View allAll Photos Tagged synthesizing
pho·to·syn·the·sis
"the process in green plants and certain other organisms by which carbohydrates are synthesized from carbon dioxide and water using light as an energy source. most forms of photosynthesis release oxygen as a byproduct."
lucky bamboo: also known as dracaena sanderiana is used to enhance the flow of chi or positive energy in any environment.
breathe.
Sagrada Família, Barcelona, España.
El Templo Expiatorio de la Sagrada Familia, conocido simplemente como la Sagrada Familia, es una basílica católica de Barcelona (España), diseñada por el arquitecto Antoni Gaudí. Iniciada en 1882, todavía está en construcción (noviembre de 2016). Es la obra maestra de Gaudí, y el máximo exponente de la arquitectura modernista catalana.
La Sagrada Familia es un reflejo de la plenitud artística de Gaudí: trabajó en ella durante la mayor parte de su carrera profesional, pero especialmente en los últimos años de su carrera, donde llegó a la culminación de su estilo naturalista, haciendo una síntesis de todas las soluciones y estilos probados hasta aquel entonces. Gaudí logró una perfecta armonía en la interrelación entre los elementos estructurales y los ornamentales, entre plástica y estética, entre función y forma, entre contenido y continente, logrando la integración de todas las artes en un todo estructurado y lógico.
La Sagrada Familia tiene planta de cruz latina, de cinco naves centrales y transepto de tres naves, y ábside con siete capillas. Ostenta tres fachadas dedicadas al Nacimiento, Pasión y Gloria de Jesús y, cuando esté concluida, tendrá 18 torres: cuatro en cada portal haciendo un total de doce por los apóstoles, cuatro sobre el crucero invocando a los evangelistas, una sobre el ábside dedicada a la Virgen y la torre-cimborio central en honor a Jesús, que alcanzará los 172,5 metros de altura. El templo dispondrá de dos sacristías junto al ábside, y de tres grandes capillas: la de la Asunción en el ábside y las del Bautismo y la Penitencia junto a la fachada principal; asimismo, estará rodeado de un claustro pensado para las procesiones y para aislar el templo del exterior. Gaudí aplicó a la Sagrada Familia un alto contenido simbólico, tanto en arquitectura como en escultura, dedicando a cada parte del templo un significado religioso.
The Expiatory Church of the Sagrada Familia, known simply as the Sagrada Familia, is a Roman Catholic basilica in Barcelona, Spain, designed by architect Antoni Gaudí. Begun in 1882, it is still under construction (November 2016). It is Gaudí's masterpiece and the greatest exponent of Catalan modernist architecture.
The Sagrada Familia is a reflection of Gaudí's artistic plenitude: he worked on it for most of his professional career, but especially in his later years, where he reached the culmination of his naturalistic style, synthesizing all the solutions and styles he had tried up to that point. Gaudí achieved perfect harmony in the interrelationship between structural and ornamental elements, between plasticity and aesthetics, between function and form, between content and container, achieving the integration of all the arts into a structured and logical whole. The Sagrada Familia has a Latin cross plan, five central naves, a three-aisled transept, and an apse with seven chapels. It boasts three façades dedicated to the Birth, Passion, and Glory of Jesus. When completed, it will have 18 towers: four at each portal, making a total of twelve for the apostles, four over the transept invoking the evangelists, one over the apse dedicated to the Virgin, and the central dome tower in honor of Jesus, which will reach 172.5 meters in height. The temple will have two sacristies next to the apse and three large chapels: the Assumption Chapel in the apse and the Baptism and Penance Chapels next to the main façade. It will also be surrounded by a cloister designed for processions and to isolate the temple from the exterior. Gaudí applied a highly symbolic content to the Sagrada Familia, both in architecture and sculpture, dedicating each part of the temple to a religious significance.
Auxin is synthesized at the shoot tip and helps the cell grow longer. When a tendril comes in contact with a support, auxin stimulates faster growth of the cells on the opposite side, so the tendril forms a coil... like a watch spring... around the support.
That's a wrap!
Windows of the Tropics, Fairchild Tropical Botanic Garden, Miami FL
Minimalism and Abstraction
Eliminate the superfluous, synthesize the essentials, highlight what is relevant in an image: simplicity, color, geometry, dynamism in sum. Reflect a state of mind, configure a dynamic space in color or black and white.
The permanent search for "less is more
"Minimalismo y Abstracción
Eliminar lo superfluo, sintetizar lo esencial, poner de manifiesto lo que es relevante en una imagen: sencillez, color, geometria, dinamismo en suma. Reflejar un estado de animo, configurar un espacio dinamico en color o blanco y negro.
La busqueda permanente del "menos es más"
This 2009 composite image of the Tycho supernova remnant combines X-ray and infrared observations obtained with NASA's Chandra X-ray Observatory and Spitzer Space Telescope, respectively, and the Calar Alto observatory, Spain. It shows the scene more than four centuries after the brilliant star explosion witnessed by Tycho Brahe and other astronomers of that era.
The explosion has left a blazing hot cloud of expanding debris (green and yellow) visible in X-rays. The location of ultra-energetic electrons in the blast's outer shock wave can also be seen in X-rays (the circular blue line). Newly synthesized dust in the ejected material and heated pre-existing dust from the area around the supernova radiate at infrared wavelengths of 24 microns (red). Foreground and background stars in the image are white.
Image credit: X-ray: NASA/CXC/SAO, Infrared: NASA/JPL-Caltech; Optical: MPIA, Calar Alto, O.Krause et al.
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© 2020 Photo by Lloyd Thrap Photography
for Halo Media Group
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No images are within Public Domain. Use of any image as the basis for another photographic concept or illustration is a violation of copyright.
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Albuquerque photographers. Artist and good guy. DIGITAL CAMERA OLYMPUS DIGITAL CAMERA
The Blue Mosque in Istanbul, also known by its official name, the Sultan Ahmed Mosque is an Ottoman-era historical imperial mosque located in Istanbul, Turkey. A functioning mosque, it also attracts large numbers of tourist visitors. It was constructed between 1609 and 1616 during the rule of Ahmed I. Its Külliye contains Ahmed's tomb, a madrasah and a hospice. Hand-painted blue tiles adorn the mosque’s interior walls, and at night the mosque is bathed in blue as lights frame the mosque’s five main domes, six minarets and eight secondary domes. It sits next to the Hagia Sophia, the principal mosque of Istanbul until the Blue Mosque's construction and another popular tourist site. The Blue Mosque was included in the UNESCO World Heritage Site list in 1985 under the name of "Historic Areas of Istanbul".
