principles of uncertainty
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others their principles for the sake of their party :-(
Winston Churchill
HMM!! Protest Injustice! Resist!! Vote!!!
tricyrtis, toad lily, 'Fluffy Orchid', j c raulston arboretum, ncsu, raleigh, north carolina
- pOOnsh
Sherry Dress ⦿⦿ KINKY Event
(28 January - 23 February)
✦ 4 SIZES - Legacy, Perky, Reborn, Maitreya
✦ IT INCLUDES Dress, Underwear, HUD (21 colors)
✦ Compatible with Reborn juicy rolls
all info in the blog
“The principles of true art is not to portray, but to evoke.” – Jerzy Kosinski
Yesterday, I saw that I was not a member of a Flickr group anymore. In short, "kicked-out". I didn't break any rules neither posted anything obscene. I think I have HQ photos (pm me if I don't have). I actually supported this group that from time to time I award photos in their photo pool. I feel a bit bad because I don't know the "why" I was out of the group. I was thinking maybe my work are not good enough? Of course I know beauty is in the eyes of the beholder but doing such act to members reduces motivation, as well as inspiration specially to those who are still learning the art.
Anyway, I took the "higher path" - the path of understanding the admin / admins. If they feel they are gods that they can choose who they want to be part of their group then be it. They don't deserve respect and support at least from me. The fact that I have high regard for their group. Maybe they forgot they were newbies once...
I am thankful that most of the groups I support are not like this group. They are groups that nurture creativity, talent and friendships... And I see beauty in their photo pools. They showcase talents from professional and amateur Flickr users. They create a dynamic "melting pot" of people all over the world from different cultures and walks of life. They give chances to newbies like me to upgrade our game and learn from their works.
Ok, enough said... JUST SHARING MY THOUGHTS 😍 I guess my real life work in community inclusion and diversity just took a bit of me today 😇 thus writing what I observe and feel about this.
Happy Wednesday y'all! We call Wednesdays "little Saturday" here in my place so enjoy 💕
Surely we all have a responsibility to care for our blue planet. The future of humanity and indeed, all life on earth, now depends on us.
David Attenborough
Only we humans make waste that nature can’t digest.
Charles Moore
The Ocean is a mighty harmonist.
William Wordsworth
No water, no life. No blue, no green.
Sylvia Earle
Thank you for your kind visit. Have a beautiful day and spread love and kindness! ❤️❤️❤️
What united us as true sisters were the honor, the truth, the strength of the fight against falsehood, charming words from those who want to deceive, steal, lie or look at us like meat in the butcher's shop. Each of us has a brother who shares the same principles: equality, friendship, trust, honesty, loyalty.
We fight if needed: www.youtube.com/watch?v=SLNktQr3dyI
The principles of lust...
Are easy to understand
Do what you feel...
Feel until the end
The principles of lust...
Are burnt in your mind
Do what you want...
Do it until you find Love...
☽●☾ Blogpost for Something New Props 'n Poses
☽●☾ More info on my Blog:
lunaroseamethyst.blogspot.com/2023/05/principles-of-lust....
☽●☾ Landmark to Something New Props 'n Poses:
maps.secondlife.com/secondlife/Mythical%20Serenity/169/14...
☽●☾ #SE~ Witchery
Single Pose & Prop (Copy/Mod)
☽●☾ My Outfit:
♥ LeLutka Kaya Head 3.1
♥ Maitreya Mesh Body - Lara V5.3
♥ ~Edie's~ NEIA Skin (EvoX)
♥ VELOUR: The "Ipanema Body" for Maitreya
♥ Izzie's - Body Summer Blush apricot
♥ Izzie's - LeL Evo X - Summer Blush apricot
♥ Izzie's - Sultry Smokey Eyeshadows (LeLutka Evo X) (unpacked)
♥ Izzie's - Lipgloss (LeLutka Evolution HD)
♥ ~Edie's~ Leafy Greens Body Shine Maitreya
♥ *Tentacio* Maddy horn black
♥ *OAL* Eternal Love Circlet
♥ Hair: TRUTH Meadow - Essential
♥ ~~ Ysoral ~~ .:Luxe Wedding Ring Juliette:.
