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As a 2-dimensional linen, I tried to commemorate that look that started it all.
The first paintings, the first portraits ...
Sometimes to understand the story just have to follow her and try to recreate it.
This photograph is located in one of the courtyards of The Tower of London.
A place full of history for what happened between these walls and energy that still means the strength of the UK .
Como un lienzo en 2 dimensiones, e intentado conmemorar esa mirada con la que comenzo todo.
Las primeras pinturas, los primeros retratos...
Aveces para comprender la historia solo tenemos que seguirla e intentar recrearla.
Esta fotografia se localiza en uno de los patios interiores de Las torres de Londres.
Un lugar lleno de historia por lo acontecido entre estas paredes y de energia que sigue significando la fortaleza del Reino Unido.
Link for New Full Video:youtu.be/V4F_QCpKDoM
This film is a surreal composition featuring fantastical politicians and influential people with their own thoughts, principles, and strategies in fictional images. Overall, this is a reaction to what's happening in the modern world, and I wanted to convey my vision through visual art, music, and animation.
My drawing style, based on my paintings, was used to generate keyframes.
The music was created using Suno AI.
The visual effects were created using Nano Banana AI and Stable Diffusion for keyframe generation, Hailuo AI, and other video production models.
50 shades of blue:
In Easter Island there are five coves or small bays (hanga in rapanui language) from which local fishermen go out to sea. The most remote are La Perouse on the northeast coast, Hanga Nui, near Ahu Tongariki, and Vaihu on the south coast.
View of the three Poike ma’ungas (hills) from the north coast:
At first sight the Poike only shows a landscape of gentle slopes, desolate meadows and steep cliffs that fall over the sea. However, this unique corner of the island contains several places of interest in which history and legends of Easter Island are mixed.
The three ma’ungas:
On the northern slope of the Poike peninsula, there are three unique mounds or domes formed by the superposition of multiple lava flows. Their names starting from the coast inland are Ma’unga Parehe (broken hill), Ma’unga Tea Tea (white hill) and Ma’unga Vai a Heva (magic water hill). These small elevations, that form a striking “crest” on the slope when they are seen from the north coast, have been the scene of several episodes in the history of the island.
These curious geological formations were used as trachyite quarries, a dense volcanic white stone, with which they carved several moai statues. Most of the statues that have been found in Poike were carved in this resistant material, although a few come from the Rano Raraku volcano.
In addition, taking advantage of its elevated position, small ahu or ceremonial platforms used by priests and sages during their sacred rites were built on the small plateaus of each of the three peaks. It is still possible to see some remains as the small and eroded statue on the top of Ma’unga Parehe, the closest to the cliff.
These hills were not only used by the natives of Rapa Nui to honor their ancestors and divinities, they were also spotted by the Spaniards who arrived in 1770 in the second European expedition that arrived on the island under the command of Felipe González de Haedo.
On the morning of November 20, 1770, a detachment of 250 men ascended to the Pu’i hill to recognize the terrain and complete the details of the first cartographic map of the island. Later, another group of 250 soldiers, sailors, officers and chaplains landed on the Ovahe beach with the mission of officially taking possession of the island.
This second detachment was joined by many islanders and together they went in procession to the Poike. After a difficult climb they planted three wooden crosses on the tops of the three hills or ma’ungas. The three “Viva el Rey” (long live the king) when raising each cross, accompanied by musket salvoes plus the 21 cannon shots of each of the two anchored boats, had to leave a strong impression on the ancient natives.
An act of formal possession of the island was written in the name of Carlos III, the King of Spain, and was named San Carlos Island, in honor of his majesty. The act, which was signed by several officers and three native chiefs, is the first known written document that contains signs similar to those of the Rongo Rongo tablets.
Stroboscopic flash. catching these bouncy little devils at the right moment and then picking them all up of the garage floor was quite a challenge. This was shot 47 as we're talking about numbers!
My submission for this month's 12.12 Project. The theme is Nostalgia.
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These photos are superpositions made by hand from Impossible Project films layered over photographs. Both black and white and color film was used.
I conceive each painting as a musical score where notes become color fields and lines that intertwine into a living mosaic. The superposition of memory and future functions like a chord whose full resonance emerges only in the viewer’s gaze. Through geometry, color, and silence, I invite you to pause and measure your own timescapes anew
Symphonies of Superpositions are my attempt to harmonize biography and cosmos. The colorful shapes at the edges of each canvas represent threads of memory, desire, and dream that weave through the narrative of my life. The unblemished white center marks those moments when everything was open—times in which past and future exist in unresolved tension.
