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Many old structures are left from the days the flume ran through the canyon diverting Fossil Creek's water to the Irving power plant.
The Flume Trail starts at the old Irving Power Plant location and follows the line of the now-removed flume that carried the water from the dam to the power plants for generating electricity. The trail ends at the old Fossil Creek Dam, a four and a half mile trek one way. The trail ascends steadily about 500 feet from an elevation of 3769 foot at the trailhead over the first mile. For the next three and a half miles, the trail rolls gently several times in approximately 150 foot elevation changes before arriving at the dam.
The trail is approximately 500 feet up the side of the canyon, offering fantastic views of the canyon and creek below. There is no creek acccess between the trailhead and the dam. The trail is very exposed and extremely hot in the warmer months. Hikers should carry at least four quarts of water. The trail is in the Fossil Creek Wilderness. Bikes and mechanized vehicles are prohibited.
Camping is prohibited along Flume Trail, from the Fossil Creek Dam for several miles downstream (west) along the canyon. Flume Trail meets Fossil Springs Trail at the old dam. Continue another half mile through a narrow section of the canyon to find easy camping near the creek in the springs area. Camping is permitted during the fall-winter season 100 feet or more from the creek. A half mile from the dam is a marked side trail leading to the first spring source, where many hikers choose to refill their water bottles.
Fossil Creek is one of two Wild and Scenic rivers in Arizona. A series of springs gush 20,000 gallons a minute year-round at the bottom of a 1,600 foot deep canyon, creating a lush riparian oasis rich with life. Over the years these calcium laden waters have laid down huge deposits of a type of limestone called travertine, creating deep pools for miles along the creek. The Wilderness and surrounding area are on the Tonto and Coconino National Forests, and are managed by the Coconino National Forest.
During the spring-summer season, camping is prohibited anywhere in the Wilderness and surrounding area, and a reserved parking permit is required to park at the Flume trailhead at the Irving parking lot. See Flume Trail and Fossil Creek on the USFS Coconino National Forest website
Photo by Deborah Lee Soltesz, March 11, 2016. Source: USFS Coconino National Forest.
Concerns over a "monstrous" sculpture in Folkestone Harbour for the 2014 Triennial have been rebuffed by festival organisers.
The unfinished artwork by Dutch artist Gabriel Lester is inspired by his time in China when he saw bamboo scaffolding on buildings.
It is being built on the historic railway viaduct which was a key place of embarkation for soldiers in the First World War, the arrival of refugees fleeing Belgium and later as a ferry port to France.
FILE PAI
Paulista Avenida Interativa
Paulista Interactive Avenue
ESPAÇO FIESP
Lawrence Malstaf - Shrink 01995 - Bélgica Belgium
Christoph Haag, Martin Rumori, Franziska Windisch & Ludwig Zeller - Open Circuit - Alemanha | Germany
Alessandro Ludovico & Paolo Cirio - Face to Facebook - Reino Unido | United Kingdom
Coletivo COLETORES: Toni William, Flávio Camargo, Daniela Cordeiro & Karina Marques - Máquina/Brinquedo - Brasil | Brazil
Eduardo Omine - Fragments In Curved Air - Brasil | Brazil
Elie Zananiri, Hugues Bruyère & Mathieu Léger - Peptone - Canadá | Canada
Esther Hunziker - DUMP - Suíça | Switzerland
Julian Jaramillo Arango - The Happy Cube - Brasil | Brazil
Lauren McCarthy - Conversacube - Estados Unidos | United States
NaJa & deOstos (Project Team: Ricardo de Ostos, Nannette Jackowski, Manuel Jimenez, Thomas Sicouri) - Ectoplasmatic Housing - Reino Unido | United Kingdom
PirarucuDuo: Fernando Visockis & Thiago Parizi - Acusmograma - Brasil | Brazil
Rafaël Rozendaal - Towards and Beyond.com - Holanda | Netherlands
Ricardo Iglesias García - Surveillance Cameras: they are alive! - Espanha | Spain
Tamás Waliczky - Marionettes - Hungria | Hungary
Yoshi Akai - Heart 'n' Beat (Biorhythm Synthesizer) - Japão | Japan
FNAC
Arnt Jensen - LIMBO - Dinamarca | Denmark
Gaijin Games - BIT TRIP BEAT - Estados Unidos | United States
