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Dried hydrangea flowers photographed in my studio. Final image created by layering 9 frames in Photoshop.
The basilica is a synthesis of the various remaking and enlargements experienced by the church. Nowadays it stands on a site which during the 17th century was occupied by a rural chapel named after the Madonna delle Grazie, e later on dedicated to the Santi Cosma and Damiano, patrons of the town. The building works were run by the architect Antonio Curri of Alberobello between 1882 and 1885, and he took inspiration from the stylistic bearings of the Neoclassical.
The well thought interchange of empty and full spaces gives the façade a light and airy effect. The scan of the pilasters, of the columns and of the two bell towers ideally linked by a balustrade, gives a sense of verticality which is even more accentuated by the soaring spires. The two bell towers, one which hosts the Meridiana (sundial) and the other the clock, reproduce on scale the central part of the façade, but they also seem to be imprinted on the main lines of the trulli. The portal is well fitted in a very refined architectonic cornice and is also embellished by a noteworthy sculptural set. High up, on line with the two ends of the pediment, are located the statues of San Pietro on the right and of San Paolo on the left. Under the pronaos, on the lunette, there is a bas-relief by Alfonso Rollo dating back to 1973 depicting Jesus Christ among the Holy Mary, San Giovanni, San Pietro and the Santi Medici. By the same artist is also the bronze portal with the eight evangelical Beatitudes, realized in 1975. The interior of the basilica has a Latin cross shape and it was widened during the first half of the 20th century. Noteworthy is the left hand side niche with the wooden statues of the SS Medici and their precious relics: an arm of San Cosma and the skull of San Damiano.
In 1938 it was elevated to Sanctuary and in 2000 it was nominated Basilica minore.
The Westerbork Synthesis Radio Telescope, WSRT for short, is a radio telescope consisting of fourteen separate parabolic antennas in the woods near Westerbork. The site where the antennas are located is next to the former 'Durgangslager' Westerbork. The WSRT was put into service in 1970. The telescopes are managed by the research institute ASTRON. Originally measured at a frequency of 1.4 GHz (or 21 cm), receivers at 0.6 GHz (50 cm) and 5 GHz (6 cm) were added within three years. In the 1990s, the telescope was greatly improved by applying the latest detection techniques: the multi-frequency front-ends (MFFEs), extended digital back-end (DZB), the pulsar machine (PuMa) and new software.
In 2018 Apertif bi (a phased array feed (PAF) upgrade of the WSRT which has transformed this telescope into a high-sensitivity, ide field-of-view L-band imaging and transient survey instrument. Using novel PAF technology, up to 40 partially overlapping beams can be formed on the sky simultaneously, significantly increasing the survey speed of the telescope).. ASTRON is the Netherlands Institute for Radio Astronomy,. Their mission is to make discoveries in radio astronomy happen. They do this by developing new and innovative technologies, operating world-class radio astronomy facilities, and pursuing fundamental astronomical research.
Synthesis - Ample Projects.
Vivid Festival Sydney
Royal Botanical Gardens
The Vivid Festival is a annual festival of lights, music, and ideas, that runs for about 3 weeks each year in Sydney.
The main attraction is the light installations and light projections around Sydney.
Some of Sydney's most recognisable & iconic buildings are lit up by amazing light projections.
These include: Sydney Opera House, Sydney Harbour Bridge, Museum of Contemporary Art, Customs House, and Sydney Uni.
Vivid has grown to include several areas around Sydney including Circular Quay, Darling Harbour, The Rocks, Martin Place, and Chatswood.
In 2016 a few more areas were added to the festival including: The Royal Botanic Gardens, Taronga Park Zoo, and Central Park.
Also featured during the festival are concerts by local and international artists.
Thirdly, there is a series of lectures and talks on various topics.
It has become one of the biggest public events in Australia, and is recognised internationally as a major event.
Overseas & local tourists visit Sydney in numbers during the annual event.
Vivid now attracts a massive 1.5 million people each year.
