASA, ESA, and T. Brown and S. Casertano (STScI) ; Acknowledgement: NASA, ESA, and J. Anderson (STScI)
The article below originated from:
Traditional Building Magazine
Updated: Jan 6, 2020
Original: Feb 2, 2016
Originally built in 1916, the Palm Beach courthouse was a tour de force of Neoclassical architecture. The architect Wilber Burt Talley designed a granite base, brick and stone façades, soaring Indiana limestone columns and Corinthian capitals that held up triangle pediments, and a dentil molding below the cornice. The four-story, 40,000-sq.ft. the building housed the county government offices and records, as well as the jail.
Almost immediately the courthouse ran out of space, and 11 years later an addition was constructed 25 feet to the east. Talley again served as the courthouse architect, and the 1927 addition was similar in appearance and used many of the same materials as the original building. In 1955, the two buildings were connected with usable rooms to accommodate the growing county.
Yet another addition was required in the late ’60s; it was completed in 1969. The architecture firm Edge & Powell delivered a brick building that nearly doubled the square footage to 180,000 sq. ft. This time, the addition was less than sympathetic. In fact, the 1916 and 1927 buildings were lost in the center of the new construction, which wrapped around them completely.
The building was utilized for 36 years in this configuration, until 1995, when a new courthouse opened across the street. Expansions had plagued the 1916 courthouse almost as soon as it was built, and this was no exception. “After the new courthouse opened, the old one was slated for demolition,” says Rick Gonzales, Jr., AIA, CEO and principal at REG Architects. “Since I knew about the 1916 courthouse, I recognized the potential of the site and got in touch with preservation specialists in the area. It took some time, but a group of us eventually convinced the county to fund a feasibility study, which we conducted in 2002.”
Gonzales talks about stimulating interest in the project: “We would go to the new courthouse to sell our idea and walk people up to the windows to look at the old site,” he says.
“‘Believe it or not, there’s a building inside that building,’ I’d say. That really piqued people’s interest.”
The county agreed to fund the project, and demolition of the additions began in January 2004 and was completed two years later. “It took a long time because it was a selective demolition,” says Gonzales. “We needed to be careful to salvage many of the materials from the 1927 building to use in the restoration of the 1916 structure. It resembled the original, so we took everything we could for reuse.” A number of materials were recovered, including limestone, granite, wood windows, doors, marble wainscot, mosaic floor tiles, wood flooring, trim, and hardware.
While a majority of the materials were the same from building to building, the detailing was not identical. “We were working from the drawings of the 1927 building because we couldn’t find drawings for the earlier structure,” says Gonzales. “We had thought the detailing was the same, but when we put our studies together we saw that the rhythm, proportion, and cornices were different.”
When REG Architects couldn’t apply the 1927 documentation to the restoration, the firm examined what was remaining of the building and the few images that had survived. “For a while, we had no cornice pieces, because all of the exterior ornamentations had been destroyed when the façades were smoothed for the addition,” says Gonzales. “Then a contractor found a 16-in. piece, which we used to re-create the cornice line.”
Other elements that needed to be re-created, such as the granite and limestone porticos on the north, south, and west façades, were designed using historic photographs. “We found limestone with the same vein from the same Indiana quarry that was originally used,” says Gonzales. “We were extremely lucky in that the quarry ran out of that vein right after our order.” REG Architects was also able to match the granite.
Many components of the building were salvaged and restored. The cornerstones were restored and placed in their original locations at the northwest corner. The 12 Corinthian capitals and the load-bearing limestone columns – each of which weighs 30,600 lbs. – were pieced back together and repaired. “Placement of the capitals was especially tedious,” says Gonzales, “because it needed to be precise. They were then secured with pegs and glue.”
On the north, south, and west elevations, the brick was restored and, when necessary, replaced. “We couldn’t locate replacement brick with the same hues as the existing brick hues,” says Gonzales, “so we hired artists to stain it so that it blended with the original brick.” On the east elevation, REG Architects specified new brick so the new façade clearly stood out from the old ones.