Mediatronic - Monsters Probably Stole My Princess - Reino Unido | United Kingdom
METRÔ TRIANON-MASP
Rafaël Rozendaal - Carnal Fury.com - Holanda | Netherlands
Rafaël Rozendaal - Hot Doom.com - Holanda | Netherlands
Rafaël Rozendaal - Hybrid Moment.com - Holanda | Netherlands
Rafaël Rozendaal - Jello time.com - Holanda | Netherlands
Rafaël Rozendaal - The Persistence of Sadness.com - Holanda | Netherlands
MASP
Rejane Cantoni & Leonardo Crescenti - Solo - Brasil | Brazil
LIVRARIA CULTURA
Arnt Jensen - Limbo - Dinamarca | Denmark
Daniela Arrais & Luiza Voll - Invente um sorriso - Brasil | Brazil
Ricardo Barreto, Maria Hsu & AMUDI - feelMe - Brasil | Brazil
That Game Company: Jenova Chen - flOw - Estados Unidos | United States
CINE LIVRARIA CULTURA
Matthias Hoegg - August - Inglaterra | England
Andrew Ruhemann & Shaun Tan - The Lost Thing - Austrália / Australia
Animatório - Neomorphus - Brasil | Brazil
Bertrand Bey & Pierre Ducos - La Détente - França | France
Birdo Studio: Luciana Eguti, Paulo Muppet & Amir Admoni - Monkey Joy - Brasil | Brazil
Coala Filmes: Cesar Cabral - Tempestade - Brasil | Brazil
Fábio Yamaji - O Divino, de repente - Brasil | Brazil
Max Loubaresse, Marc Bouyer & Anthony Vivien - Salesman Pete - França | France
INSTITUTO CERVANTES
*Instalações | Installations:
Andreas muk Haider - skia - Áustria | Austria
Tim Coe - A Perfect Face - Áustria | Austria
*Anima+:
8-Bits Team: Valere Amirault, Jean Delaunay, Sarah Laufer & Benjamin Mattern - 8-Bits - França | France
Alan Becker - Animator Vs Animation - Estados Unidos | United States
Alessandro Novelli - The Alphabet - Itália | Italy
Alexander Gellner - 1 Minute Puberty - Alemanha | Germany
Andrew Huang - The Gloaming - Estados Unidos | United States
Ben Thomas & Leo Bridle - Train of Thought - Inglaterra | England
Birdo Studio: Luciana Eguti & Paulo Muppet - Bonequinha do Papai - Brasil | Brazil
Birdo Studio: Luciana Eguti & Paulo Muppet - Caixa - Brasil | Brazil
Birdo Studio: Luciana Eguti, Paulo Muppet & Allan Sieber - Animadores - Brasil | Brazil
Birdo Studio: Luciana Eguti, Paulo Muppet & Jimmy Leroy - Pequeno Cidadão - Brasil | Brazil
Brendan Angelides & Cyriak Harris - Eskmo - Estados Unidos | United States
Christopher Alender - Eye of The Storm - Estados Unidos | United States
Coala Filmes: Cesar Cabral - Dossiê Rê Bordosa - Brasil | Brazil
Dante Zaballa & Matias Vigliano - The Head - Argentina | Argentina
David O’Reilly - Please Say Something - Irlanda e Alemanha | Ireland and Germany
David O’Reilly - The External World - Irlanda e Alemanha | Ireland and Germany
David Wilson - Japanese Popstars “Let Go” - Inglaterra | England
Dominik Käser, Martin-Sebastian Senn, Mario Deuss, Niloy J. Mitra & Mark Pauly - Silhouettes of Jazz - Estados Unidos | United States
Esteban Diácono - Ólafur Arnalds - Ljósið - Argentina | Argentina
Fábio Yamagi & Denis Kamioka ‘Cisma’ - Photocopy Romance - Brasil | Brazil
Fernando Sanches - Xixi no Banho - Brasil | Brazil
Gabrielle Lissot, Pierre Lippens, Laurent Jaffier & Nicolas Deprez - Tous Des Monstres (All Monsters) - França | France
Guilherme Marcondes - Tyger - Brasil | Brazil
Guillermo Madoz - Head Honcho - Argentina | Argentina
Hi-Sim - Jump - Inglaterra | England
Home de Caramel - Alone Together - Espanha | Spain
Jasmin Lai - Brave - Estados Unidos e Tailândia | United States and Thailand
Jason Wishnow - Oedipus - Inglaterra | England
Jean-Paul Frenay - Artificial Paradise, Inc - Bélgica e França | Belgium and France
Joanna Lurie - Tree’s Migration - França | France
Joaquin Baldwin - Sebastian's Voodoo - Estados Unidos | United States
Joaquin Baldwin - The Windmill Farmer - Estados Unidos | United States
Ken Turner - TIM - Canadá | Canada
Lee Tao - Seedling - Canadá / Canada
Lemeh42 - Wool & Water - Itália / Italy
Leszek Plichta - Dreammaker - Polônia e Alemanha | Polland and Germany
Malcolm Sutherland - Bout - Canadá | Canada
Malcolm Sutherland - Umbra - Canadá | Canada
Marc Silver - There Are No Others - Inglaterra | England
Marlies van der wel - Protest Flatness - Holanda | Netherlands
Martin Piana - LUMI - Argentina | Argentina
Martin Woutisseth - Stanley Kubrick, a filmography - França | France
Matatoro Team: Mauro Carraro, Raphaël Calamote & Jérémy Pasquet - Matatoro - França | France