KreativRaum Galerie
Der Raum dazwischen
6.bis 19.September 2025
Vernissage ist am Di. 9.September, ab 18.30
Di, Mi, Fr: 15:00 – 19:00 Uhr, Sa: 12:00 – 17:00 Uhr
Biberstraße 4, 1010 Wien
o/` in any universe you are my dark star
i want you to want me
why don't we rely on chemistry?
why don't we collide the spaces that divide us?
i want you to want me o/`
endlich gelandet ist ...
wird der Himmel blau ...
;-) ...
das 300 000 000 -Projekt von Coop Himmelb(l)au ...
Mutations of form, penetrations, deformations, simultaneities, breakdowns, and variabilities affect architecture. The resulting architecture is characterized by the interactions, fusion, and mutation of different entities constituting a new shape. The building ground of the museum is located on a peninsula that was artificially extended 100 years ago. Even though it was apparent that this site would be a difficult one (536 piles had to be securely driven 30 meters into the ground), it was clear that this location would be very important for urban design. The building should serve as a distinctive beacon and entrance for the visitors approaching from the South, as well as a starting point for urban development.
The striking interface situation of the construction site at the eponymous confluence of the Rhône and the Saône inspired the superposition in the urban space of two complexly linked architectural units, crystal, and cloud. The cloud structure, floating on pillars, contains a spatial sequence of black boxes— admitting no daylight, to achieve maximum flexibility for exhibition design.
The Musée des Confluences does not consider itself as an exclusive “Temple of the Muses” for the intellectual bourgeoisie but as a public place providing access to the knowledge of our age.
To build a museum of knowledge, a complex new form had to be developed as an iconic gateway. A building that truly stands out can only come into being through shapes resulting from new geometries. It was important to the concept that the flow of visitors arriving from the city to the Pointe du Confluent should not be impeded by a building. The idea was therefore to develop an openly traversable building that would be floating in part only on supports, to create a public space underneath.
The architecture hybridizes the typology of a museum with the typology of urban leisure space. The concept of two complexly connected architectural units is a result of the striking interface-like situation of the building site. The crystal rising towards the side of the town is conceived as an urban forum and entrance hall for visitors. Its shape that can be read clearly stands for the everyday world. In contrast to this, the cloud hides the knowledge about the future; it is a soft space of hidden streams and countless transitions.
Within the Musée des Confluences the present and the future, the known and the still unknown are conceived as a spatial arrangement trying to “spur public curiosity”. As an extension of the park located on the Southern tip of the island a new urban space formulates itself; a landscape consisting of ramps and surfaces merging the inside and the outside and resulting in a dynamic sequence of spatial events. This movement is also followed by the alternating spatial structure of the exhibition halls. Closed black boxes and free exhibition areas alternate by exploiting the double room height of two levels.
Essentially, the building consists of three parts. Situated on a slightly raised base (due to the high groundwater) that houses the production workshops, the auditoriums, and the group visit reception area, crystal — foyer, and cloud – exhibition area.
ƒ/6.3 21.0 mm 1/640 100
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Coincidenze...
Sistiana, Friuli, foto di qualche settimana fa
#moon #luna #bird #uccello #volo #flight #superposition #sovrapposizione #prospettiva #prospective #crateri #craters
www.flickr.com/photos/secondskifija/55094908345/in/photos...
An exploration of the liminal space between the organic and the mechanical. My original paintings depict the instinctive process of "embedding" into an alternate reality.
Here, glass and bronze merge with living matter, and devices designed to teleport consciousness perform irreversible manipulations of perception. This is a world where biology is completely subordinated to surreal engineering.
L’automne, fall… and the second photo is a Mix of photos of the same place, multiple exposure and superposition.
In playing with making simple superpositions in photoshop, it's been amazing to discover how so many of my images echo the form of this particular spiderweb that was laid over them. Art really does imitate nature.
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En faisant les superpositions simples dans photoshop, ça m'a étonnée à quel point les formes et les compositions dans mes photos font un écho à cette toile d'araignée. Comme quoi, l'art imite la nature pour le vrai !