After the Peace of Zsitvatorok and the crushing loss in the 1603–18 war with Persia, Sultan Ahmed I decided to build a large mosque in Istanbul to reassert Ottoman power. It would be the first imperial mosque for more than forty years. While his predecessors had paid for their mosques with the spoils of war, Ahmed I procured funds from the Treasury, because he had not gained remarkable victories. The construction was started in 1609 and completed in 1616.
Having been paid from the public treasury rather than from the sultan's war booty, as was done normally, it caused the anger of the ulama, the Muslim jurists. The mosque was built on the site of the palace of the Byzantine emperors, in front of the basilica Hagia Sophia (at that time, the primary imperial mosque in Istanbul) and the hippodrome, a site of significant symbolic meaning as it dominated the city skyline from the south. Big parts of the south shore of the mosque rest on the foundations, the vaults of the old Grand Palace.
The Blue Mosque has five main domes, six minarets, and eight secondary domes. The design is the culmination of two centuries of Ottoman mosque development. It incorporates many Byzantine elements of the neighboring Hagia Sophia with traditional Islamic architecture and is considered to be the last great mosque of the classical period. The architect, Sedefkâr Mehmed Ağa, synthesized the ideas of his master Sinan, aiming for overwhelming size, majesty and splendor. The upper area is decorated with approximately 20,000 hand-painted glazed ceramic in 60 different tulip patterns. The lower stories are illuminated by 200 stained glass windows. The mosque is preceded by a forecourt with a large fountain and special area for ablution. An iron chain hangs in the court entrance on the western side. Only the Sultan was allowed to ride into the mosque horseback, and he would need to lower his head to not hit the chain, a symbolic gesture ensuring the humility of the ruler before Allah.
By way of his works he left a decided mark on Istanbul. The square on which the Blue Mosque is situated became known as Sultanahmet. This mosque can be considered the culmination of his career. Mehmed Agha, who was the last student of Mimar Sinan, had completed his mission by adding his brighter, colorful architectural style to that of his master teacher.
Credit for the data above is given to the following website:
en.wikipedia.org/wiki/Blue_Mosque,_Istanbul
© All Rights Reserved - you may not use this image in any form without my prior permission.
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A monochrome version of my previously uploaded shot from a visit to the Caruso St John basement of Tate Britain. This is one of my favourite interior spaces in London for the way it beautifully synthesizes the traditional and contemporary.
More Museums and Galleries from around the world :
www.flickr.com/photos/darrellg/albums/72157608768742010
From Wikipedia : "In 2012, Tate Britain announced that it had raised the £45 million required to complete a major renovation, largely thanks to a £4.9 million grant from the Heritage Lottery Fund and £1 million given by Tate Members. The museum stayed open throughout the three phases of renovation.
Completed in 2013, the newly designed sections were conceived by the architects Caruso St John and included a total of nine new galleries, with reinforced flooring to accommodate heavy sculptures. A second part was unveiled later that year, the centrepiece being the reopening of the building's Thames-facing entrance as well as a new spiral staircase beneath its rotunda. The circular balcony of the rotunda's domed atrium, closed to visitors since the 1920s, was reopened. The gallery also now has a dedicated schools' entrance and reception beneath its entrance steps on Millbank and a new archive gallery for the presentation of temporary displays."
© D.Godliman
The Zebra Longwing/Mariposa Cebra
Heliconius charithonia, es una especie de lepidóptero perteneciente a la familia Nymphalidae. Fue declarada la mariposa oficial del estado de Florida en 1996.
Se distribuye por América y el Caribe.3 En América del Norte la mariposa se encuentra en la parte sur de los Estados Unidos, incluyendo Florida, Georgia, Virginia, Carolina del Norte y Carolina del Sur.2 En América del Sur y Central, se ha registrado en México, Costa Rica, Panamá, Colombia, Ecuador y Venezuela
y aunque aqui ni se menciona, también en #republicaDominicana
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The Zebra Longwing or Zebra Heliconian (Heliconius charithonia) is a species of butterflybelonging to the subfamily Heliconiinae of the Nymphalidae.[1][2] The boldly striped black and white wing pattern is aposematic, warning off predators.
The species is distributed across South and Central America and as far north as southern Texas and peninsular Florida; there are migrations north into other American states in the warmer months.
Zebra longwing adults roost communally at night in groups of up to 60 adults for safety from predators. The adult butterflies are unusual in feeding on pollen as well as on nectar; the pollen enables them to synthesize cyanogenic glycosides that make their bodies toxic to potential predators.
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Lugar de captura / Taken: Refugio de Vida Silvestre Río Higuamo , San Pedro de Macorís, República Dominicana
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Clasificación científica
Reino:Animalia
Filo:Arthropoda
Clase:Insecta
Orden:Lepidoptera
(sin clasif.):Rhopalocera
Superfamilia:Papilionoidea
Familia:Nymphalidae
Subfamilia:Heliconiinae
Género:Heliconius
Especie:H. charithonia
Mariposa_Iguamo-1032
Model: Jaimie.
Location: Casa de Lobo, Albuquerque, New Mexico. USA
Lloyd-Thrap-Creative-Photography
© 2010 2025 Photo by Lloyd Thrap Photography for Halo Media Group
All works subject to applicable copyright laws. This intellectual property MAY NOT BE DOWNLOADED except by normal viewing process of the browser. The intellectual property may not be copied to another computer, transmitted , published, reproduced, stored, manipulated, projected, or altered in any way, including without limitation any digitization or synthesizing of the images, alone or with any other material, by use of computer or other electronic means or any other method or means now or hereafter known, without the written permission of Lloyd Thrap and payment of a fee or arrangement thereof.
No images are within Public Domain. Use of any image as the basis for another photographic concept or illustration is a violation of copyright.
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021310Victorian Shoot
The material images of this HDR image were taken In front of the Tokyo Station. You can see the brand-new complex "Kitte", the former Central Post Office over there build in the early 20th century. This photo was synthesized from three RAW files taken with SEL1018 on my NEX-F3.
Edson Fichter Nature Area, Pocatello, Idaho
10:58 11 March 2023
Aves
Passeriformes
Icteridae
Agelaius phoeniceus
"Two keto-carotenoids – carotenoid with a ketone group – reds synthesized by the birds themselves – namely astaxanthin and canthaxanthin – are responsible for the bright red color of the wing spots, but two yellow dietary precursor pigments – lutein and zeaxanthin – are also present in moderately high concentrations in red feathers." - Wikipedia
"
2020 Photo by Lloyd Thrap Photography
for Halo Media Group
All works subject to applicable copyright laws. This intellectual property MAY NOT BE DOWNLOADED except by normal viewing process of the browser. The intellectual property may not be copied to another computer, transmitted , published, reproduced, stored, manipulated, projected, or altered in any way, including without limitation any digitization or synthesizing of the images, alone or with any other material, by use of computer or other electronic means or any other method or means now or hereafter known, without the written permission of Lloyd Thrap and payment of a fee or arrangement thereof.