Matthias Hoegg - August - Inglaterra | England
Matthias Hoegg - Thrusday - Inglaterra | England
Max Hattler - SPIN - Inglaterra | England
Meindbender Animation Studio - The Pirate - Suécia | Sweden
Michael Paul Young - The Interpretation - Estados Unidos | United States
Michal Socha - Chick - Polônia | Polland
Michal Socha - Koncert - Polônia | Polland
Mr McFly - Baseball - França | France
MUSCLEBEAVER: Tobias Knipf & Andreas Kronbeck - How your money works - Alemanha | Germany
Napatsawan Chirayukool - What makes your day? - Tailândia e Inglaterra | Thailand and England
Pahnl - Nowhere near here - Inglaterra | England
Peppermelon TV - Advanced Beauty - Inglaterra e Estados Unidos | England and Unites States
Peppermelon TV - First - Inglaterra e Estados Unidos | England and Unites States
Peppermelon TV - Target - Friends with you - Inglaterra e Estados Unidos | England and Unites States
Robert Seidel - Vellum - Alemanha | Germany
Rogier van der Zwaag Nobody Beats The Drum - Grindin - Holanda | Netherlands
Ross Phillips - 5 Second Projects ( Ballons) - Inglaterra | England
Ross Phillips - 5 Second Projects ( Reverse) - Inglaterra | England
Sasha Belyaev - The Rite of Youth - Letônia | Latvia
Scott Pagano - Pororoca - Estados Unidos | United States
Scott Pagano - Trust In The 'M' Machine - Estados Unidos | United States
Serene Teh - Parkour - Cingapura | Singapore
Stephen Irwin - Black Dog's Progress - Inglaterra | England
Stephen Irwin - Horse Glue - Inglaterra | England
Sylvain Marc - Cocotte Minute - França | France
Sylvain Marc - Fertilizer Soup - França | France
Tanya Aydostian - L'autre - França | France
Taylor Price - Hunt - Canadá e Estados Unidos | Canada and United States
Treat Studios - E4 - Inglaterra | England
Veronika Obertová - Viliam - Eslováquia | Slovakia
Wesley Rodrigues - Pinga com Saquê - Brasil | Brazil
Zach Cohen - The Chair Not Taken - Itália | Italy
Andrew Ruhemann & Shaun Tan - The Lost Thing - Austrália / Australia
Animatório - Neomorphus - Brasil | Brazil
Bertrand Bey & Pierre Ducos - La Détente - França | France
Birdo Studio: Luciana Eguti, Paulo Muppet & Amir Admoni - Monkey Joy - Brasil | Brazil
Coala Filmes: Cesar Cabral - Tempestade - Brasil | Brazil
Fábio Yamaji - O Divino, de repente - Brasil | Brazil
Max Loubaresse, Marc Bouyer & Anthony Vivien - Salesman Pete - França | France
*Game:
Colibri Games - The Tiny Bang Story - Rússia | Russia
*Maquinemas | Machinimas:
Tom Jantol - Brief Encounter - Croácia / Croatia
Tom Jantol - Dear Fairy - Croácia | Croatia
Tom Jantol - Duel - Croácia | Croatia
Tom Jantol- The Remake - Croácia | Croatia
Tom Jantol- Wizard of OS: the fish incident - Croácia | Croatia
METRÔ VILA MADALENA
Alex May & Rudolf Kremers - Eufloria - Reino Unido | United Kingdom
Alexander Bruce - Hazard: The Journey of Life - Austrália | Australia
Christoffer Hedborg - Toys - Suécia | Sweden
Paolo Pedercini / Molleindustria - "Every Day The Same Dream" - Estados Unidos e Itália | United States and Italy
Richard E Flanagan / Phosfiend Systems - FRACT - Canadá | Canada
METRÔ CONSOLAÇÃO
Soraya Braz e Fábio Fon - Via Invisível - Brasil | Brazil
METRÔ BRIGADEIRO
Soraya Braz e Fábio Fon - Via Invisível - Brasil | Brazil
CENTRO CULTURAL SÃO PAULO
*Workshop:
Claudia González & Christian Oyarzún - Open Source Generative Electronic Music Devices – Chile | Chile
Cristiano Rosa - DIY Together – Brasil | Brazil
Hye Yeon Nam & Carl DiSalvo - Huggable Nature, Community Workshop – Estados Unidos | United States
Ricardo Palmieri -VideoMapping e Realidade Expandida | VideoMapping and Expanded Reality – Brasil | Brazil
*Symposium:
19.07.2011
André Rangel - Portugal | Portugal
Metacriação e composição algorítmica: Reflexões sobre a distância entre o criador e o público | Meta-creation and algorithmic composition - Reflections on the distance from the creator to the audience
Ali Miharbi - Turquia | Turkey
Top-down X Bottom-up: Obras recentes | Top-down vs. Bottom-up: Recent Works
Eric Siu - Honk Kong e Japão | Hong Kong and Japan
Corpo dirigido pela mídia: Massagem de karaokê | Media Driven Body: Karaoke Massage
Ben Jack - Nova Zelândia | New Zealand
Cérebros, computadores e emergência: Mágica mental em um mundo digital | Brains, computers and emergence: Mental magic in a digital world