As we evolve throughout the seasons of our lives, some of us, the best of us learn to blossom in between where we were and where we’re going. Orlando Florida June 14, 2020
Fluorescent: the visible or invisible radiation emitted by certain substances as a result of radiation of a shorter wavelength such as X-Rays
Synthesis: the combination of ideas to form a theory or system
Stralsund / Mecklenburg-Vorpommern / Germany
Album of Germany (the north): www.flickr.com/photos/tabliniumcarlson/albums/72157712098...
title creds to stevannn
so does anyone know where i can get film developed for reeeallly really cheap? anyone. anyone. anyone?!? kinda low on money...
Name Artwork: Synthesis.
Made by Bier & Brood.
Bier & Brood, the Rotterdam artists Koen Harmsma and Jelmer Noordeman, can do anything with black and white. Inspired by machines, nature and architecture, they possess a unique style that outlines a dark, apocalyptic or ghastly reality. This is expressed in surrealist or psychedelic images. They enjoy working in black and white to give the viewer the feeling of being able to get lost within the work, with an occasional hidden joke as a reward. The title ‘Synthesis’ refers to the digitisation of society. Hands and ears are knotted together with the telephone, faces with screens. The work questions whether we are sinking into an Internet world, a phenomenon that is only 25 years old.
Text from www.heerlenmurals.nl .
More StreetArt/Murals at www.streetartheerlen.nl or www.heerlenmurals.nl .
2010
Acrylic on unstretched, cut canvas
54 1/2 inches square
I came up with this drawing by first drawing a Grateful Dead bear in blackface. The synthesis of oppressive cultural imagery with an icon of an ostensibly harmonious, peaceful cultural movement was amusing in a twisted way, so I started brainstorming of what other kinds of symbols to pervert the bear with. The end product ends up resembling Buer, and I'm okay with that. It's an extra layer of hilarity.
The title was somewhat determined by the [America] theme of the show I made this piece for. Given the context of the show, the piece's reference to nazism(an oft-quoted quality of our political system according to some), nazism's concept of the Übermensch, and a shared last name, I got the random idea to reference Laurie Anderson's "United States". Specifically, I borrowed the titles from two songs from Anderson's work, "O Superman" and "Language is a Virus (from Outer Space)".
No real intended meaning aside from the humor that results from combining two extremes and then kinda cherrypicking references as they occur to me to add more layers to the initial gag. This was for art-nerd fun.
©Ashley Anderson
We need a new world-culture, a global synthesis of interconnectedness and global consciousness. We need a global citizenship movement that will promote social justice and social transformation. We must fight for fundamental human rights, over all national law and cultural identity—there must be equality for everyone! Global citizens are not born; they are created through social engineering. Children, you lack a global perspective on shared humanity, but we will indoctrinate you over time. Since you are part of this cult, you must help bridge the gap and rectify all misinformation. Remember, we global citizens are New World Order ambassadors. We must not only reflect on the virtues of globalism, but we must also act on them. As we reeducate the sheep, we must live a lifestyle of activism. True leaders are global citizens, whether they are CEOs, prime ministers, or just like you: Children of the Corn (Children of the Beast).
The number one (propaganda) issue that underscores our interconnectedness is climate change. The earth depends on our collective stewardship, which transcends all geopolitical borders and economies. One of our most important duties is to protect and enforce our global(ist) compacts. The health of the planet and society depends on useful idiots like us to lead the charge.
Smart cities are the engines of global control. They are full of opportunities, which we’ll exploit. This is a classic case of global multidimensionalism, which not only involves all facets of life, but is also omnipresent (The internet is borderless, and so is globalization). The most successful city is a smart city, because it’s interconnected globally. It reaches to the corners of the earth through smart technologies like the Internet of things, Artificial Intelligence, and Machine Learning. Now we are faced with a secular humanist phenomenology and a new age cosmology in which we must develop new and efficient methodologies. This paradigm shift is in perfect alignment with the values of global citizenship.
Take the jab, take the Mark. Be a sheep, awaken the dark. Bow the knee, bow in submission. Worship the Beast, son of perdition.
Children of the Corn—deeply rooted, widespread. Children of the Beast—tares uprooted, twice dead.
Matthew 24:4 “Then Jesus replied to them: ‘Watch out that no one deceives you.’”
Synthesis between ancient and modern.
The people who built the city wall would certainly be very surprised by the blue ARAL SuperWash.
Synthese zwischen alt und Moderne.
Die Menschen, die die Stadtmauer erbaut haben, würden sich über den blauen ARAL SuperWash sicherlich sehr wundern.