No images are within Public Domain. Use of any image as the basis for another photographic concept or illustration is a violation of copyright.
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Sagrada Família, Barcelona, España.
El Templo Expiatorio de la Sagrada Familia, conocido simplemente como la Sagrada Familia, es una basílica católica de Barcelona (España), diseñada por el arquitecto Antoni Gaudí. Iniciada en 1882, todavía está en construcción (noviembre de 2016). Es la obra maestra de Gaudí, y el máximo exponente de la arquitectura modernista catalana.
La Sagrada Familia es un reflejo de la plenitud artística de Gaudí: trabajó en ella durante la mayor parte de su carrera profesional, pero especialmente en los últimos años de su carrera, donde llegó a la culminación de su estilo naturalista, haciendo una síntesis de todas las soluciones y estilos probados hasta aquel entonces. Gaudí logró una perfecta armonía en la interrelación entre los elementos estructurales y los ornamentales, entre plástica y estética, entre función y forma, entre contenido y continente, logrando la integración de todas las artes en un todo estructurado y lógico.
La Sagrada Familia tiene planta de cruz latina, de cinco naves centrales y transepto de tres naves, y ábside con siete capillas. Ostenta tres fachadas dedicadas al Nacimiento, Pasión y Gloria de Jesús y, cuando esté concluida, tendrá 18 torres: cuatro en cada portal haciendo un total de doce por los apóstoles, cuatro sobre el crucero invocando a los evangelistas, una sobre el ábside dedicada a la Virgen y la torre-cimborio central en honor a Jesús, que alcanzará los 172,5 metros de altura. El templo dispondrá de dos sacristías junto al ábside, y de tres grandes capillas: la de la Asunción en el ábside y las del Bautismo y la Penitencia junto a la fachada principal; asimismo, estará rodeado de un claustro pensado para las procesiones y para aislar el templo del exterior. Gaudí aplicó a la Sagrada Familia un alto contenido simbólico, tanto en arquitectura como en escultura, dedicando a cada parte del templo un significado religioso.
The Expiatory Church of the Sagrada Familia, known simply as the Sagrada Familia, is a Roman Catholic basilica in Barcelona, Spain, designed by architect Antoni Gaudí. Begun in 1882, it is still under construction (November 2016). It is Gaudí's masterpiece and the greatest exponent of Catalan modernist architecture.
The Sagrada Familia is a reflection of Gaudí's artistic plenitude: he worked on it for most of his professional career, but especially in his later years, where he reached the culmination of his naturalistic style, synthesizing all the solutions and styles he had tried up to that point. Gaudí achieved perfect harmony in the interrelationship between structural and ornamental elements, between plasticity and aesthetics, between function and form, between content and container, achieving the integration of all the arts into a structured and logical whole. The Sagrada Familia has a Latin cross plan, five central naves, a three-aisled transept, and an apse with seven chapels. It boasts three façades dedicated to the Birth, Passion, and Glory of Jesus. When completed, it will have 18 towers: four at each portal, making a total of twelve for the apostles, four over the transept invoking the evangelists, one over the apse dedicated to the Virgin, and the central dome tower in honor of Jesus, which will reach 172.5 meters in height. The temple will have two sacristies next to the apse and three large chapels: the Assumption Chapel in the apse and the Baptism and Penance Chapels next to the main façade. It will also be surrounded by a cloister designed for processions and to isolate the temple from the exterior. Gaudí applied a highly symbolic content to the Sagrada Familia, both in architecture and sculpture, dedicating each part of the temple to a religious significance.
Always a food adventure at this traditional food market.
The new m43 OM-1 still uses the same old 12bit processing pipeline. This apparently allows for faster read out speed but the sacrifice is DR and base ISO image quality, just like the faster 12bit mode in many 14bit cameras with larger sensors.
It’s high time m43 make a slower (fps) camera with greater emphasis on greater color depth at lower ISO than higher ISO noise performance. OM-1 for speed and wildlife AF and a “slower” OM-5 for stills and landscape for proper product differentiation instead of the muddled one between E-M5 Mkiii vs E-M1 Mkiii currently.
Perhaps the next OM-5 will be at the same 20mp but 14bit processing pipeline in line with APS-C offerings, doesn’t even need a stacked sensor, one can hope.
The Panasonic GH6 has also been announced meanwhile, it is a video centric camera unlike the OM-1 as expected. 2 GH6 features stood out personally;
1) Tilt-and-articulating screen, wished the OM-1 had this, personally hated the fully articulated swing out (swivel) screen on my E-M1 Mkii which cannot tilt unless it is swinged out into a different axis from the lens.
2) 100mp tripod based high resolution mode can now be shot handheld. Per the Panasonic announcement; “Thanks to this powerful image stabilization, even 100-megapixel high resolution images can be shot using the High-Resolution mode without a tripod. 8 consecutive images are automatically shot while shifting the sensor using the Body I.S. (Image Stabilizer) mechanism and synthesized into a 100-megapixel equivalent (11552 x 8672-pixel) image that faithfully reproduces precise details to be saved as beautiful, highly realistic RAW and JPEG images.” Does this mean that the pixelshift high resolution mode can be shot handheld? This is still a tripod only mode on the OM-1.
In recent years, there has been way too much online lobbying for the fully articulated swivel screen by video centric hobbyists. Not everyone cares for such a screen and many actually prefer just a basic flip out one along the axis of the lens. Hope Sony doesn’t adopt the annoying fully articulating swivel screen on all their cameras, as it is the latest A7IV has one, unfortunately.
The 2 high resolution modes in m43 work quite differently. Olympus handheld high resolution (HHHR) mode works by having the IBIS turning on and off intermittently to combine 16 shots from the resulting slight handheld movements as IBIS deactivates. The tripod based pixelshift is a more precise mode where the sensor moves by half a pixel and combines resulting 8 shots. Olympus in typical confusing fashion called the tripod based mode as “High Resolution” instead of “pixelshift” as other brands conventionally named it.
I’m very curious how the GH6 managed to pull off the pixelshift mode without a tripod. When the IBIS is utilized to shift the sensor ever so slightly to take the 8 frames, how can the IBIS simultaneously compensate for handheld movements? Or is this in fact just the normal “High Resolution” shot instead of the more precise “Pixelshift” mode? M43 has this extremely annoying practice of unconventional and even inconsistent nomenclature for their features!
The label on this display read: The Jewel of China "Made for Each Other", Fluorite and Scheelite, Xu Bao Ding, Ping Wu, Sichuan Province, China. Presented by Muhammed Ejaz Collection, Eight Treasure International Company.
en.wikipedia.org/wiki/Fluorite
"Fluorite (also called fluorspar) is the mineral form of calcium fluoride, CaF2. It belongs to the halide minerals. It crystallizes in isometric cubic habit, although octahedral and more complex isometric forms are not uncommon.