Kazushi Mukaiyama - Japão | Japan
IJIROS
Mesa Redonda | Round Table
Daniel Gonzalez Xavier (coordenação e mediação | coordination and mediation) Brasil | Brazil; Fernando Velázquez - Montevidéu-Uruguai; Milton Sogabe - Brasil | Brazil; Miguel de Castro Perez - Brasil | Brazil; Ricardo Palmieri - Brasil | Brazil; Vanessa Fort - Brasil | Brazil
Processos mistos de criação e gestão de práticas artísticas, tecnológicas e culturais: Uma aproximação aos Encontros AVLAB e outros modelos de gestão compartilhada e em constante trânsito físico/online | Mixed processes of creation and management of artistic, technological and cultural practices: An approach to the AVLAB Meetings and other shared and in constant physical/online transit management models
20.07.2011
Andreas muk Haider - Áustria | Austria
Skia
Hye Yeon Nam - Coréia e Estados Unidos | Korea and United States
Por favor, sorria | Please Smile
Julian Jaramillo Arango - Brasil | Brazil
O Cubo Feliz | The Happy Cube
Matt Roberts - Estados Unidos | United States
Quem está no controle? Criando arte com dados em tempo real e interação do usuário | Who is in control? Creating art using real-time data and user interaction
Ricardo Iglesias García - Espanha | Spain
Arte, robôs e câmeras de vigilância | Art, robots and surveillance cameras
Mesa Redonda | Round Table
Ana Carla Fonseca (Garimpo de Soluções) Brasil | Brazil; Expedito Araújo (Vivo EnCena) Brasil | Brazil; Laura Corrêa (ItsNoon) Brasil | Brazil; Piatã Stoklos Kignel (Banco Santander) Brasil | Brazil
Economia Criativa | Creative Economy
21.07.2011
Sergio Roclaw Basbaum - Brasil | Brazil
Percepção e experiência em ambientes digitais: tecnoestese e infocognição | Perception and experience in digital environments: tecnoaesthesis and infocognition
Eduardo Patrício - Brasil | Brazil
Desenvolvimento de Instrumentos Musicais Digitais como atividade composicional | Development of musical instruments as a compositional activity
Giuliano Obici - Brasil | Brazil
Lanhouse e seus devires | LAN houses and their devires
Claudia Paulina González Godoy - Chile | Chile
Arte, Hardware Aberto e Cultura DIY | Art, Open Hardware and DIY Culture
Douglas Easterly - Nova Zelândia e Estados Unidos | New Zealand and United States
Escapando ao solipsismo: Inteligência Artificial, design de jogos | Escaping Solipsism: Artificial Intelligence, Game Design
Victoria Messi - Argentina | Argentina
Anti Utopia: Arte Eletrônica na América Latina | Anti Utopia: Electronic Art in Latin America
Gabriela Previdello - Brasil | Brazil
Fluxo da informação na contemporaneidade: a memória reordenada nas estruturas do FILE Arquivo | Contemporary information flow: the reordered memory on FILE Archive structures
Mesa Redonda | Round Table
Eliane Weizmann (coordenação e mediação | coordination and mediation) Brasil | Brazil; Alessandro Ludovico (neural) Itália | Italy; Alexandre Matias (Editor do caderno de cultura digital do jornal O Estado de S. Paulo) Brasil | Brazil; Régine Debatty (we make money not art) Bélgica | Belgium; Victoria Messi (El Pez Eléctrico) Argentina | Argentina
Jornalismo Cultural | Cultural Journalism
22.07.2011
Fernando Macedo - Brasil | Brazil
"Música para fala e trinta minutos", por PirarucuDuo | "Music for speech and 30 minutes" by Pirarucu Duo
Eduardo Omine - Brasil | Brazil
Fragmentos em ar curvo | Fragments in curved air
Christian Oyarzún Roa - Chile | Chile
G: Representações e reformulações do global de uma perspectiva meridional | G: representations and reformulations of the global from a South view
Karla Schuch Brunet - Brasil | Brazil
Geografias do Mar # Ilhas | Geographies of the Sea # Islands
Rachel Zuanon Dias / Geraldo Lima - Brasil | Brazil
Desenhando biointerfaces usáveis para jogar: o BioBodyGame e o NeuroBodyGame | Geographies of the Sea # Islands
Mesa Redonda | Round Table
Franklin Lee (AA) (coordenação e mediação | coordination and mediation); Anne Save de Beaurecueil (SUBdV) >; Robert Smith Stuart (Kokkugia); Sandro Tubertini (BDSP); Thiago Mundim (AA)
Coreografando Arquitetura Computacional | Choreographing Computational Architecture
Obviously not a photo that I took today. Rather it is one that I found languishing in a folder of photos that I wanted to come back to later…so I did.