With its synthesis of architecture, art, decoration and ambition, the Library of Congress's Jefferson Building ranks among America's greatest achievements. When it opened November 1, 1897, writers could not find enough ways to herald the new day they saw for American civilization. The grandeur of the building, its size and scope, the noble artwork and fascinating sculpture left many Americans breathless. Many saw the new building as the fulfillment of American intellectual promise and the perfection of American art. One said that it was "likely to long remain unrivaled in this or any other country," while another opined, "Not until I stand before the judgment seat of God do I ever expect to see this building transcended."
In the late 19th century the architectural style of the Jefferson Building was said to be "Italian Renaissance." Today, it is recognized as a premier example of the Beaux Arts style, which is theatrical, heavily ornamented and kinetic. It is a style perfectly suited to a young, wealthy, and imperialistic nation in its Gilded Age. The materials — marble (15 varieties), granite (400,000 cubic feet), bronze, gold, mahogany — were expensive but would last a thousand years. In plan the Jefferson Building is a hollow rectangle with a rotunda, bookstacks and four courtyards occupying the core. (Two of the courtyards have been filled with additional bookstacks while another was partially filled with a recital hall.) Corner and central pavilions are connected by hyphens (called "curtains") and create five-part compositions on the west and east fronts.
The principal front faces the Capitol Building, rising four stories above grade with a low dome covering the central reading room. A monumental split stair featuring the Neptune Fountain rises in multiple flights to the main entrance, with three pairs of sculpted bronze doors. The granite exterior is heavily rusticated and vermiculated at the lowest level but grows finer and smoother as the walls rise. Paired Corinthian columns were employed at the central portico, which also has portrait busts of famous writers framed by circular windows. At the building's pinnacle the "Flame of Knowledge" is gold leafed, as was the copper dome until the 1930s.
328/365
it's been way too long since i posted anything, but i'm determined not to let this project die! i'm also determined to actually learn how to paint faces, so i'm continuing with my 'true colors' series. you can see the entire series here.
(many thanks to this amazing man for inspiring, posing, critiquing, and allowing me to post this in the end even though his face looks funny x )
I did indeed arrange these two leaves for the photo shot; backlit and reflector used; raw conversion in macOS High Sierra photo editor and processed in Luminar. When it comes to producing punchy monochrome images I feel the 16MB X-Pro1 is still able to hold its own.
Mass Effect
- 4320x7680 via GeDoSaTo;
- ReShade framework injected with ENB injector;
- M.E.U.I.T.M w/ .ini tweaks;
- UE3 commands (PlayersOnly, FOV, Pause, etc).
- Tilt and DoF via Erika Tschinkel's cheat table.
The Westerbork Synthesis Radio Telescope (WSRT) is an aperture synthesis interferometer built on the site of the former World War II Nazi detention and transit camp Westerbork, north of the village of Westerbork, Midden-Drenthe, in the northeastern Netherlands.
Overview
The WRST comprises fourteen 25-metre radio telescopes deployed in a linear array arranged on a 2.7 kilometres (1.7 mi) East-West line, of which 10 are in a fixed equidistant position, 2 are nearby on a 300 m rail track, and 2 are located a kilometer eastwards on another 200 m rail track. It has a similar arrangement to other radio telescopes such as the One-Mile Telescope, Australia Telescope Compact Array and the Ryle Telescope. Its Equatorial mount is what sets it apart from most other radio telescopes, most of which have an Altazimuth mount. This makes it specifically useful for specific types of science, like polarized emission research as the detectors maintain a constant orientation on the sky during an observation. Ten of the telescopes are on fixed mountings while the remaining two dishes are movable along two rail tracks. The telescope was completed in 1970 and underwent a major upgrade between 1995 – 2000.[1]
The telescopes in the array can operate at several frequencies between 120 MHz and 8.3 GHz with an instantaneous bandwidth of 120 MHz and 8092-line spectral resolution.[2] The WSRT is often combined with other telescopes around the world to perform very-long-baseline interferometry (VLBI) observations, being part of the European VLBI Network.[3] The telescope is operated by ASTRON, the Netherlands Institute for Radio Astronomy.