♥ *AvaWay* ASTROLOGY SIGNS Bracelets & Rings Set
♥ Nose Ring by Xia (xia.devinna)
♥ [QE] Godiva Boots Maitreya
♥ [QE] Tatiana Dress Maitreya
♥ [QE] Tatiana Garter Clips Maitreya
Taken at Elysion
I am wearing:
* [The Forge] Estelle Bodysuit. Exclusive for FaMESHed (NEW)
* Eudora3D Eden Pumps&Stockings. Exclusive for FaMESHed (NEW)
* [elikatira] Staci mesh hair. Exclusive for FaMESHed (NEW)
* AvaWay ABIGAIL Bracelets and Rings set. Exclusive for FaMESHed (NEW)
Catwa bento head - Catya
Maitreya Lara body
Lara Hurley skin - May
IKON Promise Eyes - Coffee
* The pose is from Luanes World BENTO poses - "Oxytocin". Exclusive for The XXX Original Event Opening June 13th (NEW)
picture taken @ The Blade Runner sim
maps.secondlife.com/secondlife/Cloud%20Lake/115/174/46
Some music for the background:
Enigma - Principles Of Lust
A Kusudama, for those not familiar with the term, is a modular papercraft origami model, where multiple units may be glued, sewed or connected with themselves using underlying geometric principles of polyhedra to form a spherical shape.
The word "Kusudama" literally means "Medicine Ball" when translated from Japanese. They were originally used for incense and potpourri.
Here you see 3 units connected together. A first step for assembling another kusudama, that I will show you tomorrow, have to make a photo first today ;-)
Wishing you all a lovely Tuesday !!
Sympathy
I know why the caged bird sings, ah me,
When his wing is bruised
and his bosom sore, _
When he beats his bars and
he would be free;
It is not a carol of joy or glee.
But a prayer that he sends
from his heart's deep core,
But a plea, that upward to
Heaven, he flings_
I know why the caged bird
sings!
Paul Laurence Dunbar
With heartfelt and genuine thanks for your kind visit. Have a beautiful day, be well, keep your eyes open, appreciate the beauty surrounding you, enjoy creating, and stay safe! ❤️❤️❤️
Schermer, North-Holland, The Netherlands.
facebook | website | maasvlakte book 2014 | portfolio book | getty images
© 2014 Bart van Damme.
The Schermer polder was reclaimed from the Schermer Lake between 1633 en 1635 by water extraction using windmills.
The principles of lust are easy to understand...
Do what you feel, feel until the end
The principles of lust, are burned in your mind...
Do what you want, do it until you find love
- Enigma
Tune: www.youtube.com/watch?v=ifBM3SY3G-s
Credits:
Thirst - Sinner's Harness, currently available at the October round of FaMESHedX.
Your kinky limo to FaMESHedX: maps.secondlife.com/secondlife/FaMESHed%20X/117/150/999
Thirst - Sinner's Jock, currently available at the October round of Equal 10.
Your kinky Delorean to Equal 10: maps.secondlife.com/secondlife/equal10/142/133/89
I could not have accomplished this photo without the sexy help of my husband Baz Exonar. To see his work, please visit his Flickr www.flickr.com/photos/bazexonar
Excerpt from www.toronto.ca/legdocs/mmis/2024/ph/bgrd/backgroundfile-2...:
Former Bank of Montreal Building, 309 Cherry Street
The property at 309 Cherry Street contains two buildings: the first is a two-storey, detached bank building on a squared plan with basement, flat roof, and sandstone parapet. The chamfered main entrance at its northwest corner addresses the Cherry and Villiers intersection in a manner typical of bank buildings from this era.
The building was constructed of buff Indiana Limestone, sandstone, and buff brick in 1920 to the Classical Revival designs of the architecture firm Darling & Pearson; it has additional iron, copper, and wood detailing.