A pre-spring hydrangea in my nighbourhood caught my eye earlier this year. I love the filamentous structure that holds the dried petals together long after the blooms have faded.
I just didn’t feel like picking up the camera today so I opted for playing with some earlier images instead.
Another attempt at a Gasometer - this time with a nice streaky sky. Still a long way to go to get this right, but its a good start.
Gasometer near the train line in Wood Green, north London.
The massive cathedral in Toledo is an over-the-top structure, full of spectacular paintings and carvings and gilded to the hilt. It is surely a monument to Spain's time of glory and power, and it is filled with the loot from its conquests. The words "outrageous" and "marvelous" barely do it justice. A few minutes after I entered my eye was caught by a large patch of brilliant light in the ceiling, a skylight. It was startling and when I went to look up at it I saw the paintings and figures around the windows. Fascinating. Here's what the skylights are all about.
Directly behind the main altar is El Transparente, which stands out among the cathedral's many art treasures. A wall of marble and florid baroque alabaster sculpture, it was overlooked for years because the cathedral was too poorly lit. Sculptor Narcisco Tomé cut a skylight in the ceiling, much to the consternation of Toledans, and now light touches the high-rising angels, a Last Supper in alabaster, and a Virgin in ascension.
I must say I found the art "in" the skylights as impressive and interesting as the sculpture below.
Part of the Azabudai Hills complex in Tokyo, Japan, this building showcases a refined approach to urban architecture. Its rounded vertical panels and golden-bronze facade create a striking interplay of light and shadow, adding depth and character to the structure. The building is seamlessly integrated into its surroundings, with a tiered base that connects to the pedestrian-friendly spaces of this mixed-use development. The metallic finish contrasts beautifully with the glass-and-steel skyscrapers nearby, emphasizing material diversity within Tokyo’s skyline.
Designed as a key element of Azabudai Hills, this structure reflects the complex’s emphasis on blending aesthetics with functionality. The accessible pathways and landscaped areas surrounding the building highlight a commitment to inclusive and thoughtful urban planning. The facade’s dynamic surface evolves throughout the day, capturing the essence of Tokyo’s ever-changing light and energy. As a part of one of the city’s newest and most ambitious redevelopment projects, this building exemplifies the forward-thinking design and attention to detail that define the Azabudai Hills complex.
I sometimes think that separately, some new buildings are truely amazing. However, when you see them as part of a cityscape, they just add to the total clutter of a modern city.
I find this building, (or parts of it), to be quite amazing. Unfortunately, the adjacent glass & steel frame buildings does not match thereby just creating clutter.
(sorry for this ranting)
Thanks for stopping by.
All comments, ,hints and opinions are most welcome.
English:
This story is about sensitivity and good feelings:
Five days ago my daughter went out to do a pair of jobs.
While she was starting her car, she heard a desperate howl.
She immediately stopped the car and tried to find out what it was.
The “terrible” surprise was that a sweet pup was entrapped behind the wheel,
in its iron supporting structure.
Thanks to my help, the pup come out but its leg was bleeding. We took him to the veterinary who stitched the deep wound and (later) operated him.
He said that his chance to use that leg again aren’t a lot and that perhaps it would be necessary to amputate.
During the following days my daughter had been feeding and loving him, but she didn’t have the possibility of keeping him with her.
That’s the reason she took him to the kennels.
The image of his little sad eyes didn’t let her quiet so she run to that place to pick him up!!!.
Update April 26, 2007
Chicca is getting better and better.
Now she uses her leg even if she still limps a little bit.
Tomorrow my daughter will take her to the veterinary for a check-up.
She is very vivacious and affectionate.
She never wants to stay alone, she always expresses the need of a caress.
She's wonderful.
Soon in this post, I am going to show more recent Chicca's photos.