WSRT performed a major upgrade in 2013 as part of the APERTIF (APERture Tile In Focus) project, where the current detectors are replaced with focal-plane arrays.[4] This will allow a 25x larger field of view and will be used for large scale surveys of the northern sky, bringing back focus on the Hydrogen line for which it was originally designed, but also large pulsar searches and other science. The Telescope has been out of operation since 2015 and is planned to be back in full operation in winter 2019.
Source: en.wikipedia.org/wiki/Westerbork_Synthesis_Radio_Telescope
- on the morning of February 4th during the external tour (or plebeian tour), the reliquary bust of Saint Agatha on the float decorated with flowers, tradition says that her face was created taking inspiration from that of Queen Constance of Aragon, devoted to the Saint and, it is said, loved by the people of Catania, whose body rests in the chapel of the Aragonese Kings in the Cathedral of Catania;
- la mattina del 4 febbraio durante il giro esterno (o giro plebeo), il busto reliquiario di Sant'Agata sulla vara addobbata con fiori, la tradizione dice che il suo volto fu realizzato ispirandosi a quello della regina Costanza d'Aragona, devota alla Santa e, viene riferito, amata dai catanesi, il cui corpo riposa nella cappella dei Re Aragonesi nel Duomo di Catania;
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Poster (Locandina):
www.warnerbros.it/scheda-film/genere-romantico/me-you/
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Religious devotion, at times, in Sicily seems to take on the face of women, like that of the two Sicilian saints Agata and Lucia along the Ionian coast of Sicily, or the face of Rosalia, on the opposite side, in Palermo. The lives of Agata and Lucia are closely linked, even though they never met. Agata was martyred in 251, Lucia was not yet born, she was born 32 years later. On February 5, 301, she went to Catania to pray at Agata's tomb to invoke her intercession, hoping to obtain the healing of her mother, who was seriously ill. Agata appeared to her in a dream, confirmed her mother's healing (her mother was healed), but also confided in her that she would be martyred because of her faith in Christ: Lucia was martyred on December 13, 304, during the persecutions of Diocletian. What has been said as an incipit of the photographic story that I present here, created on the occasion of the celebration that Catania dedicates to its Patron Saint Agatha, described as the most important religious celebration in Catania, also considered the third Catholic religious celebration in the world (first are the “Semana Santa” in Seville, and the “Corpus Domini” in Cuzco in Peru), a ranking that takes into account the huge number of people who participate every year. The celebration of Saint Agatha takes place on several dates, from 3 to 6 February, on 12 February and on 17 August: the February celebration is linked to her martyrdom, the August celebration commemorates the return to Catania of her mortal remains, initially taken to Constantinople as spoils of war by the Byzantine general Maniaces, and remained there for 86 years. The young Agata lived in the 3rd century, she belonged to a rich patrician family of Catania, since she was young she had embraced the cult of the Christian religion, the governor Quinziano (or Quintiliano) fell in love with her, Agata to escape him hid in his house in Palermo, Quinziano managed to find out where she was hiding, so he had her taken to Catania, here his attempts to bend Agata's will and make her give in to his flattery were in vain, after her umpteenth refusal he changed his intentions, accused her of being of the Christian religion, condemned her to death, not without first having led her to martyrdom, he amputated her by tearing off both her breasts, in this way in addition to the torment of physical pain, the psychological one was added, humiliating the girl in her femininity, then he gave her death by dragging her on burning coals, Agata was 20 years old. After her death, the cult of her began to spread, even the pagans began to venerate her figure, there is news about her origins starting from 252, the year after her death: the inhabitants of Catania were proud of this young woman who rebelled against the will of the dictator. The feast of Saint Agatha begins on February 3, there is the procession "for the offering of wax", the two eighteenth-century carriages of the senate pulled by horses come out along the streets of the city, "the candelore" make their appearance; on February 4th the celebration begins with the “Mass of Dawn” which is celebrated in the cathedral, after the reliquary bust of the Saint and the silver casket, they are placed on the “vara” (or “fercolo”), to be carried in procession in its “external tour”, the procession begins by crossing the “Porta Uzeda” and thus reaching the arches of the marina, the procession then circumscribes the historic center of the city, going to the places where Agatha’s martyrdom took place; : On February 5th the “Pontifical Mass” is celebrated, on this occasion by lining up in the cathedral, you can go and see the reliquary bust of the Saint, as evening comes, the bust and the casket are placed back on the heavy float for the last procession, which goes along the “internal tour” (or “noble tour”), which crosses the historic center of Catania, a procession preceded by the passage of lit candles carried on the shoulders of devotees (of various weights and sizes, some reach exceptional dimensions and weight, historically these candles illuminated, when electricity did not exist, the passage of the Saint), then the “candelore” pass, they are gigantic and heavy wooden “candelabra”, in baroque style, painted in gold, each one represents an ancient corporation (butchers, fishmongers, bakers, pork butchers, greengrocers, etc.), finally the float with Saint Agatha passes, the long-awaited moment, with the reliquary bust that it contains inside some parts of her body, the other parts of her body are inside the casket, so, with both on the float, Agata's entire body can travel the streets of the city of Catania. The float is pulled by hand, by the many devotees who wish to participate spontaneously in this very particular rite, using two large cords more than 200 meters long, to the end of which are connected four handles. The photographs were taken on February 4 and 5, 2024 and 2025, they are not organized in series taking into account either the year or the days; I obtained a "bilocation effect" by using different shooting points in the two years, visible especially when the float passes through the Porta Uzeda; I made portraits of the devotees, posed and not, in particular the portrait of a devotee who seemed almost enraptured in ecstasy at the passage of Sant'Agata (and perhaps she really was), it represented for me the absolute, profound and concrete synthesis of the attachment of the "citizens" (synonym of "devotees") of Catania towards this young martyr, who has become a symbol of those who oppose violence against women, and protector of women suffering from breast cancer. I photographed two beautiful and sweet models who embodied the "two ages of Agata", with the aim of raising awareness among women in the prevention of breast cancer (the ceramic decorations corresponding to the breasts are the work of "Nenè sculptures of art by Nancy Coco); I captured in some images, the custom of some devotees, to carry with them images of loved ones who passed away too soon (photos placed on candles or printed on the characteristic white habit, called "sacco", which is part of the characteristic way of dressing of the devotees); finally I thank the owner of the Beniamin Art Gallery, in via Umberto, an artist himself, for giving me the opportunity to photograph the Pop icon exhibited in his gallery entitled "Aga Pop".
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La devozione religiosa, a volte, in Sicilia sembra assumere il volto delle donne, come quello delle due sante siciliane Agata e Lucia lungo la fascia Ionica della costa sicula, od il volto di Rosalia, sul versante opposto, in quel di Palermo. Le vite di Agata e Lucia sono tra loro legate in maniera strettamente indissolubile, pur non essendosi mai conosciute, Agata morì martirizzata nel 251, Lucia non era ancora nata, nascerà 32 anni dopo, il 5 febbraio del 301 si recherà a Catania a pregare sul sepolcro di Agata per invocare la sua intercessione sperando così di ottenere la guarigione di sua madre, gravemente malata, Agata le appare in sogno, le conferma la guarigione di sua madre (sua madre ebbe la guarigione), ma anche, le confida, che per lei ci sarà il martirio a causa della sua fede in Cristo: Lucia fu martirizzata il 13 dicembre del 304, durante le persecuzioni di Diocleziano. Quanto detto come incipit del racconto fotografico che qui presento, realizzato in occasione della festa che Catania dedica alla sua Santa Patrona Agata, descritta come la più importante festa religiosa di Catania, considerata anche la terza festa religiosa cattolica al mondo (prime la “Semana Santa” di Siviglia, ed il “Corpus Domini” di Cuzco in Perù), graduatoria che tiene conto del grandissimo numero di persone ogni anno vi partecipano. La festa di Santa’Agata si svolge in più date, dal 3 al 6 febbraio, il 12 febbraio ed il 17 agosto: la ricorrenza di febbraio è legata al suo martirio, quella di Agosto rievoca il ritorno a Catania delle sue spoglie mortali, portate inizialmente a Costantinopoli come bottino di guerra dal generale bizantino Maniace, e li rimaste per 86 