All four of the building's elevations are visible from the public realm. The principal elevations (north and west) flanking Villiers and Cherry streets are symmetrical in design and flank the corner entrance. Both are faced in limestone ashlar masonry set in courses of alternating widths. They are organized into two bays, where each bay has a pair of centered and vertically arranged windows: a flat-headed window opening with shouldered architrave surround and stone sill, and, at the raised basement level, a plain, flat-headed window opening with metal grill. The chamfered corner entrance is emphasized by a sandstone staircase up to the Greek Order portico of the raised front porch that features traditional Doric elements of classical design and is quintessentially representative of the Classical Revival style. A triangular pediment sits atop the entablature, which is supported by two outer, engaged square piers and two inner Doric columns with the standard capitals and fluted shafts. The pediment has copper flashing along its upper edges
and a lone anthemion-style acroterion at its apex (two more anthemia were placed at each lower point of the pediment, but these have since been lost). The tympanum is left plain. Underneath the cornice there are mutules with guttae, and the cornice line breaks beyond the portico and runs across the length of both the north and west elevations; the copper flashing continues atop this extended cornice as well. Alternating triglyphs and metopes pattern the frieze, while guttae beneath the triglyphs break into the otherwise plain architrave. Like the cornice, the bottom line of the frieze extends outside the entablature to create a stringcourse along the north and west elevations. The main door opening has a stone architrave surround and cornice. Tying together the main entrance and the entablature, the frieze design in the entablature is repeated on a larger scale in wood carving over the door: two triglyphs and a metope with a clock inset. A pair of rectangular, vertical sidelights with iron grilles in a geometric pattern flank the door; smaller versions are inset to the door panels. The metal door handles, likely brass, are a simple and elegant curving design.
The three bays of the east elevation are comprised of buff brick set in an English Garden Wall bond. It originally had three segmental arch windows with stone sills and irregularly placed basement windows. Building permit elevations from 1980 illustrate how one of these windows has undergone several layers of alterations, from initial infill, a large rectangular opening, to its present small metal door and stairwell with landing; the basement windows have also been repositioned several times. A simple, rectangular chimney stack devoid of ornamentation projects from the southeast corner.
The south elevation has the same brick and bond as the east, but the façade is plain and without windows or decoration. Overall, the building retains a high degree of integrity in both its form and exterior decorative details, such that the original 1920 Darling & Pearson design is quite legible.
The Second Classical Revival (also referred to as Neo-Classical Revival, or Beaux-Arts Classicism) in Toronto was popular at the turn of the century, from around 1890 to 1930. The return to classical forms was influenced by the respected Ecole des Beaux-Arts in France, which taught and championed the classical principles to a generation of architects, and the seminal event of the 1892 World's Columbian Exposition in Chicago that became an international advertising platform for classically styled buildings, which featured heavily at the site. Post offices, libraries, and banks were typologies to which this style was frequently applied. Their façades typically emphasized a main, central entrance, while those who followed the Greek influence had plain surfaces with less adornment (in contrast to the Roman influence that favoured more layers of ornamentation).
However, the architrave does bear evidence of removed signage from previous occupants. Shell Canada Ltd. is listed as the property owner; they submitted a permit for alterations to build a basement entrance and a platform at the east elevation entrance. It was likely at this time (or even earlier) that the original window glazing, mullions, and transoms were replaced.
The design elements of classical architecture projected certain stereotypes within the minds of the public that banking institutions in particular wanted to associate with their business, such as endurance, integrity, and even wealth. Banks designed in the Classical Revival styles appeared like 'Temples of Finance' with their Greek or Roman orders, or even emulated strongboxes through the stone material of their exteriors and compact, balanced layouts. These features encouraged trust from potential clients and subtly communicated that this was a secure and reliable place to invest one's finances.
Packing my bags-going away
To a place where the air is clean
On Saturn
There's no sense to sit and watch the people die
There's no principles in what you say
No direction in the things you do
For your world is soon to come to a close
Tell me why are people like you so cold
We have come here many times before
To find your strategy to peace is war
Killing helpless men, women and children
That don't even know what they are dying for
We can't trust you when you take a stand
With a gun and bible in your hand
And a cold expression on your face
Saying give us what we want or we'll destroy
(Stevie Wonder)
To ordinary Ukrainian’s and all Irenic people everywhere; I stand with you.
www.flickr.com/groups/14779292@N24/
Saturn - PLAY
i look at this and think positive and negative charge and see the hand as the conductor. the back story is that smiley guy was grumpy a lot that day, perfecting his pouty lips, and his older brother was totally upbeat. just caught a moment when they switched protons and electrons.
This is Delia Mathews and Tyrone Singleton, both Principles of the Brirmingham Royal Ballet, performing Beauty and the Beast.
This is currently playing in the UK, see www.brb.org.uk/whats-on/event/beauty-and-the-beast-2019.