To the same point, new hurricane-proof wood windows were chosen for the east elevation, while REG Architects was careful to preserve as many old windows as possible on the other elevations. Hedrick Brothers repaired 76 original wood windows as well as the window hardware. “We found a local manufacturer, Coastal Millwork of Riviera Beach, FL, to get the original windows tested for hurricane-preparedness,” says Gonzales. “The company reinforced and laminated the windows, so we were able to reinstall them.”
The crowning achievement of the exterior work was the re-creation of an eagle crest on the west pediment.
Based on a small postcard and images of other eagle crests, Ontario, Canada-based Traditional Cut Stone designed the crest for Palm Beach. “They created a small scale model and then a full-scale model in clay,” says Gonzales. “The final piece, which took five months to produce, was hand-carved from five pieces of Indiana limestone.” Traditional Cut Stone was also responsible for all of the limestone work on the building. REG Architects based much of its interior design on the Desoto County Courthouse in Arcadia, FL, which was built by Talley in 1913.
“The dilemma about the interiors was that there was little archival material and few original photographs to give a precise vision for the interiors,” says Gonzales. “Emphasis was placed on trying to restore the character of the main courtroom and the main interior public spaces.” The main courtroom on the third and fourth floors was especially aided by the Desoto research. The millwork was re-created and the plaster ceiling and moldings, maple flooring, doors, and door hardware were restored. Replica lighting was fabricated.
Architectural elements in the corridors and staircases received similar treatment. Hendrick Brothers uncovered the original mosaic flooring and had it repaired. Only five percent of the tile needed to be replaced; in these cases, matching tile from the 1927 building was used. About 80 percent of the marble wainscoting was salvaged, while the other 20 percent was replaced with matching marble from the original quarry. Wood doors and door hardware were salvaged and reused.
All of the building code upgrades – including efficient HVAC, fire protection, and hurricane protection – were hidden as much as possible with historic finishes. The alley elevation provided an ADA-accessible entrance and space for elevators.
The newly restored Palm Beach County Court House now accommodates a museum for the historical society, as well as offices for the County’s Public Affairs Department and County Attorney. “People say this project was an alignment of the stars,” says Gonzales. “It was. We were lucky to have the opportunity to save this building, we worked with a lot of great people, and it turned out well. It was a great labor of love.” TB
Credit for the data above is given to the following websites:
www.traditionalbuilding.com/projects/courthouse-unwrapped
downtownwpb.com/things-to-do/history-museum-and-restored-...
en.wikipedia.org/wiki/Richard_and_Pat_Johnson_Palm_Beach_...
© All Rights Reserved - you may not use this image in any form without my prior permission.
Have you ever noticed precise, conical divots in soft earth beneath large trees or at the base of cliffs? The conical pits are ant traps, dug and maintained by antlion larva, which may occupy the trap for two or three years before transforming to an adult (see first comment).
The larva lies patiently, just barely beneath the surface at the bottom of the pit, waiting for the sound and vibration of sliding sand, meaning that a beetle or spider or ant has fallen into the trap and is trying to climb out. The larva grabs it with its large jaws, injects venom to immobilize the prey and enzymes that turn the prey's tissues to mush. The antlion then siphons the digested material through the mandibles and tosses the hollow carcass out of the trap.
This is a live larva (promptly returned to its trap after this shot) caught beneath pines in a ponderosa pine forest in Boulder, Colorado.
Hill of Crosses is a site of pilgrimage about 12 km north of the city of Šiauliai, in northern Lithuania. The precise origin of the practice of leaving crosses on the hill is uncertain, but it is believed that the first crosses were placed on the former Jurgaičiai or Domantai hill fort after the 1831 Uprising.Over the generations, not only crosses and crucifixes, but statues of the Virgin Mary, carvings of Lithuanian patriots and thousands of tiny effigies and rosaries have been brought here by Catholic pilgrims. The exact number of crosses is unknown, but estimates put it at about 55,000 in 1990 and 100,000 in 2006.