The Mohs scale of mineral hardness, based on scratch hardness comparison, defines value 4 as fluorite.[6]
"Pure fluorite is colourless and transparent, both in visible and ultraviolet light, but impurities usually make it a colorful mineral and the stone has ornamental and lapidary uses. Industrially, fluorite is used as a flux for smelting, and in the production of certain glasses and enamels. The purest grades of fluorite are a source of fluoride for hydrofluoric acid manufacture, which is the intermediate source of most fluorine-containing fine chemicals. Optically clear transparent fluorite lenses have low dispersion, so lenses made from it exhibit less chromatic aberration, making them valuable in microscopes and telescopes. Fluorite optics are also usable in the far-ultraviolet and mid-infrared ranges, where conventional glasses are too opaque for use.
"Many samples of fluorite exhibit fluorescence under ultraviolet light, a property that takes its name from fluorite.[27] "
en.wikipedia.org/wiki/Scheelite
"Scheelite is a calcium tungstate mineral with the chemical formula CaWO4. It is an important ore of tungsten (wolfram). Scheelite is originally named after Swedish chemist Carl Wilhelm Scheele (1742–1786). Well-formed crystals are sought by collectors and are occasionally fashioned into gemstones when suitably free of flaws. Scheelite has been synthesized using the Czochralski process; the material produced may be used to imitate diamond, as a scintillator, or as a solid-state lasing medium. It was also used in radium paint in the same fashion as was zinc sulphide, and Thomas Edison invented a fluoroscope with a calcium tungstate-coated screen, making the images six times brighter than those with barium platinocyanide; the latter chemical allowed Röntgen to discover X-rays in early November 1895.
Scheelite occurs in contact metamorphic skarns; in high-temperature hydrothermal veins and greisen; less commonly in granite pegmatites.[2] Temperature and pressure of formation is between 200 and 500 °C (400 and 900 °F) and from 200 to 1,500 bars (2,900 to 21,800 psi).[7] Typical mineral association includes cassiterite, wolframite, topaz, fluorite, apatite, tourmaline, quartz, grossular–andradite, diopside, vesuvianite and tremolite.
On a personal note. My daughter is interested in gems, minerals, rocks, and stones. We took a daytrip to Tucson. It was our first time to the shows. There are actually something like 3 dozen shows around Tucson. We went to the Tucson Convention Center for about 3 hours and then to the Kino Sports Complex for about 1.5 hours. We had hoped to get to the 22nd St show and the GIGM Show on W. Starr Pass but did not have time. I wish I had bought my tickets in advance, it would have saved about 30-40 minutes of waiting in line at the Convention Center. I'm glad I brought a Circular Polarizer to cut some of the glare of the glass exhibit cases.
www.visittucson.org/tucson-gem-mineral-fossil-showcase/
"Every year the world-renowned Tucson Gem, Mineral & Fossil Showcase is like a time portal, a trip around the world, and a treasure hunt all rolled into one. Every winter, more than 65,000 guests from around the globe descend upon Tucson, AZ, to buy, sell, trade, and bear witness to rare and enchanting gems, minerals, and fossils at more than 40 gem show locations across the city. If you're planning a winter visit to Tucson, you won't want to miss this three-week-long event.
"Whether you’re looking for a $5 shimmering crystal necklace or a show-stopping $200,000 crystallized rock from an exotic location, the Tucson Gem, Mineral, & Fossil Shows have something for everyone.
www.visittucson.org/blog/post/gems-and-minerals/
TGMS 2024
Tucson Gem Show 2024
Taken with "NIKKOR-S.C Auto f1.4". 1/160~60sec, f2, ISO400. HDR synthesized from three RAW files taken in the auto-bracket mode.
Photo shoot in Albuquerques Old Town..
Model: Johnnah.
Photographed by: Lloyd Thrap for Halo Media Group.
© 2018 Photo by Lloyd Thrap Photography
for Halo Media Group
All works subject to applicable copyright laws. This intellectual property MAY NOT BE DOWNLOADED except by normal viewing process of the browser. The intellectual property may not be copied to another computer, transmitted , published, reproduced, stored, manipulated, projected, or altered in any way, including without limitation any digitization or synthesizing of the images, alone or with any other material, by use of computer or other electronic means or any other method or means now or hereafter known, without the written permission of Lloyd Thrap and payment of a fee or arrangement thereof.
No images are within Public Domain. Use of any image as the basis for another photographic concept or illustration is a violation of copyright.
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Albuquerque photographers. Artist and good guy. DIGITAL CAMERA
This pinhole photograph was taken with the Thingyfy pinhole lens and my Nikon D850. The bust of Plato is in my collection and in this composition it sits on the "Complete Works of Plato". The inspiration for this photograph (especially the colour scheme, light and shade) was William Henry Fox Talbot (1800-1877) and his wonderful early photographs of the, "Bust of Patroclus". www.metmuseum.org/art/collection/search/266044
The modern philosopher and mathematician, A.N. Whitehead once said that all the Western philosophical tradition is but a footnote to Plato (428-348 BC). There is a strong argument that Plato is the greatest genius in human history, since he was the FIRST to synthesize all the fundamental questions of life. From first principles he thought up questions that had not even been conceived before. As a Platonist myself, I can only concur with these views.
plato.stanford.edu/entries/plato/
We do well to remember that Plato was also a disciple of Socrates, the philosophical gadfly who was made to drink hemlock for his beliefs which challenged the status quo of his day. To these thinkers philosophy was not an academic exercise, but the very stuff of life and spirituality itself. It was a sacred calling. It was a disciplined path of commitment to discovering Truth.
Sagrada Família, Barcelona, España.
El Templo Expiatorio de la Sagrada Familia, conocido simplemente como la Sagrada Familia, es una basílica católica de Barcelona (España), diseñada por el arquitecto Antoni Gaudí. Iniciada en 1882, todavía está en construcción (noviembre de 2016). Es la obra maestra de Gaudí, y el máximo exponente de la arquitectura modernista catalana.
La Sagrada Familia es un reflejo de la plenitud artística de Gaudí: trabajó en ella durante la mayor parte de su carrera profesional, pero especialmente en los últimos años de su carrera, donde llegó a la culminación de su estilo naturalista, haciendo una síntesis de todas las soluciones y estilos probados hasta aquel entonces. Gaudí logró una perfecta armonía en la interrelación entre los elementos estructurales y los ornamentales, entre plástica y estética, entre función y forma, entre contenido y continente, logrando la integración de todas las artes en un todo estructurado y lógico.