A story of love, a prince transformed into a beast, and despite his ugliness, only by finding true love could the curse be broken.
Beauty and the Beast (La Belle et la Bête) is a fairy tale written by French novelist Gabrielle-Suzanne Barbot de Villeneuve, published in 1740 in La Jeune Américaine et les contes marins.
With so much uncertainty in the world, it was a privilege to capture such amazing talent and beauty.
Thanks to Canon for providing this opportunity at the UK Photography Show 2019.
Shizen - the absence of pretense or artificiality.
Close-up of a loose thread on a white sun canopy in Cagliari. No processing apart from the square crop
The sixth of seven Zen aesthetic principles. You can see the others below.
.
Took alot of effort to get a good one but worth it in the end. Loving the sunsets at the moment.
Drysdale.
There is the purpose for everyone you meet
Some people come into your life to test you
Some to teach you and some to use you
and some to bring out the very best in you
Although He is everywhere, He is — if one may put it thus — always just out of reach, hidden from me. In this concealment, darkness, and void, my faith must seek out His countenance and His heart so that I may direct my prayer to Him. I must establish the inner point of contact and hold on to it, when — as constantly happens — it tries to elude me.
-The Art of Praying The Principles and Methods of Christian Prayer Formerly entitled
Prayer in Practice, Romano Guardini
The Birth of a Legend: Brief Background on the Shelby Cobra
In the early 1960s, automotive visionary Carroll Shelby envisioned a car that would combine American muscle with European agility. The result was the legendary Shelby Cobra —a fierce hybrid, born from coupling a potent American V8 engine with a lightweight British AC Ace chassis.
SIGNIFICANCE IN AMERICAN AUTOMOTIVE HISTORY
The Shelby Cobra stands as a monumental achievement in American automotive history. It broke the European stronghold on sports car racing and established the U.S. as a serious contender on the international stage. Winning the FIA World Sportscar Championship in 1965, the Cobra became the first American car to claim this prestigious title, sending shockwaves throughout the automotive world.
OVERVIEW OF ITS IMPACT ON RACING
But the Shelby Cobra’s legacy isn’t confined to its aluminum and steel composition. Its racing accomplishments are stuff of legend—from the rigorous 12 Hours of Sebring to the grueling 24 Hours of Le Mans. Through these competitions, the Cobra didn’t just achieve victories; it became an enduring symbol of American grit, audacity, and innovation.
1963 – 12 Hours of Sebring: THE AUDACIOUS DEBUT
THE RACE
The 12 Hours of Sebring, a cornerstone in the American endurance racing calendar, is often cited as a rite of passage for new marques seeking international prestige. The Florida race is notorious for its grueling track, a blend of asphalt and concrete that wears both man and machine down to their breaking points. When the Shelby Cobra made its appearance at the Sebring track in 1963, the automotive world was watching with a blend of curiosity and skepticism. Could this American upstart hold its own against the likes of Porsche and Ferrari?
PERFORMANCE AND IMPACT
The Cobras faced a myriad of issues from the outset, including mechanical problems that kept them from clinching the top spot. Yet, despite these setbacks, their performance was revelatory. With blistering speed on the straights and remarkable agility, the Cobras held their ground and gave the European stalwarts a run for their money. Although they didn’t win, the cars demonstrated their considerable potential, setting the stage for their future domination.
KEY DRIVERS AND OUTCOMES
The 1963 Sebring race featured a talented roster of drivers behind the wheels of the Shelby Cobras, including the likes of Dan Gurney and Phil Hill, both of whom had already etched their names in motorsports history. While mechanical issues prevented the team from seizing victory, the experience and data gathered from this race were invaluable. It provided Shelby and his team the necessary insights to refine the Cobra, turning it into a more formidable contender in subsequent races.
The 1963 12 Hours of Sebring may not have been a crowning achievement for the Shelby Cobra, but it was a critical moment of validation. It showed that this audacious American experiment in high-speed engineering was more than just a novelty—it was a serious contender on the global motorsports stage. And it was only a hint of greater glories to come.