Vaison-la-Romaine (Latin: Vasio Vocontiorum) is a commune in the Vaucluse department in the Provence-Alpes-Côte d'Azur region in southeastern France.
The historic section is in two parts, the Colline du Château on a height on one side of the Ouvèze, the "upper city" and on the opposite bank, the "lower city" centered on the Colline de la Villasse.
The area was inhabited in the Bronze Age. At the end of the fourth century BCE, the upper city of Vaison became the capital of a Celtic tribe, the Vocontii or Voconces. After the Roman conquest (125-118 BCE) the Vocontii retained a certain degree of autonomy; they had two capitals, Luc-en-Diois (in modern Drôme département), apparently the religious center, and Vaison. Their continued authority in the gradual Romanization of the Celtic oppidum[1] meant that the city plan incurred no disruptive re-founding along rigid Roman orthography.[clarification needed] The city's modern archaeologist Christian Goudineau has suggested that early examples were set by Vocontian aristocrats who moved down from the oppidum and established villas along the river, around which the Gallo-Roman city accreted.[2] In the Roman period it became one of the richest cities of Gallia Narbonensis, with numerous geometric mosaic pavements[3] a fine small theatre on a rocky hillslope, probably built during the reign of Tiberius, whose statue was found in a prominent place on its site.[4] The Polyclitan Vaison Diadumenos (now in the British Museum) was discovered in the theatre in the nineteenth century.[5] At Vasio Pompeius Trogus, the Augustan historian, was born.
The barbarian invasions were presaged by a pillaging and burning in 276, from which Roman Vasio recovered, but in the fifth century the benches of the theatre began to be reused as Christian tombstones. Vaison belonged the Burgundians, was taken by the Ostrogoths in 527, then by Clotaire I, King of the Franks in 545, and became part of Provence
The disputes which broke out in the twelfth century between the counts of Provence, who had refortified the ancient "upper town" and the bishops, each of whom were in possession of half the town, were injurious to its prosperity; they were ended by a treaty negotiated in 1251 by the future pope Clement IV, a native of Saint-Gilles-du-Gard.
At disturbed times of the Middle Ages, the inhabitants emigrated to the higher ground on the left bank of Ouvèze, with the shelter of the ramparts and a strong castle. From the eighteenth century most of the population had moved back down to the plains by the river.
A flood struck Vaison-la-Romaine on 22 September 1992, costing $1.5 billion in damages. It was the town's worst flood since 1632, and was featured in the Discovery Channel series Destroyed In Seconds.
La région est d’abord habitée par les Ligures qui introduisent le bronze. À la fin du IVe siècle av. J.-C., Vaison devient la capitale d’une tribu celtique, intégrée au sein du peuple des Voconces. Après la conquête romaine (125-118 av. J.-C.), la cité des Voconces compte deux capitales, Luc-en-Diois et Vaison. Les Romains en font l’une des villes les plus riches de la Gaule narbonnaise. Elle fut la patrie de l'historien Trogue Pompée. Le plus grand historien de langue latine Cornélius Tacitus, Tacite, est, probablement, originaire de Vaison-la Romaine (sources: Tacite oeuvres complètes traduites par Catherine Salles aux éditions Robert Laffont février 2014). Les invasions barbares du Ve siècle ruinent la cité.
L’Ouvèze, autrefois navigable, sépare la Haute-Ville de la cité actuelle qui recouvre la ville gallo-romaine, dont 15 hectares sont dégagés. Quant au « château de la Villasse » et son allée de platanes bicentenaires, il domine les vestiges gallo-romains dits de La Villasse. Plus à l’est, la colline de Puymin est signalée par un vaste espace boisée. Les autres vestiges gallo-romains (Thermes du Nord, villa du Paon) échappent au regard. Le reste de la cité antique demeure sous le Vaison actuel. Enfin, on remarque deux édifices romans à l’ouest de La Villasse : la chapelle Saint-Quenin, et plus au sud, la cathédrale Notre-Dame de Nazareth et son cloître. Ce panorama urbain, où s’imbriquent vestiges antiques, bâtiments romans et constructions récentes, suggère superpositions et déplacements des occupations au cours des âges. Des vestiges d’habitat et de rempart laissés par la communauté agraire du Premier Âge du Fer (VIIe – Ve siècle av. J.-C.) ont été découverts sur la rive gauche de l’Ouvèze, au bas de l’éperon rocheux. C’est sur cette hauteur, marquant le paysage (actuellement occupé par la Haute-Ville), que se sont abritées les populations ligures, puis celto-ligures à partir de l’invasion des Voconces au IVe siècle av. J.-C. Vaison s’appelle alors « Vasio voncontiorum » c’est-à-dire « Vaison des Voconces ». Dès avant la conquête romaine, la cité est la capitale de ce peuple d’origine celtique qui occupait un territoire limité par la Durance au sud, l’Isère au nord, le couloir rhodanien à l’ouest, la Durance et les Préalpes à l’est.