Over the generations, the place has come to signify the peaceful endurance of Lithuanian Catholicism despite the threats it faced throughout history. After the 3rd partition of the Polish–Lithuanian Commonwealth in 1795, Lithuania became part of the Russian Empire. Poles and Lithuanians unsuccessfully rebelled against Russian authorities in 1831 and 1863. These two uprisings are connected with the beginnings of the hill: as families could not locate bodies of perished rebels, they started putting up symbolic crosses in place of a former hill fort.
When the old political structure of Eastern Europe fell apart in 1918, Lithuania once again declared its independence. Throughout this time, the Hill of Crosses was used as a place for Lithuanians to pray for peace, for their country, and for the loved ones they had lost during the Wars of Independence.
The site took on a special significance during the years 1944–1990, when Lithuania was occupied by the Soviet Union. Continuing to travel to the hill and leave their tributes, Lithuanians used it to demonstrate their allegiance to their original identity, religion and heritage. It was a venue of peaceful resistance, although the Soviets worked hard to remove new crosses, and bulldozed the site at least three times (including attempts in 1963 and 1973). There were even rumors that the authorities planned to build a dam on the nearby Kulvė River, a tributary to Mūša, so that the hill would end up underwater.
On September 7, 1993, Pope John Paul II visited the Hill of Crosses, declaring it a place for hope, peace, love and sacrifice. In 2000 a Franciscan hermitage was opened nearby. The interior decoration draws links with La Verna, the mountain where St. Francis is said to have received his stigmata. The hill remains under nobody's jurisdiction; therefore people are free to build crosses as they see fit. (-wiki)
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Instagram: inhiu
MetaPhrases (Translations)
from invisibility to visibility
An exploration of infrared radiation through an “operated” DSLR.
The final images were processed minimally. The result is based on the initial photos and achieving precise color balance through adjustment of the custom WB.
Pentax K-500 IR converted
I’ve returned from Hertfordshire, Royston to be precise. We said our goodbye’s just before 8am and made it back home by 11:45. The keynote there is I didn’t have to stop for a pee, credit for that has to be down to the medication I’m on for my prostate, although as usual the cramp in my legs was giving me gyp. I filled the tank in Royston’s Tesco’s, it was 199.9p a litre, last time I filled up here in mid May it was 174p, but the kicker was that petrol was 186p, why the 13p differential. Jesse put on a brave face but was a little twisty, he doesn’t like to say goodbye to has Nonna and Nonno, but he had a treat lined up for this morning, a visit to the cinema (for the first time) to see Lightyear. We’ve been watching the trailers all week, I wish I could have been with him to see his little face. My visit was just timed right to catch the field next to my daughters full of Poppies and other meadow flora. This was the same field that was covered in Phacelia on our last visit. Although I took many a photo of this field of blooms this photo I’m posting is probably my favourite (so far) of the week, which includes my summer solstice jaunt up in Northumberland. I took this photo with a long lens on Saturday morning on the dog walk, it had the minimal feel I was looking for. I have a crazy lot of photo’s to sift through at the moment so I won’t be hard pushed to post a few this week. I hope you all have had a good weekend.
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.
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.
To be precise, the title should read: Dubrovnik in the very early morning because this picture was taken at exactly 4:58am on a morning during the summer.
More on this photo: sumfinity.com/photos/croatia/dubrovnik/stradun-at-night/
Follow me on Instagram: www.instagram.com/nicotrinkhaus/
The precise origin of the practice of leaving crosses on the hill is uncertain, but it is believed that the first crosses were placed on the former Jurgaičiai or Domantai hill fort after the 1831 Uprising. Over the generations, not only crosses and crucifixes, but statues of the Virgin Mary, carvings of Lithuanian patriots and thousands of tiny effigies and rosaries have been brought here by Catholic pilgrims. The exact number of crosses is unknown, but estimates put it at about 55,000 in 1990 and 100,000 in 2006.