DOMESTIC SUCCESS: THE SHELBY COBRA REIGN SUPREME ON HOME TURF
Brief Overview of the SCCA
The Sports Car Club of America (SCCA) has long been a bastion for grassroots motorsport in the United States. Established in 1944, the SCCA organizes a wide array of racing events, from amateur autocross to high-level road racing championships. The SCCA National Championships serve as the pinnacle of this ecosystem, a stage where the best in American racing talent convenes to duke it out for domestic supremacy. Within this context, the Championships serve as an essential proving ground for American-made cars, and this is where the Shelby Cobra came to make yet another indelible mark.
How Shelby Cobras Performed in the Series
In the annals of SCCA history, few cars have made as resounding an impact as the Shelby Cobra. Its entrance into the series was akin to a hurricane hitting a placid coastline; it disrupted established norms and immediately set new standards. Cobras didn’t just participate in the SCCA—they dominated. Their combination of raw power, nimble handling, and superior engineering made them almost unbeatable in various classes.
Under the stewardship of experienced drivers and talented mechanics, the Cobras racked up victories and titles, sweeping aside more established names with seeming ease. The car became a staple at SCCA events, its unique roar echoing as both a siren song for enthusiasts and a harbinger of defeat for competitors.
LASTING IMPACT IN DOMESTIC RACING
The Shelby Cobra’s dominance in the SCCA wasn’t just a series of isolated victories; it was a seismic shift in American road racing. The car’s performance emboldened other American manufacturers to aim higher, to think beyond domestic markets, and to set their sights on international racing glory. In essence, the Cobra became the gold standard, the benchmark against which new entrants measured their mettle.
Moreover, the Cobra’s success created a ripple effect that transcended the racetrack. It influenced automotive design, spurring innovation in aerodynamics, engine efficiency, and materials science. Its success also led to a surge in interest in motorsports among the American public, transforming what had been a niche hobby into a mainstream cultural phenomenon.
SHELBY COBRA’S CONTINUED INFLUENCE IN THE RACING WORLD
Long after its initial heyday, the Shelby Cobra continues to resonate in the world of motorsports. The car’s design principles, focused on achieving a perfect balance between raw power and agile handling, have become a blueprint for sports car engineering. Subsequent generations of racers and automakers alike find themselves revisiting the Cobra’s playbook, keen on capturing even a fraction of its groundbreaking magic. Numerous racing events, including vintage and historic races, regularly feature Cobras—both original and replica—as testament to its everlasting appeal and effectiveness.
Source: CLASSIC RECREATIONS
* Car photographed at 2025 British Car Fest, Harper Junior College, Palatine, IL
Chassis No.: CSX. 3033
>>> Only question (in my mind) is [should the Cobra emblem in the upper left corner remain............or be removed? Viewers can give your opinions if you so choose.]
Le bâtiment Richard Meier, d'un blanc éclatant, se dresse au cœur de la nature environnante. Que les visiteurs se réjouissent : là où l'art et le nouveau bâtiment du musée s'harmonisent, ils seront les gagnants. Ici, pas de compétition pour occuper la vedette, mais un lieu empreint d'art, un lieu qui révèle sa vraie nature et offre un écrin aux œuvres de l'artiste-mécène du musée ainsi qu'à l'art contemporain.
« Mon architecture ouverte et transparente crée des transitions fluides entre l'intérieur et l'extérieur et reflète le même lien avec la nature que celui exprimé dans les œuvres de Hans Arp. »
En tant que l'un des plus grands architectes de musées internationaux, Richard Meier se réfère dans son architecture aux principes du modernisme classique, un style qui a connu son apogée au début du XXe siècle. Cette époque a également façonné l'œuvre du duo d'artistes Hans Arp et Sophie Taeuber-Arp. Le bâtiment de Meier est baigné de lumière et semble emmener les visiteurs hors de leur quotidien. Ici, les œuvres trouvent un espace propice à leur épanouissement.
The dazzling white Richard Meier Building stands out in the heart of the surrounding nature. Visitors can rejoice: wherever art and the new museum building harmonize, they will be the winners. Here, there's no competition for the spotlight, but a place imbued with art, a place that reveals its true nature and provides a showcase for the works of the museum's artist-patron as well as contemporary art.
"My open and transparent architecture creates seamless transitions between indoors and outdoors and reflects the same connection with nature expressed in the works of Hans Arp."
As one of the greatest international museum architects, Richard Meier refers in his architecture to the principles of classical modernism, a style that reached its peak in the early 20th century. This era also shaped the work of the artist duo Hans Arp and Sophie Taeuber-Arp. Meier's building is bathed in light and seems to transport visitors away from their everyday lives. Here, the works find a space conducive to their development.