Update April 28, 2007
Update May 15, 2007
*-------------------------------------------------------------------------------------------*
Italiano:
Questa storia racconta di sensibilità e buoni sentimenti.
Cinque giorni fa mia figlia è uscita per sbrigare un paio di commissioni.
Quando ha messo in moto la macchina ha sentito un urlo disperato.
Ha così immediatamente fermato l’auto e ha provato a scoprire di cosa si trattasse.
La terribile sorpresa è stata che un dolcissimo cucciolo era intrappolato nella ruota, nella struttura di supporto sottostante.
Grazie al mio aiuto il cucciolo è venuto fuori ma la sua zampina sanguinava.
L’abbiamo portato dal veterinario che gli ha ricucito la profonda ferita e, in seguito, l’ha operato. Ha però anche affermato che le sue possibilità di usare di nuovo la zampetta non sono molte e che quindi potrebbe essere necessario amputare.
Durante i giorni successivi mia figlia l’ha nutrito e gli ha dato affetto. Tuttavia non poteva tenerlo con se’. Ecco perché l’ha portato al canile.
L’immagine di quei piccoli occhi tristi non la faceva stare tranquilla perciò è corsa a riprenderselo!!!.
Aggiornamento 26.04.2007
Chicca sta migliorando sempre di più.
Ora usa la zampetta anche se zoppica ancora un po'.
Domani mia figlia la porterà dal veterinario per un controllo.
E' molto vivace e affettuosa.
Non vuole mai restare sola, vuole sempre una carezza.
E' meravigliosa.
Prossimamente, in questo stesso post, pubblicherò altre sue foto + recenti.
Aggiornamento 28.04.2007
Aggiornamento 15.05.2007
Best View: On Black
Beautifully structured Storms across northeast WI on May 26 2014. Weak Cold Front triggered some awesome looking storms.
Saints Peter and Paul Church is a beautiful structure in San Francisco's North Beach neighborhood. Built in 1924, it has long served the Italian-American community and in recent years has become the home parish of the Chinese-American Roman Catholic community.
It has been used over the years as a location in several popular films, including Dirty Harry, The Ten Commandments, and Sister Act 2.
Taken by a camera lofted by a helium balloon.
© All rights reserved
Acrylic on canvas 23.75" x 28.75" July 12, 2023 www.saatchiart.com/art/Painting-Ancient-Alien-Structures-... #art #arte #kunst #schilderij #konst #futurism #Futurismo #painting #peinture #Architecture #space #cosmos #weltraum #spazio
Parking Structure. New York City. August 14, 2010. © Copyright 2014 G Dan Mitchell - all rights reserved.
Parking structure and urban scene near the Highline Park in New York City
When in New York City... visit the Highline Park, as we did on this 2010 summer visit. For those who may not know, the Highline Park is a novel New York location, a park high above the streets that occupies the right of way of an old elevated railway. It is widely regarded as one of the most innovative public spaces in this city, and it really is a remarkable place.
It is also a great place to do photography. There are plenty of people subjects there, and there is all of the other stuff that is worth shooting in New York, plus the elevated perspective provides a lot of views that are different from those seen from street level. We've all seen this urban parking structures, which stack cars up several deep in order to make more efficient use of limited space. But we don't often see them from above, where the metal framing suggests planes that aren't visible from below but which connect in interesting ways with the angled lines and planes of the other nearby buildings.
G Dan Mitchell is a California photographer and visual opportunist whose subjects include the Pacific coast, redwood forests, central California oak/grasslands, the Sierra Nevada, California deserts, urban landscapes, night photography, and more.
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Text, photographs, and other media are © Copyright G Dan Mitchell (or others when indicated) and are not in the public domain and may not be used on websites, blogs, or in other media without advance permission from G Dan Mitchell.
The Philae temple complex is an island-based temple complex in the reservoir of the Aswan Low Dam, downstream of the Aswan Dam and Lake Nasser, Egypt.
Until the International Campaign to Save the Monuments of Nubia, the temple complex was located on Philae Island, near the expansive First Cataract of the Nile in Upper Egypt. These rapids and the surrounding area have been variously flooded since the initial construction of the Aswan Low Dam in 1902. The temple complex was dismantled and moved to nearby Agilkia Island as part of the UNESCO Nubia Campaign project, protecting this and other complexes before the 1970 completion of the Aswan High Dam. The hieroglyphic reliefs of the temple complex are being studied and published by the Philae Temple Text Project of the Austrian Academy of Sciences, Vienna (Institute OREA).
The ancient Egyptian name of the smaller island meant "boundary". As their southern frontier, the pharaohs of Egypt kept there a strong garrison, and it was also a barracks for Greek and Roman soldiers in their turn.