Aira Force, to be precise.
I'd say this is one of the most well known and/or visited waterfalls from the Lake District...and if it isn't, it should be.
This is a second visit for me and I'm pretty sure there was a tad more 'force' in the fall, the last time I was here. Even so, it's a lovely place to visit with a decent walk, a fair few steps in places, with plenty to distract you along the way.
I sacrificed the bridge for the sake of the 'pool' in this shot. Definitely personal preference and at least I'm consistent as I seem to recall I did that last time.
First of all, I wish everyone a great end to 2024 and an even better start of 2025!
This is a photo from my favorite 2024 hike - and it is of course Iceland, Landmannalaugar to be precise.
A place where the colors of the Rhyolite mountains are just insanely beautiful. Also one of those places where you'd likely ask yourself if this is a real place on earth - luckily it is.
For someone who almost exclusively hikes solo, being alone in such places is almost like a mystical experience. The silence and that view were worth the trip to Iceland by themselves.
Getting to this particular viewpoint requires wading the very cold Jokulgilskvisl River and, generally speaking, it's a tough hike. But it's well worth the effort.
I also made a video of this hike - for those interested it's the latest one on my YouTube channel.
I missed out the Larch Madness of 2024, for the reason that I was in a completely different continent at the peak of the larch season. Larch madness, so named for the precise and synchronous change of color by the Western larches, whose needles take on a amber hue as the temperatures start to dip in early October. Walking in a larch forest at this time is a surreal experience, with backlit trees exhibiting a golden hue. And since they grow in large clusters, the color is very pronounced both up close and from a distance.
This is one such larch grove at one of my favorite destinations for the larches. I happened to arrive at the right time to capture beautiful reflections at this golden lake in the eastern eaves of the Cascade range.
Okanogan Wenatchee National Forest
WA USA
En búsqueda de liberación
Cuando eres capaz de tomar toda esa información que has estado almacenando, acumulando por cierta cantidad de tiempo, convirtiéndola en algo más, algo más que espacio en tu cerebro, cuando eres capaz de hacer comparaciones y análisis propios, dejándote llevar por el conocimiento adquirido y tus propios instintos.
Nosotros, como seres humanos tenemos esas capacidades. Como artistas, creamos y buscamos interpretaciones de lo que conocemos, no buscamos respuestas precisas, solo posibilidades, mundos alternativos, opciones.
Tomé esta foto sobre un árbol caído cerca de mi trabajo, le pedí a mi modelo que se subiese y que sostuviera mi bitácora de bosquejos. Es de las pocas veces que trabajo con una modelo que sabe lo que hace, pero a fin de cuentas, una persona, así que le pedí que improvisara, que imaginara que pudiese estar haciendo una mujer sobre un árbol muerto con un libro en un bosque. Me gusta pensar que quiero incluir sus pensamientos dentro de mis conceptos, quiero que añadan más que sus cuerpos y sus movimientos, quiero incluir sus improvisaciones, sus intuiciones, sus vergüenzas, quiero añadir más de ellos que pueda complementarme a mi.
Cuando les comento sobre mis conceptos, creo que nunca me he sabido explicar claramente. Les digo que hacer, cómo hacerlo, lo hago yo primero de ser necesario, pero no entiendo si comprenden que quiero decir. Cuando les comento que se trata de crear personajes, creo que avanzo, o eso espero.
Quiero tomar toda mi información que he recopilado por años, más su información, y crear sinergia, un trabajo en conjunto.
A seek for release
When you're able to take all that information you've been storing, accumulating a certain amount of time, into something else, something more than space in your brain when you're able to make comparisons and own analysis, leaving out the acquired knowledge and your own instincts.