La Sagrada Familia tiene planta de cruz latina, de cinco naves centrales y transepto de tres naves, y ábside con siete capillas. Ostenta tres fachadas dedicadas al Nacimiento, Pasión y Gloria de Jesús y, cuando esté concluida, tendrá 18 torres: cuatro en cada portal haciendo un total de doce por los apóstoles, cuatro sobre el crucero invocando a los evangelistas, una sobre el ábside dedicada a la Virgen y la torre-cimborio central en honor a Jesús, que alcanzará los 172,5 metros de altura. El templo dispondrá de dos sacristías junto al ábside, y de tres grandes capillas: la de la Asunción en el ábside y las del Bautismo y la Penitencia junto a la fachada principal; asimismo, estará rodeado de un claustro pensado para las procesiones y para aislar el templo del exterior. Gaudí aplicó a la Sagrada Familia un alto contenido simbólico, tanto en arquitectura como en escultura, dedicando a cada parte del templo un significado religioso.
The Expiatory Church of the Sagrada Familia, known simply as the Sagrada Familia, is a Roman Catholic basilica in Barcelona, Spain, designed by architect Antoni Gaudí. Begun in 1882, it is still under construction (November 2016). It is Gaudí's masterpiece and the greatest exponent of Catalan modernist architecture.
The Sagrada Familia is a reflection of Gaudí's artistic plenitude: he worked on it for most of his professional career, but especially in his later years, where he reached the culmination of his naturalistic style, synthesizing all the solutions and styles he had tried up to that point. Gaudí achieved perfect harmony in the interrelationship between structural and ornamental elements, between plasticity and aesthetics, between function and form, between content and container, achieving the integration of all the arts into a structured and logical whole. The Sagrada Familia has a Latin cross plan, five central naves, a three-aisled transept, and an apse with seven chapels. It boasts three façades dedicated to the Birth, Passion, and Glory of Jesus. When completed, it will have 18 towers: four at each portal, making a total of twelve for the apostles, four over the transept invoking the evangelists, one over the apse dedicated to the Virgin, and the central dome tower in honor of Jesus, which will reach 172.5 meters in height. The temple will have two sacristies next to the apse and three large chapels: the Assumption Chapel in the apse and the Baptism and Penance Chapels next to the main façade. It will also be surrounded by a cloister designed for processions and to isolate the temple from the exterior. Gaudí applied a highly symbolic content to the Sagrada Familia, both in architecture and sculpture, dedicating each part of the temple to a religious significance.
A hand fan is an instrument and a fashion accessory designed so that with a rhythmic and variable play of the wrist, air can be moved and cooling is facilitated when in a hot environment.
HISTORY: The umbel or parasol and the flabellum, a large fixed fan with a long handle, are considered precedents in Egypt —at least since the 19th dynasty— and in Asia of the modest and functional folding fan and its western variants.
Already in the tomb of Tutankhamun, two fans with precious metal handles were deposited as part of the pharaoh's trousseau.
An essential object in Chinese and Japanese cultures, both in ceremonies and in theater, which synthesizes the fantasy of these peoples in the different types of fans.
In China, the origin of the rigid fan dates back to 2697 BC. C., with the emperor Hsiem Yuan.
LANGUAGE AND SECRET CODES: Progressively a complicated language of codes was developed, according to the movement and position of the fans.
Thus, for example, quickly fanning oneself looking into your eyes translated as "I love you madly", but if it was done slowly, the message was very different: "I am married and you are indifferent to me".
Opening the fan and showing it was equivalent to: “you can wait for me”.
Holding it with both hands advised a cruel “you better forget me”.
If a woman dropped her fan in front of a man, the passionate message was "I belong to you".
If she supported him open on her chest at the level of the heart: "I love you."
If she covered her face with the open fan: "Follow me when I go."
If she rested it on her right cheek it was equivalent to a "yes", but if she rested it on her left it was a resounding and cruel "no". Source: Wikipedia.
Photo taken in Pozuelo de Alarcón, Madrid, Spain.
UNA HERRAMIENTA TRADICIONAL PARA AYUDAR CON EL CALOR DEL VERANO, 2023
Un abanico de mano es un instrumento y un complemento de moda ideado para que con un juego de muñeca rítmico y variable se pueda mover aire y facilitar la refrigeración cuando se está en un ambiente caluroso.
HISTORIA: La umbela o quitasol y el flabellum, gran abanico fijo de largo mango, se consideran precedentes en Egipto —al menos desde la dinastía XIX— y en Asia del modesto y funcional abanico plegable y sus variantes occidentales.
Ya en la tumba de Tutankamón se depositaron, como parte del ajuar del faraón, dos abanicos con mango de metales preciosos.
Objeto esencial en las culturas china y japonesa, tanto en ceremonias como en el teatro, que sintetiza la fantasía de estos pueblos en los diferentes tipos de abanico.
En China, el origen del abanico rígido se sitúa hacia 2697 a. C., con el emperador Hsiem Yuan.
LENGUAJE Y CÓDIGOS SECRETOS: Progresivamente se llegó a desarrollar un complicado lenguaje de códigos, según el movimiento y posición de los abanicos.
Así, por ejemplo, abanicarse rápidamente mirándote a los ojos se traducía como “te amo con locura”, pero si se hacía lentamente, el mensaje era muy distinto: “estoy casada y me eres indiferente”.
Abrir el abanico y mostrarlo equivalía a un: “puedes esperarme”.
Sujetarlo con las dos manos aconsejaba un cruel “es mejor que me olvides”.
Si una mujer dejaba caer su abanico delante de un hombre, el mensaje era apasionado "te pertenezco".
Si lo apoyaba abierto sobre el pecho a la altura del corazón: “te amo”.
Si se cubría la cara con el abanico abierto: “Sígueme cuando me vaya”.
Si lo apoyaba en la mejilla derecha equivalía a un “sí”, pero si lo apoyaba sobre la izquierda era un “no” rotundo y cruel. Fuente: Wikipedia.
Foto tomada en Pozuelo de Alarcón, Madrid, España.
From Suishobashi bridge on the Dojimagawa river, Osaka. You can see Oebashi bridge of the Midosuji street over there.
As you see in the additional info, I took three bracketed RAW images in more or less 3-sec SS and synthesized into this image by Photomatix Pro. Original RAWs were taken with SIGMA 30mm EXDN on my NEX. This lens costs only around 150 dollars, but it take incredibly crisp and detailed images without any image stabilizing facilities. If you use an NEX, you should choose this lens or die.
© 2009 2025 Photo by Lloyd Thrap Photography for Halo Media Group
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All works subject to applicable copyright laws. This intellectual property MAY NOT BE DOWNLOADED except by normal viewing process of the browser. The intellectual property may not be copied to another computer, transmitted , published, reproduced, stored, manipulated, projected, or altered in any way, including without limitation any digitization or synthesizing of the images, alone or with any other material, by use of computer or other electronic means or any other method or means now or hereafter known, without the written permission of Lloyd Thrap and payment of a fee or arrangement thereof.