The first religious building on Philae was likely a shrine built by Pharaoh Taharqa of the 25th Dynasty, which was probably dedicated to Amun. However this structure is only known from a few blocks reused in later buildings, which Gerhard Haeny suspects may have been brought over for reuse from structures elsewhere.
The oldest temple to have undoubtedly stood on the island, as well as the first evidence of Isis-worship there, was a small kiosk built by Psamtik II of the 26th Dynasty. This was followed by contributions from Amasis II (26th Dynasty) and Nectanebo I (30th Dynasty). Of these early buildings, only two elements built by Nectanebo I survive– a kiosk that was originally the vestibule of the old Isis temple, and a gateway which was later incorporated into the first pylon of the current temple.
More than two thirds of Philae's surviving structures were built in the Ptolemaic era, during which the island became a prominent site of pilgrimage not only for Egyptians and Nubians but for pilgrims from as far as Anatolia, Crete, and the Greek mainland. In this way, Philae gradually overtook Elephantine as the most important sanctuary in southern Egypt. Some of these pilgrims marked their presence with inscriptions on the temple walls, including votive inscriptions known as proskynemata, as well as other types. Among these are inscriptions left by three Romans (maybe ambassadors) at the first pylon in the summer of 116 BC, which represent the oldest known Latin inscriptions in Egypt.
Along with the various contributions of Ptolemaic rulers, Philae also received additions from the Nubian king Arqamani, who contributed to the Temple of Arensnuphis and the mammisi, and his successor Adikhalamani, whose name has been found on a stela on the island. Some experts have interpreted these additions as signs of collaboration between the Nubian and Ptolemaic governments, but others consider them to represent a period of Nubian occupation of the region, likely enabled by the revolt of Hugronaphor in Upper Egypt. The cartouches of Arqamani were later erased by Ptolemy V, while the stela of Adikhalamani was eventually reused as filling under the floor of the pronaos.
The Roman era saw an overall decline in pilgrimage to Philae, especially from Mediterranean regions, as evidenced by the reduced number of inscriptions. Nevertheless, it remained an important sacred site, especially for Nubians, who continued to visit both as individual pilgrims and in official delegations from their government in Meroë.
Several Roman emperors made artistic and architectural contributions to Philae. While most of the architectural additions date to the Julio-Claudian dynasty, the island continued to receive contributions to its temples up to the time of Caracalla as well as a triple arch built by Diocletian. In AD 298, Diocletian ceded Roman territory south of the First Cataract as part of an agreement made with the neighboring Nobades, withdrawing the border to about the area of Philae itself. The Kushite king Yesebokheamani made a pilgrimage to Philae in this period and may have taken over the Roman hegemony.
During the Roman era, Philae was the site of the last known inscription in Egyptian hieroglyphs, written in AD 394, and the last known Demotic inscription, written in 452.
Christianity seems to have been present at Philae by the fourth century, at which point it coexisted with traditional Egyptian religion. According to the Coptic hagiography Life of Aaron, the first bishop of Philae was Macedonius (attested in the early fourth century), who is said to have killed the sacred falcon kept on the island, though modern experts question the historicity of this account. By the mid fifth century, a petition from Bishop Appion of Syene to co-emperors Theodosius II and Valentinian III indicates the presence of multiple churches on the island functioning alongside the pagan temples.
Traditional worship at Philae appears to have survived into at least the fifth century, despite the anti-pagan discrimination at times. In fact, the fifth-century historian Priscus mentions a treaty between the Roman commander Maximinus and the Blemmyes and Nobades in 452, which amongst other things ensured access to the cult image of Isis.
According to the sixth-century historian Procopius, the temple was closed down officially in AD 537 by the local commander Narses the Persarmenian in accordance with an order of Byzantine emperor Justinian I. This event is conventionally considered to mark the end of ancient Egyptian religion. However, its importance has recently come into question, following a major study by Jitse Dijkstra who argues that organised paganism at Philae ended in the fifth century, based on the fact that the last inscriptional evidence of an active pagan priesthood there dates to the 450s. Nevertheless, some adherence to traditional religion seems to have survived into the sixth century, based on a petition from Dioscorus of Aphrodito to the governor of the Thebaid dated to 567. The letter warns of an unnamed man (the text calls him "eater of raw meat") who, in addition to plundering houses and stealing tax revenue, is alleged to have restored paganism at "the sanctuaries", possibly referring to the temples at Philae.
Philae retained significance as a Christian centre even after its closure as a pagan site. Five of its temples were converted into churches (including the Temple of Isis, which was dedicated to Saint Stephen), and two purpose-built churches were constructed on the north side of the island.
The island of Philae attracted much attention in the 19th century. In the 1820s, Joseph Bonomi the Younger, a British Egyptologist and museum curator visited the island. So did Amelia Edwards, a British novelist in 1873–1874.