We as humans have these abilities. As artists, we seek to create an interpretations of what we know, we do not seek precise answers, only possibilities, alternative worlds, options.
I took this photo on a fallen tree near my work, I asked my model to come up and that would support my sketches journal. It is of the few times I work with a model who knows his stuff, but ultimately, a person, so I asked him improvise, to imagine that it could be doing a woman on a dead tree with a book in a forest . I like to think that I want to include their thoughts within my concepts, I want to add more than their bodies and their movements, I include their improvisations, their insights, their shame, I would add more of them that so it can complement me.
When I commented about my views, I believe that I have never been able to explain clearly. I tell them to do, how to do, I do it first if necessary, but do not understand if they understood what I mean. When I tell them about creating characters, I think I step up, I hope.
I want to I take all my information that I have collected for years, plus all of their information, and create synergy, working together.
Pocket cutter, which could be used by engineers for the opening of something not very massive. Possible the narrowing of the beam in one spot for more precise operations.
Just finished Dead Space and Dead Space 2, it was AWESOME! Very liked it, now it's my second favorite franchise after Mass Effect. Scary in some moments, but still dynamic and awesome. Cant wait for DS3.
And I hope the Severed DLC will port on PC.
Comments and fan-emotions from Dead Space would be cool.
P.S.: Which moment in DS2 was most *SCARY!1* for you? For me it was a sun on a school scene. I shoot it off from it's place (nervous, yup) and killed 2 monsters with it and with *WAAAAAAAGH* :3
¿Cuántas ventanas hay en Manhattan?
First of all, there can be no precise figure for the number of windows in Manhattan, simply because there are no uniform buildings in Manhattan. But according to the New York Times, one can estimate that there are approximately 47,000 buildings of all kinds in Manhattan, depending on the source. However, even knowing this fact may not help, since the rest would be pure guesswork.
Another boss-impressing approach might be to estimate the rough number of square blocks in Manhattan — roughly 200 by 10. Next, subtract 150 square blocks for Central Park, which leaves 1,850. Then estimate the average number of windows on one floor per street block and the average windows per floor per avenue block – the Times suggest about 25 (times 2), and 75 (times 2), respectively. This rounds off to about 200 windows per block floor.
However, the next problem is coming up with an average building height – something that the City Planning Department doesn’t track. Again, the Times guesses an average of 10 stories, making 2,000 windows per square block. Add another 500 hundred or so for small inward facing windows, and multiply those 2,500 windows by 1,850 blocks: 4.6 million windows total.
And unfortunately that guess may be as close as any obsessive urbanite can get. [NYT]
En primer lugar, no puede haber una cifra precisa del número de ventanas en Manhattan, simplemente porque no hay edificios uniformes en Manhattan. Pero según el New York Times, se puede estimar que hay aproximadamente 47.000 edificios de todo tipo en Manhattan, según la fuente. Sin embargo, incluso conocer este hecho puede no ayudar, ya que el resto serían puras conjeturas.
Otro enfoque que impresionaría al jefe podría ser estimar el número aproximado de bloques cuadrados en Manhattan: aproximadamente 200 por 10. A continuación, reste 150 bloques cuadrados para Central Park, lo que deja 1850. Luego calcule el número promedio de ventanas en un piso por bloque de calle y el promedio de ventanas por piso por bloque de avenida: el Times sugiere alrededor de 25 (por 2) y 75 (por 2), respectivamente. Esto redondea a unas 200 ventanas por piso de bloque.
Sin embargo, el siguiente problema es encontrar una altura de construcción promedio, algo que el Departamento de Planificación de la Ciudad no rastrea. Nuevamente, el Times adivina un promedio de 10 pisos, haciendo 2,000 ventanas por bloque cuadrado. Agregue otras 500 o más para las ventanas pequeñas que miran hacia adentro y multiplique esas 2500 ventanas por 1850 bloques: 4,6 millones de ventanas en total.