No images are within Public Domain. Use of any image as the basis for another photographic concept or illustration is a violation of copyright.
reviewing some files, I found these pictures, like Krekka, I have made a version own Keetongu inspired by the movie version despite not receiving many changes to the set, this figure seeks to synthesize the best possible this concept, some details like the weapon still need to be added.
I hope you like and enjoy this version as it as the other figures modified
This supernova remnant was produced by a massive star that exploded in a nearby galaxy called the Small Magellanic Cloud. X-rays from Chandra (blue and purple) have helped astronomers confirm that most of the oxygen in the universe is synthesized in massive stars. The amount of oxygen in the E0102-72.3 ring shown here is enough for thousands of solar systems. This image also contains optical data from NASA's Hubble Space Telescope and the Very Large Telescope in Chile (red and green).
Image credit: X-ray (NASA/CXC/ESO/F.Vogt et al); Optical (ESO/VLT/MUSE), Optical (NASA/STScI)
Sagrada Família, Barcelona, España.
El Templo Expiatorio de la Sagrada Familia, conocido simplemente como la Sagrada Familia, es una basílica católica de Barcelona (España), diseñada por el arquitecto Antoni Gaudí. Iniciada en 1882, todavía está en construcción (noviembre de 2016). Es la obra maestra de Gaudí, y el máximo exponente de la arquitectura modernista catalana.
La Sagrada Familia es un reflejo de la plenitud artística de Gaudí: trabajó en ella durante la mayor parte de su carrera profesional, pero especialmente en los últimos años de su carrera, donde llegó a la culminación de su estilo naturalista, haciendo una síntesis de todas las soluciones y estilos probados hasta aquel entonces. Gaudí logró una perfecta armonía en la interrelación entre los elementos estructurales y los ornamentales, entre plástica y estética, entre función y forma, entre contenido y continente, logrando la integración de todas las artes en un todo estructurado y lógico.
La Sagrada Familia tiene planta de cruz latina, de cinco naves centrales y transepto de tres naves, y ábside con siete capillas. Ostenta tres fachadas dedicadas al Nacimiento, Pasión y Gloria de Jesús y, cuando esté concluida, tendrá 18 torres: cuatro en cada portal haciendo un total de doce por los apóstoles, cuatro sobre el crucero invocando a los evangelistas, una sobre el ábside dedicada a la Virgen y la torre-cimborio central en honor a Jesús, que alcanzará los 172,5 metros de altura. El templo dispondrá de dos sacristías junto al ábside, y de tres grandes capillas: la de la Asunción en el ábside y las del Bautismo y la Penitencia junto a la fachada principal; asimismo, estará rodeado de un claustro pensado para las procesiones y para aislar el templo del exterior. Gaudí aplicó a la Sagrada Familia un alto contenido simbólico, tanto en arquitectura como en escultura, dedicando a cada parte del templo un significado religioso.
The Expiatory Church of the Sagrada Familia, known simply as the Sagrada Familia, is a Roman Catholic basilica in Barcelona, Spain, designed by architect Antoni Gaudí. Begun in 1882, it is still under construction (November 2016). It is Gaudí's masterpiece and the greatest exponent of Catalan modernist architecture.
The Sagrada Familia is a reflection of Gaudí's artistic plenitude: he worked on it for most of his professional career, but especially in his later years, where he reached the culmination of his naturalistic style, synthesizing all the solutions and styles he had tried up to that point. Gaudí achieved perfect harmony in the interrelationship between structural and ornamental elements, between plasticity and aesthetics, between function and form, between content and container, achieving the integration of all the arts into a structured and logical whole. The Sagrada Familia has a Latin cross plan, five central naves, a three-aisled transept, and an apse with seven chapels. It boasts three façades dedicated to the Birth, Passion, and Glory of Jesus. When completed, it will have 18 towers: four at each portal, making a total of twelve for the apostles, four over the transept invoking the evangelists, one over the apse dedicated to the Virgin, and the central dome tower in honor of Jesus, which will reach 172.5 meters in height. The temple will have two sacristies next to the apse and three large chapels: the Assumption Chapel in the apse and the Baptism and Penance Chapels next to the main façade. It will also be surrounded by a cloister designed for processions and to isolate the temple from the exterior. Gaudí applied a highly symbolic content to the Sagrada Familia, both in architecture and sculpture, dedicating each part of the temple to a religious significance.
RCPE roundhouse, Huron, SD, former Chicago & North Western, generally looking northward. For us drone pilots not flying with explicit FAA authorization into restricted areas, you'll get this far and hit the invisible fence--and get to hear the amusing warning from the synthesized DJI Chinese female voice!
This image was synthesized from 9 photos taken by the auto-bracketing mode. They were taken at the top of Roppongi Hills, Tokyo.
I’m posting 25 variations on the theme of “industrial warehouses”, as generated in different styles by the AI text-to-image program “Midjourney”. Midjourney uses state-of-art artificial intelligence models to synthesize images based on text prompts. Given where this technology is now, it will be even more amazing 3-5 years from now. To see how different words regarding style or artist or designer influenced the generated image, I selected a single theme. I’m a supply chain guy, so warehouses seemed an intriguing choice. In this image, style = "utopian propaganda poster".
Plants eat sunshine by converting solar energy into plant food through the process of photosynthesis. Animals grow by eating plants that eat sunlight and by synthesizing vitamin D, which grows healthy bones, from the sun's ultraviolet light. And at the top of the web, humans eat plants and animals or one or the other.
When ya get down to it then, what we eat is sunshine; it's just converted into different forms throughout the food chain. If we are what we eat, then fundamentally―we are sunshine.
So you see, the sun, it shines on you and from within you.
____________________________________________
say hello on instagram @ianliberry
These mushrooms were peaking up from a fallen and decaying tree trunk. At the cell level, fungi are more like animals than they are like plants. They cannot synthesize their own food like plants do, but instead they eat other organisms as do animals. Fungi break down dead plants and animals and help keep the world tidier.
Exposition "Facing time" Félicien Rops/Jan Fabre, Namur, Belgium
Ce magnifique édifice baroque du XVIIe siècle, où Rops emmena Charles Baudelaire en 1864, accueille trois scarabées sacrés, qui, comme nuls autres, franchissent le temps. Sculptures en bronze de Fabre, issues de la série Chalcosoma (2006-2012), et synthétisant ainsi la «rencontre» entre les trois artistes.
This beautiful Baroque church of the seventeenth century, where Rops took Charles Baudelaire in 1864, hosts three sacred beetles, which, like none other, cross time. Bronze sculptures Fabre from the Chalcosoma series (2006-2012), and synthesizing and the "encounter" between the three artists.