At some point it was bound to happen. The edifice of reality slips and there it is: the essense of reality.
España - Málaga - Ronda - Alminar de San Sebastian
ENGLISH
San Sebastian Minaret
For nearly 700 years Ronda was an Islamic city, and during this time is believed to have had 7 or 8 mosques, none of which exist today, except for the Minaret of San Sebastian which was converted into a bell tower after the adjacent mosque was reconsecrated a Christian church. It was here in 1485 that Ferdinand II is believed to have ordered a mass to offer thanks for the capture of Ronda.
The mosque wasn’t particularly large, but being the closest to the central mosque frequented by the city’s rulers and elite families, the mosque in Plaza Abul Beka probably served as the main mosque for merchants and middle ranking families of the city.
Originally the mosque minaret was built from locally quarried stone slabs, this is the bottom level with the horse-shoe arch entrance leading to an office or storage room. From two side it appears the stonework is incomplete, as if the structure had been destroyed, and then rebuilt using brick. However, archeologists now believe that an event much less destructive may have been the cause – money.
It appears that the minaret couldn’t be completed in stone, and the original builders switched to brick for the top of the first level, and all of the second level upto the line of green glazed bricks between the second and third levels.
We now believe the minaret was a two level structure with an open patio on the third level where the muezzin (Islamic priest) would call the faithful to prayer. It is possible that during the hot summer months a canopy or umbrella may have been erected, but certainly there is no evidence that the minaret ever had a built-in third level.
Of course to serve as a bell tower the third level would need to have a roof built with supporting beams to carry the weight of cast-iron bells. Fortunately the church elders weren’t insensitive to the original design, and the roof of the third level was built following mudejar principles.
Some historians have speculated the church tower may have been altered by Moriscos (Muslims who were forcibly converted to Christianity), and who would not want to destroy all remnants of their former city.
Coincidentally, the church was utterly destroyed in the 1600s during the Morisco uprisings that led to their expulsion to North Africa. It is possible the minaret was purposely left standing as a permanent reminder to Moriscos of all they had lost.
In 1931 the Minaret of San Sebastian was declared a national monument of historic importance.
*******************************************************************************
Alminar de San Sebastian
Minarete que originalmente formó parte de una mezquita y posteriormente de la desaparecida Iglesia de San Sebastián de Ronda. Se trata de una torre de planta cuadrada en la que se distinguen tres zonas: una inferior, construida en piedra con una puerta rematada por un arco de herradura y alfiz; una zona intermedia construida en ladrillo que data, al igual que la zona anterior, del siglo XIV; y una zona superior también de ladrillo, construida tras la conquista cristiana de la ciudad, que servía de campanario.
"The principles of true art is not to portray, but to evoke." - Jerzy Kosinski
Title: "S8 XCIII" 5x7"
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You can use an eraser on the drafting table or a sledge hammer on the construction site.
#FrankLloydWright
Three Brothers El Capitan Merced River Yosemite Autumn Colors Red Yellow Orange Green Leaves Fuji GFX100! Yosemite National Park California Autumn Colors Fall Foliage Fine Art Landscape Nature Photography! Elliot McGucken Master Fine Art Luxury Photography Fuji GFX 100 !
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All my photography celebrates the physics of light! The McGucken Principle of the fourth expanding dimension: The fourth dimension is expanding at the rate of c relative to the three spatial dimensions: dx4/dt=ic .
Lao Tzu--The Tao: Nature does not hurry, yet everything is accomplished.