Y, desafortunadamente, esa conjetura puede ser lo más cercano que cualquier urbanita obsesivo puede estar. [Nueva York]
Always amazes me how precise and agile these guys are. Odin is our newest Tiercel and his first year as a father. An exceptionally good hunter and a real looker.
Hill of Crosses is a site of pilgrimage about 12 km north of the city of Šiauliai, in northern Lithuania. The precise origin of the practice of leaving crosses on the hill is uncertain, but it is believed that the first crosses were placed on the former Jurgaičiai or Domantai hill fort after the 1831 Uprising.Over the generations, not only crosses and crucifixes, but statues of the Virgin Mary, carvings of Lithuanian patriots and thousands of tiny effigies and rosaries have been brought here by Catholic pilgrims. The exact number of crosses is unknown, but estimates put it at about 55,000 in 1990 and 100,000 in 2006.
Over the generations, the place has come to signify the peaceful endurance of Lithuanian Catholicism despite the threats it faced throughout history. After the 3rd partition of the Polish–Lithuanian Commonwealth in 1795, Lithuania became part of the Russian Empire. Poles and Lithuanians unsuccessfully rebelled against Russian authorities in 1831 and 1863. These two uprisings are connected with the beginnings of the hill: as families could not locate bodies of perished rebels, they started putting up symbolic crosses in place of a former hill fort.
When the old political structure of Eastern Europe fell apart in 1918, Lithuania once again declared its independence. Throughout this time, the Hill of Crosses was used as a place for Lithuanians to pray for peace, for their country, and for the loved ones they had lost during the Wars of Independence.
The site took on a special significance during the years 1944–1990, when Lithuania was occupied by the Soviet Union. Continuing to travel to the hill and leave their tributes, Lithuanians used it to demonstrate their allegiance to their original identity, religion and heritage. It was a venue of peaceful resistance, although the Soviets worked hard to remove new crosses, and bulldozed the site at least three times (including attempts in 1963 and 1973). There were even rumors that the authorities planned to build a dam on the nearby Kulvė River, a tributary to Mūša, so that the hill would end up underwater.
On September 7, 1993, Pope John Paul II visited the Hill of Crosses, declaring it a place for hope, peace, love and sacrifice. In 2000 a Franciscan hermitage was opened nearby. The interior decoration draws links with La Verna, the mountain where St. Francis is said to have received his stigmata. The hill remains under nobody's jurisdiction; therefore people are free to build crosses as they see fit. (-wiki)
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This print reads almost like a child’s illustrated primer on speed. Steam locomotives, streamlined railcars, and a jaunty monoplane are each framed in circular vignettes, set against a bold checkerboard that echoes both Western textile design and traditional Japanese pattern logic. The drawing style is flattened and graphic—no attempt at atmospheric perspective—yet the machines themselves are rendered with enough specificity to be recognizable as contemporary marvels. That combination is key: the world is stylized, but the technology is real.
Stylistically, this sits squarely in the orbit of interwar modern design. There is a faint Art Deco sensibility in the geometry and repetition, but filtered through Japanese design principles—clarity of line, controlled palette, and an almost poster-like economy. The circular medallions function like windows onto progress, each isolating a machine as an object of fascination.
For children, and boys in particular, this is aspirational imagery. It is not fantasy in the fairy-tale sense; it is fantasy grounded in the present and near future. Japan in the 1920s–30s was rapidly industrializing and looking outward. These motifs introduce the child to a world defined by motion, engineering, and national advancement. Clothing becomes a kind of wearable narrative: one literally wraps the child in images of modernity.
For Japanese children, this had an additional layer. Unlike Western nursery imagery, which often lingered on pastoral or storybook themes, these prints align the child with the forward thrust of the nation. The locomotive and airplane are not just toys—they are emblems of participation in a modern, technologically capable society.