anni. La giovane Agata visse nel 3° secolo, apparteneva ad una ricca famiglia patrizia di Catania, sin dalla giovane età aveva abbracciato il culto per la religione cristiana, di lei si invaghì il governatore Quinziano (o Quintiliano), Agata per sfuggirgli si nascose in una sua casa a Palermo, Quinziano riuscì a sapere dove si nascondeva, quindi la fece condurre a Catania, qui i suoi tentativi di piegare la volontà di Agata e farla cedere alle sue lusinghe furono vani, all’ennesimo suo rifiuto egli mutò i suoi propositi, la accusò di essere di religione cristiana, la condannò a morte, non senza averla prima condotta al martirio, le amputò strappandole entrambi i seni, in tal modo oltre allo strazio del dolore fisico, si aggiungeva quello psicologico, umiliando la ragazza nella sua femminilità, poi le diede la morte trascinandola sui carboni ardenti, Agata aveva 20 anni. Dopo la sua morte si iniziò a diffondere il culto verso di lei, anche i pagani iniziarono a venerare la sua figura, si hanno notizie sulle sue origini già a partire dal 252, anno successivo alla sua morte: gli abitanti di Catania erano orgogliosi di questa giovane donna che si ribellò al volere del dittatore. La festa per Sant’Agata inizia il 3 febbraio, si ha la processione “per l’offerta della cera”, escono lungo le vie della città le due settecentesche carrozze del senato trainate da cavalli, fanno la loro comparsa “le candelore”; il 4 febbraio la festa inizia con la “Messa dell’Aurora” che si celebra nella cattedrale, dopo il busto reliquiario della Santa e lo scrigno d’argento, vengono messi sulla “vara” (o “fercolo”), per essere portati in processione nel suo “giro esterno”, la processione inizia attraversando la "Porta Uzeda" e giungendo così agli archi della marina, la processione quindi circoscrive il centro storico della città, recandosi nei luoghi ove avvenne il martirio di Agata; il 5 febbraio si celebra la “Messa Pontificale”, in questa occasione mettendosi in fila nella cattedrale, si può andare a vedere il busto reliquiario della Santa, col sopraggiungere della sera, busto e scrigno, vengono nuovamente messi sulla pesante vara per l’ultima processione, che percorre il “giro interno” (o “giro nobile”), che attraversa il centro storico di Catania, processione preceduta dal passaggio dei ceri accesi portati in spalla dai devoti (di vario peso e dimensioni, alcuni raggiungono dimensioni e peso eccezionali, storicamente questi ceri illuminavano, quando non esisteva l’energia elettrica, il passaggio della Santa), poi passano le “candelore”, sono dei giganteschi e pesanti "candelabri" in legno, in stile barocco, dipinti in oro, ognuna rappresenta una antica corporazione (macellai, pescivendoli, panettieri, pizzicagnoli, fruttivendoli, ecc.), infine passa la vara con Sant’Agata, il momento tanto atteso, col busto reliquiario che racchiude al suo interno alcune parti del suo corpo, le altre parti del corpo si trovano all’interno dello scrigno, in tal modo, con entrambi sulla vara, tutto il corpo di Agata può percorrere le strade della città di Catania. La vara è trainata a mano, dai tantissimi devoti che desiderano partecipare spontaneamente a questo rito così particolare, tramite due grossi cordoni lunghi più di 200 metri, al cui capo sono collegate quattro maniglie. Le fotografie sono state realizzate il 4 ed il 5 febbraio del 2024 e del 2025, esse non sono organizzate in serie tenendo conto né dell’anno, nè delle giornate; ho ottenuto un “effetto di bilocazione” sfruttando differenti punti di ripresa nei due anni, visibile soprattutto quando la vara passa attraverso la Porta Uzeda; ho realizzato ritratti dei devoti, posati e non, in particolare il ritratto di una devota che sembrava quasi rapita in estasi al passaggio di Sant’Agata (e forse lo era veramente), ha rappresentato per me la sintesi assoluta, profonda e concreta dell’attaccamento dei “cittadini” (sinonimo di “devoti”) catanesi nei confronti di questa giovane martire, diventata simbolo di chi si oppone alla violenza sulle donne, e protettrice delle donne ammalate di cancro al seno. Ho fotografato due belle e dolci modelle che impersonavano le “due età di Agata”, con lo scopo di sensibilizzare le donne nella prevenzione delle neoplasie alla mammella (i decori in ceramica in corrispondenza dei seni, sono opera di “Nenè sculture d’arte di Nancy Coco); ho colto in alcune immagini, l’usanza di alcuni devoti, di recare con se immagini di persone care scomparse troppo presto (foto messe sui ceri o stampate sul caratteristico saio bianco, chiamato “sacco”, che fa parte del modo caratteristico di vestire dei devoti); infine ringrazio il proprietario della Beniamin Art Gallery, in via Umberto, artista egli stesso, per avermi dato la possibilità di fotografare l’icona Pop esposta nella sua galleria dal titolo “Aga Pop”.