Light Time Dimension Theory: The Foundational Physics Unifying Einstein's Relativity and Quantum Mechanics: A Simple, Illustrated Introduction to the Unifying Physical Reality of the Fourth Expanding Dimensionsion dx4/dt=ic !: geni.us/Fa1Q
"Between every two pine trees there is a door leading to a new way of life." --John Muir
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“The clearest way into the Universe is through a forest wilderness.” --John Muir
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“The mountains are calling and I must go.” --John Muir
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All art is but imitation of nature.-- Seneca (Letters from a Stoic - Letter LXV: On the First Cause)
The universe itself is God and the universal outpouring of its soul. --Chrysippus (Quoted by Cicero in De Natura Deorum)
Season of mists and mellow fruitfulness
Close bosom-friend of the maturing sun
Conspiring with him how to load and bless
With fruit the vines that round the thatch-eves run;
To bend with apples the moss'd cottage-trees,
And fill all fruit with ripeness to the core;
To swell the gourd, and plump the hazel shells
With a sweet kernel; to set budding more,
And still more, later flowers for the bees,
Until they think warm days will never cease,
For Summer has o'er-brimm'd their clammy cells. --To Autumn. by John Keats
Photographs available as epic fine art luxury prints. For prints and licensing information, please send me a flickr mail or contact drelliot@gmail.com with your queries! All the best on your Epic Hero's Odyssey!
The Lady in the Wind! Antelope Canyon Angels, Frozen Wind, & Waves of Red Sandstone! Fine Art Landscape Photography Lightroom HDR! High Resolution Nikon D810 + Sharp AF-S NIKKOR 28-300mm f/3.5-5.6G ED VR from Nikon Lens Nikon! Scenic Elliot McGucken Fine Art Photos.
Wikipedia reports: Antelope Canyon is a slot canyon in the American Southwest. It is on Navajo land east of Page, Arizona. Antelope Canyon includes two separate, scenic slot canyon sections, referred to individually as "Upper Antelope Canyon" or "The Crack"; and "Lower Antelope Canyon" or "The Corkscrew." The Navajo name for Upper Antelope Canyon is Tsé bighánílíní, which means 'the place where water runs through rocks'. Lower Antelope Canyon is Hazdistazí (called "Hasdestwazi" by the Navajo Parks and Recreation Department), or 'spiral rock arches'. Both are in the LeChee Chapter of the Navajo Nation. The canyons are accessible by guided tour only."
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Ralph Waldo Emerson. The happiest man is he who learns from nature the lesson of worship.
Lucius Annaeus Seneca: On entering a temple we assume all signs of reverence. How much more reverent then should we be before the heavenly bodies, the stars, the very nature of God!
John Muir: All the wild world is beautiful, and it matters but little where we go, to highlands or lowlands, woods or plains, on the sea or land or down among the crystals of waves or high in a balloon in the sky; through all the climates, hot or cold, storms and calms, everywhere and always we are in God's eternal beauty and love.
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Ralph Waldo Emerson. The happiest man is he who learns from nature the lesson of worship.
An Avant-garde Home from 1933
The Sonneveld House, designed by architects Leendert van der Vlugt and Johannes Andreas Brinkman, for Albertus Sonneveld, director of the Van Nelle Factory, is a clear example of the principles of the House Machine theorized by Le Corbusier and represented in the Netherlands by the Nieuwe Bouwen, the Dutch branch of functionalism. It is a comfortable house as a machine, designed around its inhabitants, efficient and hygienic, thanks to new materials can provide light, air and needed to live in complete psychophysical wellbeing space, thus responding to the five principles that Le Corbusier stipulated in his book “Towards a New Architecture” in 1921.
Sonneveld House illustrates how the influence of the new trends in architecture were received by the upper middle class.
#3 Real is Emotional
"Why does being real hurt so much?" asked Harper.
"I think humans feel the emotions of nature. It's kind of magical really. The willow weeps, but never sheds a tear, the hyena laughs, but never smiles and the dandelion carries hope yet knows of no tomorrow. Humans carry the weight of nature so nature can be beautiful."
"It is rather tiring Mr. Rabbit," announced Harper.
"That's what power naps are for."
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"We have not overcome our condition, and yet we know it better. We know that we live in contradiction, but we also know that we must refuse this contradiction and do what is needed to reduce it. Our task as [humans] is to find the few principles that will calm the infinite anguish of free souls. We must mend what has been torn apart, make justice imaginable again in a world so obviously unjust, give happiness a meaning once more to peoples poisoned by the misery of the century. Naturally, it is a superhuman task. But superhuman is the term for tasks [we] take a long time to accomplish, that’s all."
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All my photography celebrates the physics of light! dx4/dt=ic! Light Time Dimension Theory: The Foundational Physics Unifying Einstein's Relativity and Quantum Mechanics: A Simple, Illustrated Introduction to the Physical: geni.us/Fa1Q
Ralph Waldo Emerson. The happiest man is he who learns from nature the lesson of worship.