These lively prints, with their trains, automobiles, aircraft, and airships, were almost certainly produced by hand, though not in the sense of a single artisan painting each garment freehand. Rather, they belong to a highly skilled workshop tradition in which repeatable designs were executed through labor-intensive processes. The most likely technique is katazome, a method of stencil resist dyeing in which a rice paste resist is applied through finely cut paper stencils, then the cloth is dyed in successive stages. Each color requires its own stencil and careful alignment, so while the pattern can be repeated across the fabric, the work itself remains manual, precise, and time-consuming.
The visual character of these textiles reflects that method. The motifs are crisp and clearly bounded, the color fields flat but subtly varied, and the internal line work fine enough to suggest stencil cutting rather than mechanical printing. There is a slight liveliness to the surface, a sense that the dye has been absorbed into the fabric rather than laid uniformly on top of it. This distinguishes the cloth from industrial roller printing, which by the interwar period was widely available but tends to produce a more even and impersonal result. Here, the hand is still present, even as the imagery celebrates machines.
That tension is part of what makes these garments so compelling. They depict the newest forms of transportation, emblems of speed, engineering, and global modernity, yet they are realized through techniques rooted in preindustrial craft. The result is not a contradiction but a synthesis. The child who wore such a kimono was literally wrapped in images of the modern world, but that world was filtered through a disciplined, tactile process that maintained continuity with Japanese design traditions.
These textiles also occupy an intermediate position in production. They are neither unique works of art nor fully industrial products. Instead, they represent a form of controlled repetition, in which skilled artisans produced multiple examples of a design without surrendering the nuances of handwork. This aligns with their function as children’s garments. They needed to be durable, legible, and appealing, yet they also carried cultural weight, introducing the child to a visual vocabulary of modern life.
Seen in this light, the method of production reinforces the meaning of the imagery. The machines are modern, but they are not alien. They are rendered in a way that is orderly, approachable, and integrated into a broader aesthetic system. The cloth does not simply display trains or airplanes. It domesticates them, making them part of the patterned world the child inhabits.
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?
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.
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.
"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....
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
An evening in the Beyoğlu district, Galatasaray to be more precise, in İstanbul. We all need some color in our lives, some more, some less; some of us has more to offer than you can appreciate.
Pres HERE for venti on black
After seeing a shot like this from Robert Kroenert a few years ago I was inspired to give it a try. It seems like I missed it every time since the Trans America Pyramid light is only on for about one month during the Holiday Season.
This year, I was prepared and captured this scene with focal lengths ranging from 100-800mm. This scene was not as easy as I thought it would be, especially at 800mm. Some of the challenges while trying to frame the pyramid perfectly in the center of the tower were: the winds, tripod movement, precise manual focusing, camera shake, etc....One of the best parts of this scene is that the fog rolled in, just in time. More importantly it's placement between the city skyline and tower. It added an additional element to the scene and helped calm the highlights in the buildings. Much thanks to ACP for the location tips.
I hope everyone had a great Holiday Season and start to the New Year. May the light be with you, no matter what light your chasing. Jave
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.
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
Sian Pearl: You strike me as someone who could riff off of Virginia Woolf or F Scott Fitzgerald, or Alice Walker. You have a turn of phrase that is very precise.
Sian flatters me, of course.
An entire world view is contained within the gracefully arcing forms of this set of antlers. Antler is a fairly common medium in Inuit art, but the inclusion of a full pair is a rarity. Oopakak demonstrated extraordinary technical skill in his ability to carve figures in this delicate material. His training jewellery making comes into play in the precise and delicate details.
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!
A planter is an agricultural farm implement towed behind a tractor, used for sowing crops through a field. It is connected to the tractor with a draw-bar, or a three-point hitch. Planters lay the seeds down in precise manner along rows. Seeds are distributed through devices called row units. The row units are spaced evenly along the planter.