Model: Erin Bell.
at #modelshopstudio™ with Lloyd Thrap Creative Photography, modelshopstudio™ #Photography, #Model, #ModelMayhem, #GetOlympus, OLYMPUS DIGITAL CAMERA
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Future Fashion Forward. Model Erin Bell. Photo by Lloyd Thrap for modelshopstudio and Halo Media Group
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In 1597, botanist John Gerard noted that the smell of meadowsweet "delighteth the senses." In 1652, English physician Nicholas Culpeper wrote about the plant's therapeutic effects on the stomach. In 1682, meadowsweet was mentioned in a Dutch herbal. Queen Elizabeth I adorned her apartments with meadowsweet. The flowers were used to flavor alcoholic beverages in England and Scandinavian countries. In the Middle Ages, meadowsweet was known as "meadwort" because it was used to flavor mead, an alcoholic drink made by fermenting honey and fruit juices. In 1838, salicylic acid, first synthesized in the 1890s to make aspirin, was isolated from the plant. The word "aspirin" is derived from "spirin," based on meadowsweet's scientific name, "Spiraea." The plant was used in folk medicine for cancer, tumors, rheumatism, and as a diuretic. Today, it is used as a digestive remedy, as supportive therapy for colds, for analgesia, and for other indications.
A chemistry major at the University of Montana, Thomas Crowley was recently hired by one of his professors to help start a pharmaceuticals company. "It�s funny," says Crowley, 21, "when I came to UM, all I knew was that I didn�t want to major in chemistry. Now I love it." His latest project for the new company is breeding bacteria to synthesize an anti-cancer drug.
por Warhol -
Keith Haring (Reading, 4 de maio de 1958 – Nova Iorque, 16 de fevereiro de 1990) foi um artista gráfico e activista estadunidense. Seu trabalho reflecte a cultura nova-iorquina dos anos 1980.
Nascido no estado de Pensilvânia, cedo mostrou interesse pelas artes plásticas. De 1976 até 1978 estudou design gráfico numa escola de arte em Pittsburgh. Antes de acabar o curso, transfere-se para Nova Iorque, onde seria grandemente influenciado pelos graffitis, inscrevendo-se na School of Visual Arts. Homossexual assumido, o seu trabalho reflecte também um conjunto de temas homo-eróticos.
Keith Haring começou a ganhar notoriedade ao desenhar a giz nas estações de metro de Nova Iorque. As suas primeiras exposições formam,michelleis acontele era gayecem a partir de 1980 no Club 57, que se torna um ponto de encontro da elite vanguardista.
Na mesma década, participou em diversas bienais e pintou diversos murais pelo mundo - de Sydney a Amsterdão e mesmo no Muro de Berlim. Amigo pessoal de Grace Jones, foi ele quem lhe pintou o corpo para o videoclip "I'm Not Perfect".
Em 1988, abre um Pop Shop em Tóquio. Na ocasião, afirma:
"Em minha vida fiz muitas coisa, ganhei muito dinheiro e me diverti muito. Mas também vivi em Nova Iorque nos anos do ápice da promiscuidade sexual. Se eu não pegar AIDS, ninguém mais pegará."
Meses depois declara em entrevista à revista Rolling Stone que tem o vírus HIV. Em seguida, cria a Keith Haring Foundation, em favor das crianças vítimas da AIDS.
Em 1989, perto da igreja de Sant'Antonio Abate, em Pisa, Itália, executa a sua última obra pública - o grande mural intitulado Tuttomondo[1], dedicado à paz universal.
Haring morreu aos 31 anos de idade, vítima de complicações de saúde relacionadas a AIDS, tendo sido um forte activista contra a doença, que abordou mais que uma vez em suas pinturas.
...
The Marriage of Heaven and Hell
David Galloway
As curator of the Keith Haring retrospective mounted by New York's Whitney Museum of American Art in 1997, Elisabeth Sussman composed a thoughtful catalogue text in which she tidily divided the artist's career into three "chapters." In the first of these, Sussmann suggested, Haring synthesized a street and club style into a bold form of overall decoration that often employed elements of kitsch. In the middle phase, lasting from approximately 1984 to 1988, when he developed the first symptoms of AIDS, Haring produced paintings that were essentially Pop versions of Neo-Expressionism. In these years he also used his cartoon-like graphic line to execute murals, many of them for (and even together with) children. "Finally," Sussman observed, "in the last years of his life, major works not only summed up his painting ambitions but were socially active and angry responses to his imminent death."1
There can be no doubt that the artist's battle with AIDS had a profound effect on his artistic vision. "To live with a fatal disease," he confided to his biographer John Gruen shortly before his death, "gives you a whole new perspective on life."2 The resulting pain and anguish are eloquently expressed in Haring's two collaborations with William Burroughs: Apocalypse (1988) and The Valley (1989). Sussmann's categories are nonetheless too neat and too emphatic, concealing both the humor that frequently enlivens the late works and the dark side that shadows even the earliest, cartoon-like compositions. And the artist was a social activist from the beginning of his career. At a demonstration in Central Park in 1982, he distributed 20,000 antinuclear posters. His "Anti-Litterpig" campaign was launched in 1984, the famous Crack is Wack mural painted in 1986. The true "horror of AIDS had come to light"3 for Haring in 1985, and he had for some time regarded himself as a prime AIDS "candidate" - even before discovering the first Karposi sarcoma on his leg during a trip to Japan in 1988. Not only numerous intimate acquaintances, including his ex-lover Juan Dubose, had already succumbed to the disease. Rumors of Haring's own infection were rife long before he himself learned that he was HIV-positive. More than a year before the diagnosis, Newsweek had tracked the artist down in Europe to ask if his protracted stay there was a cover-up for his affliction with AIDS.
Yet for all the traumatic implications of the onset of the disease itself, it is a mistake to overemphasize the event as a kind of watershed, as a moment in which the oeuvre itself underwent some seismic change. Such an oversimplification is tempting but ultimately misleading. And it is not unlike that simplistic approach to the work of Andy Warhol which suggests a fundamental shift in theme and point of view following the assassination attempt by Valerie Solanis. In fact, Warhol's own fascination with "Death and Disaster" was well established before the deranged feminist entered the Factory in 1969 with revolver blazing. 129 Die in Jet, the first of the works associated with violent death, dates to 1962. And it was soon followed by garishly tinted studies of suicides, car crashes, race riots and electric chairs.