The approach by water is quite the most beautiful. Seen from the level of a small boat, the island, with its palms, its colonnades, its pylons, seems to rise out of the river like a mirage. Piled rocks frame it on either side, and the purple mountains close up the distance. As the boat glides nearer between glistening boulders, those sculptured towers rise higher and even higher against the sky. They show no sign of ruin or age. All looks solid, stately, perfect. One forgets for the moment that anything is changed. If a sound of antique chanting were to be borne along the quiet air–if a procession of white-robed priests bearing aloft the veiled ark of the God, were to come sweeping round between the palms and pylons–we should not think it strange.
— Amelia B. Edwards, A thousand miles up the Nile / by Amelia B. Edwards, 1831–1892, p. 207.
These visits are only a small sample of the great interest that Victorian-era Britain had for Egypt. Soon, tourism to Philae became common.
In 1902, the Aswan Low Dam was completed on the Nile River by the British. This threatened to submerge many ancient landmarks, including the temple complex of Philae. However, the British prioritized the advancement of Modern Egypt at the expense of the complex. The height of the dam was raised twice, from 1907 to 1912 and from 1929 to 1934, and the island of Philae was nearly always flooded. In fact, the only times that the complex was not underwater was when the dam's sluices were open from July to October.
It was proposed that the temples be relocated, piece by piece, to nearby islands, such as Bigeh or Elephantine. However, the temples' foundations and other architectural supporting structures were strengthened instead. Although the buildings were physically secure, the island's attractive vegetation and the colors of the temples' reliefs were washed away. Also, the bricks of the Philae temples soon became encrusted with silt and other debris carried by the Nile.
Around the Habib Bank Plaza (HBL) -the pioneer of banking industry in Pakistan...!!
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All Saints, Ashbocking, Suffolk
We aren't far from the northern edge of Ipswich, but already the lanes are narrow and winding, the fields a hog's back of ridges. Ashbocking church is not terribly far from its village as the crow flies, but to come here by road involves a considerable journey, a wide orbit around the church enabling you to see it from three sides off over the fields. I was on my bike, and as I turned north the buffeting wind seriously threatened me with a swerve into the oncoming traffic. It was a relief to turn off onto the track which leads to the little hamlet where All Saints sits in its narrow graveyard.
This is one of those mellow red brick Tudor towers you often find in the Ipswich area, a reminder of late medieval urban prosperity, although all sense of being near a town is lost here. The church presents its western face to the lane, the grandest perspective of what is otherwise a small and almost entirely late 13th Century structure enhanced and restyled as the fashions of the passing centuries dictated.
Ashbocking church received plenty of attention from the Victorians. It was virtually derelict by the early 19th century, and in such a remote spot might all too easily have been abandoned altogether. The interesting and lovely building which survives today is a testament to their commitment. The first sign of this is the south porch, from which a lush Tractarian angel looms, scroll in hand.
Suffolk is not a county known for Saxon and Norman survivals, but the font here is probably the earliest in the county, being possibly late Saxon and certainly at least early Norman. It was found under a layer of brick and cement during the Victorian restoration. Another treasure is the rare set of Charles I arms above the door. There are only four left in Suffolk - the others are at Ampton, Denham St John and Mellis. These are the most striking, simply because they are dated 1640, and lettered God Save the King. This is a remarkably late date for such a public statement of support for the Crown. The Vicar of the time was, as several were in Suffolk, drummed out as a Scandalous Minister (that is to say, Liberal Intellectual) and died in prison.
There is a ornate tomb alcove in the south wall, with an elaborate canopy. It may have been built for the tomb of John Bocking in the late 14th Century. Set into the back of it is a small 19th Century window. Opposite are a set of late 16th century brass figures of Edmund Bocking and his family, the two wives transposed. Up in the chancel, the east window has some 19th Century replica medieval glass.
This is a good building, with evidence of every age in its life, a sense of continuity so often lost elsewhere. This is largely because the Victorians took such good care of it, but also because it must almost always have been a church of the ordinary people. Some interesting curiosa at the west end of the church recall the mood of a century and more ago: a framed notice lists charges for licenses for armorial bearings, male servants, carriages, while beside it a rather moth-eaten tapestry affirms that This is none other than the House of God and this is the Gate of Heaven, obviously the work of some young local girl in the late 19th Century. It's a nice touch, because Ashbocking church is still open to pilgrims and strangers every day.
Churches like All Saints are not famous, or worthy of visits from Simon Jenkins, or anything like that. Not so much a museum, there is a sense here that, despite the rupture of the Reformation, this is a place where prayer has been valid, for a thousand years or more.
Sometimes, nature hands you a present. Here, it came in the form of a beautiful water drop on top of a intriguingly structure leaf.
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