Evanescence - Amy Lee
Synthesis with Orchestra 2018
Le Grand Rex, Paris, France | 28/03/2018
Live report soon on MusicWaves
Philippe Bareille
The Synthesis Man is a true visionary, a master of collaboration and connection. He understood that success is not achieved through individual efforts alone but rather through the ability to bring together diverse ideas, perspectives, and resources to create something more significant than the sum of its parts. The ability to harness the potential of others and work towards shared goals is a skill that sets the Synthesis Man apart from the instinctual superior.
Blogger
www.jjfbbennett.com/2023/05/21st-synthesis-man.html
JJFBbennett Art Directory
Contemporary Positional Art and Socio-Fictional Writings
It is about being creative and innovative with knowledge
When the ice withdrew after last ice age it deposited an enormous amount of stones along the Stavern (just outside Larvik, Norway) coast. A sunset soon a year ago. Foreground is a blend of several exposures. Also a separate exposure for the sky.
Já me feri no espinho daquela flor
Já lhe dei beijos que marcaram nosso amor
Queria ser Romeu e Julieta no passado
Um sonho épico que eleva o ser amado
Flores, música de Ivete Sangalo, composta por Carlinhos, Roberto Moura, Gutemberg e Tica Mahatma
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I have hurt in the thorn that flower
We already gave him kisses that marked our love
I wanted to be Romeo and Juliet in the past
A dream that brings the epic be loved
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Add Flickr Explore #490 em 25/5/2008
UNESCO World Heritage Site
Outstanding Universal Value
Brief synthesis
Situated in North Yorkshire, the 18th century designed landscape of Studley Royal water garden and pleasure grounds, including the ruins of Fountains Abbey, is one harmonious whole of buildings, gardens and landscapes. This landscape of exceptional merit and beauty represents over 800 years of human ambition, design and achievement.
Studley Royal Park is one of the few great 18th century gardens to survive substantially in its original form, and is one of the most spectacular water gardens in England. The landscape garden is an outstanding example of the development of the ‘English’ garden style throughout the 18th century, which influenced the rest of Europe. With the integration of the River Skell into the water gardens and the use of ‘borrowed’ vistas from the surrounding countryside, the design and layout of the gardens is determined by the form of the natural landscape, rather than being imposed upon it. The garden contains canals, ponds, cascades, lawns and hedges, with elegant garden buildings, gateways and statues. The Aislabies’ vision survives substantially in its original form, most famously in the spectacular view of the ruins of Fountains Abbey itself.
Fountains Abbey ruins is not only a key eye catcher in the garden scheme, but is of outstanding importance in its own right, being one of the few Cistercian houses to survive from the 12th century and providing an unrivalled picture of a great religious house in all its parts.
The remainder of the estate is no less significant. At the west end of the estate is the transitional Elizabethan/Jacobean Fountains Hall, partially built from reclaimed abbey stone. With its distinctive Elizabethan façade enhanced by a formal garden with shaped hedges, it is an outstanding example of its period.
Located in the extensive deer park is St Mary’s Church, a masterpiece of High Victorian Gothic architecture, designed by William Burges in 1871 and considered to be one of his finest works.
Criterion (i): Studley Royal Park including the ruins of Fountains Abbey owes its originality and striking beauty to the fact that a humanised landscape was created around the largest medieval ruins in the United Kingdom. The use of these features, combined with the planning of the water garden itself, is a true masterpiece of human creative genius.
Criterion (iv): Combining the remains of the richest abbey in England, the Jacobean Fountains Hall, and Burges’s miniature neo-Gothic masterpiece of St Mary’s, with the water gardens and deer park into one harmonious whole, Studley Royal Park including the ruins of Fountains Abbey illustrates the power of medieval monasticism and the taste and wealth of the European upper classes in the 18th century.