Lucius Annaeus Seneca: On entering a temple we assume all signs of reverence. How much more reverent then should we be before the heavenly bodies, the stars, the very nature of God!
John Muir: All the wild world is beautiful, and it matters but little where we go, to highlands or lowlands, woods or plains, on the sea or land or down among the crystals of waves or high in a balloon in the sky; through all the climates, hot or cold, storms and calms, everywhere and always we are in God's eternal beauty and love. So universally true is this, the spot where we chance to be always seems the best.
Die Michaeliskirche ist das Werk von Bischof Bernward von Hildesheim (950/960 - 1022), vorbildlicher Bischof, Gelehrter und Förderer der Kunst. Die Kirche ist nach den Prinzipien des römischen Architekten Vitruv (1. Jahrhundert) erbaut, die zur Zeit von Bernward wiederentdeckt wurden. Die Michaeliskirche ist trotz vieler Schäden und Zerstörungen im Laufe der Jahrhunderte noch (oder wieder) in der originalen Gestalt zu sehen. Ein seltenes und bedeutsame Werk der Baukunst im ottonischen Zeitalter.
St. Michael's Church is the work of Bishop Bernward of Hildesheim (950/960–1022), an exemplary bishop, scholar, and patron of the arts. The church was built according to the principles of the Roman architect Vitruvius (1st century), which were rediscovered during Bernward's time. Despite much damage and destruction over the centuries, St. Michael's Church can still be seen (or has been restored) in its original form. A rare and significant work of architecture from the Ottonian era.
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Exalt your photography with Golden Ratio Compositions!
Golden Ratio Compositions & Secret Sacred Geometry for Photography, Fine Art, & Landscape Photographers: How to Exalt Art with Leonardo da Vinci's, Michelangelo's!
Epic Landscape Photography:
A Simple Guide to the Principles of Fine Art Nature Photography: Master Composition, Lenses, Camera Settings, Aperture, ISO, ... Hero's Odyssey Mythology Photography)
All my photography celebrates the physics of light! dx4/dt=ic! Light Time Dimension Theory: The Foundational Physics Unifying Einstein's Relativity and Quantum Mechanics: A Simple, Illustrated Introduction to the Physical: geni.us/Fa1Q
Ralph Waldo Emerson. The happiest man is he who learns from nature the lesson of worship.
Malibu Sea Cave Milky Way Sunset Dusk Fine Art Landscape Nature Photography! Fujifilm GFX 100 Medium Format Mirrorless Camera! Elliot McGucken Fuji GFX100 Storm Clouds Breaking! Fujifilm Fujinon Gf 23mm F/4 R Lm Wr Lens GFX Medium Format!
Epic Poetry inspires all my photography: geni.us/9K0Ki Epic Poetry for Epic Landscape Photography: Exalt Fine Art Nature Photography with the Poetic Wisdom of John Muir, Emerson, Thoreau, Homer's Iliad, Milton's Paradise Lost & Dante's Inferno Odyssey
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Some of my epic books, prints, & more!
Exalt your photography with Golden Ratio Compositions!
Golden Ratio Compositions & Secret Sacred Geometry for Photography, Fine Art, & Landscape Photographers: How to Exalt Art with Leonardo da Vinci's, Michelangelo's!
Epic Landscape Photography:
A Simple Guide to the Principles of Fine Art Nature Photography: Master Composition, Lenses, Camera Settings, Aperture, ISO, ... Hero's Odyssey Mythology Photography)
All my photography celebrates the physics of light! dx4/dt=ic! Light Time Dimension Theory: The Foundational Physics Unifying Einstein's Relativity and Quantum Mechanics: A Simple, Illustrated Introduction to the Physical: geni.us/Fa1Q
Ralph Waldo Emerson. The happiest man is he who learns from nature the lesson of worship.
Lucius Annaeus Seneca: On entering a temple we assume all signs of reverence. How much more reverent then should we be before the heavenly bodies, the stars, the very nature of God!
John Muir: All the wild world is beautiful, and it matters but little where we go, to highlands or lowlands, woods or plains, on the sea or land or down among the crystals of waves or high in a balloon in the sky; through all the climates, hot or cold, storms and calms, everywhere and always we are in God's eternal beauty and love. So universally true is this, the spot where we chance to be always seems the best.