Vaison-la-Romaine, le théâtre antique.
Avec la conquête romaine, Vasio devient « cité fédérée » (et non une colonie). Les Voconces descendent sur la rive droite où se structure progressivement une ville. L’urbanisme commence à partir de noyaux agricoles qui se métamorphosent en habitations de ville, lors de la création des voies de circulation et l’édification des grands monuments publics dans la seconde moitié du Ier siècle : théâtre, pont, aqueduc, thermes… La paix romaine est propice à l’extension de la cité, qui connaît sa splendeur au IIe siècle. Elle couvre alors 70 à 75 hectares. Elle est l’une des villes les plus riches de la Narbonnaise. Après la chute de l’Empire romain, Vaison devint un centre religieux relativement important (un évêché y existe dès le IVe siècle) où se réunirent deux conciles, en 442 et 529.source wikipédia
Plage de Biscarrosse - 2012 (Landes - France)
Superposition d’images
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without my explicit permission. © All rights reserved, don’t use without permission.
Grande Arche de la Défense
Essai "superposition" du Nikon, le CNIT en arrière plan, un jour de pluie ... ;-)
This image is a superposition of two images, using Photoshop's radial blur filter in one. My goal was to bring back the cool and windy atmosphere of the day.
Viewed from the right angle, it seems that the gravestones of Clonmacnoise are leaning against each other and the tower.
Clonmacnoise is a medieval monastery situated on the river Shannon south of Athlone in Ireland. The site contains ruins of churches, numerous Christian graves and beautiful Celtic crosses from the Middle Ages. The picture shows McCarthy's tower of the temple Finghin from the 12th century.
The monastery Conmacnoise was founded by St. Ciarán in 548 and, due to its privileged location, experienced a rapid growth that lasted until the 12th century despite frequent attacks by the Irish, the Vikings, and the Normans. It was finally destroyed by the English garrison at Athlone in 1552.
C'est au pied de Leirhnjukur que s'étale la coulée noire de 1984. La vapeur d'eau chargée d'anhydride sulfureux et d'acide chlorhydrique fuse encore du champ de lave. Un sentier a été tracé à travers la coulée pour permettre d'observer de près cratères, cone de scorie échancré, laves cordées, plaques lisses, tunnels de lave, évents bordés de lave rouge, fissures fumantes et cristaux de soufre ... bref un régal pour les géologues. Là où un néophyte ne verra que de la lave noire, le géologue "déchiffrera" toute l'histoire de la coulée. Du sommet du cone de scorie, on peut observer la superposition de coulées successives, les plus anciennes brunes, les plus récentes noires. La lave en contournant le mont Leirhnjukur rencontra même un terrain intact couvert de végétation et offre un magnifique contraste vert-noir.
ENGLISH :
View from the crater Leirhnjukur.
It is at the foot of Leirhnjukur that spreads the black flow of 1984. Water vapor charged with sulfur dioxide and hydrochloric acid still fuse of the lava field. A path was traced through the flows to allow closely observation of craters, scoria cones, ropted lavas, smooth plates, lava tunnels, vents lined with red lava, steaming cracks and sulfur crystals ... in short a feast for the geologists. Where a neophyte only see the black lava, the geologist "decrypt" the whole history of the flowing. From the top of the cone of scoria, one can observe the superposition of successive flows, the oldest brown, newer black. Lava bypassing Mount Leirhnjukur even met an intact ground covered of vegetation and offers a beautiful green-black contrast.
Une superposition d'images de la roue et du système de vannage de la rivière
An overlay of images of the river's wheel and hydraulic system
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Nikon FE
Pellicule Agfaphoto color 400 (aka Orwo Wolfen NC 500)
Développement en kit Cinestill CS41
The text made vague by superposition of thin paper, came from book by Florence Montgomery - Misunderstood (1910)
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(c) Drager Meurtant, 2024