Keith Haring, too, had explored a darker side of experience long before the dread diagnosis. The earliest works produced in his characteristic graphic style include serpents and monsters, nuclear radiation and falling angels, cannibals, omnivorous worms, bloody daggers and skeletons. The devil himself makes occasional appearances, as does the multi-headed beast of the Apocalypse. One can make out a sinister form that may well represent a virus, and an androgynous figure which wheels a sword-like crucifix over the heads of children, while scissors and chains are employed in sadomasochistic practices which often end in castration. In a Saint Sebastian, produced in 1984 and one of the few titled works by Haring, the martyr's body is pierced not by arrows but by airplanes - one of the numerous examples of the artist's critical view of technology, but also testimony to his deeply felt pacifism.
The figure of a hanged man, perhaps influenced by William Burroughs' Naked Lunch, makes it debut in 1981. So, too, do human figures writhing in the clutch of a nest of serpents. In 1982 a serpent pierces (and thereby joins like so many beads on a string) a row of human figures with holes in their abdomens. Indeed, human figures with holes gouged in their middles are a recurrent pictogram - one inspired, according to the artist himself, by the assassination of John Lennon in December of 1980. Yet even before that event, Haring was sounding the themes of violence and death in the cut-up headlines he posted around New York City, inspired both by his friend Jenny Holzer and by William Burroughs. In typical tabloid fashion, the headlines trumpeted such sensationalist assertions as "POPE KILLED FOR FREED HOSTAGE." "RONALD REAGAN ACCUSED OF TV STAR SEX DEATH; KillED AND ATE lOVER." and "REAGAN'S DEATH COPS HUNT POPE."
When Keith Haring undertook his first cross-country trip in 1977 with his girlfriend Susan, he financed the journey by silkscreening T-shirts and selling them along the way. One model showed Richard Nixon sniffing a kilo of marijuana; the other featured the logo of the Grateful Dead: a skull - the penultimate memento mori that also fascinated Warhol - split by a lightning bolt. One of Haring's early subway drawings includes a skeleton wearing wire-rimmed glasses as an encoded self-portrait. In a diary entry for March 18, 1982, the artist reflected on the significance of "Being born in1958, the first generation of the Space Age, born into a world of television technology and instant gratification, a child of the atomic age. Raised in American during the sixties and learning about war from Life magazines on Viet Nam. Watching riots on television..."4 Like the Beat poets he admired, the young artist was intensely aware of the dangers of nuclear war and the precedent his country had set in Hiroshima and Nagasaki. He was equally aware of the dangers inherent in "peacetime" uses of nuclear energy. The notorious near-meltdown at Three Mile Island in 1979 occurred a short distance from the Haring home in Kutztown, Pennsylvania. Spaceships projecting rays onto earthlings often hover over his works, and his famous "radiant" baby may suggest radioactive contamination as well as spiritual glow.
In short, the first "chapter" in Haring's career was neither so innocent nor so giddily affirmative as it is sometimes made out to be. His media-savvy generation, exposed at an early age to "sex, drugs and rock-'n'-roll," was quickly disabused of childhood's illusions. At the age of 19, he confided to his diary, "Through all the shit shines the small ray of hope that lives in the common sense of the few. The music, dance, theater, and the visual arts: the forms of expression, the arts of hope. This is where I think I fit in."5 Even amid the "shit," there was an element of hope, and the coexistence of these two entities defines the Haring universe. What one witnesses is literally The Marriage of Heaven and Hell, to cite the title of a Roland Petit choreography for the Ballet National de Marseilles, for which Haring created a huge front curtain in 1985. Whether Haring was familiar with William Blake's ironic poem of the same title is uncertain, though the English poet was a favorite of the psychedelic set to which Haring belonged for a time. Furthermore, there are occasional parallels between Haring's graphic style and the illustrations Blake prepared for his own works. The implications of a linked pair of Blake titles - Songs of Innocence and Songs of Experience - have clear relevance for Haring's oeuvre, as well.
The key to Haring's work is not to be found in "chapters" or in oppositions, but precisely in the mingling, the marriage of innocence and experience, good and evil, heaven and hell. This inherent but essential ambiguity is reinforced by an image he created in June of 1989, less than a year before his death. (He was in Paris at the time, executing a monumental painting intended to decorate a dirigible to be flown over the city in commemoration of the 200th anniversary of the French Revolution.) The starting point was a photograph of the artist sitting on a chair from the Vitra Collection, part of a series of celebrity portraits made for the German furniture company. With a felt pen, Haring fitted himself out with wings, floated a halo over his head, bound his feet with shackles and coiled a rope-like or snakelike form around his torso. (In fact, in other works the rope which binds a victim often turns into a snake in the hands of his tormentor). Haring remarked on his own creation: "Whoever understands this photograph understands what my work is all about."6 The essential theme sounded here - man bound into a "mortal coil," anchored to the earth, while his spirit strives to soar into the heavens - is as old as religion itself)
In his journal Haring described the events of June 16th as follows: Friday I had a "press lunch" with the airship people (boring and trivial). Then went to Futura's exhibit and bought a nice new painting. Met David Galloway there. He came to Paris to interview me for the book Hans Mayer is doing on my sculptures. Went with David to see the airship painting again and do photos. We talked a lot and by the same time we got to the hotel the conversation got deeper and continually off the "subject."
Did some photos for a German spaghetti book. (Portrait of me with a drawing made out of spaghetti we ordered from room service.) I talked with David till it was time for dinner at Marcel Fleiss's house with Yoko and Sam. Nice quiet dinner and then returned to hotel with David to talk till 1 :30.7
The "deeper" talk that quickly veered from the topic of sculpture and continued into the early hours of the morning ultimately found its focus in the fat roll of galley proofs resting on the mantelpiece of Haring's suite at the Ritz Hotel. This was the interview by David Scheff that would appear in Rolling Stone on August 10th, and in which Haring talked with painful frankness about his own illness. As a politically engaged artist who helped to organize the first" Art Against AIDS" exhibition and produced several AIDS-related posters, including more than one with the motto "Silence = Death," he felt morally obliged to speak out about his illness. (Later in the year, he would march in protest against New York City's "racist" policy with respect to the disease, which allegedly only afflicted perverts, junkies and Afro-Americans.) Nonetheless, when the time came to approve Sheff's uncompromising interview, the activist experienced a moment of hesitation. Quite simply, he feared he might not be permitted to work with children again, and this was one of his most cherished activities. Despite such misgivings, on June 17 he sent his approval of the text to the editors of Rolling Stone, and when it appeared the artist experienced an immense, deeply gratifying wave of sympathy. The sole sour note was a protest against his having been commissioned (by Princess Caroline) to execute a mural for the maternity ward of the Princess Grace Hospital in Monaco - allegedly a potential danger for future generations.
In transforming a photographic portrait into a self-portrait with a few brisk strokes, Haring made an emphatic statement about his artistic intentions. At the same time, he revealed the depth of his own religious sentiment. Though not a practicing Christian in the last years of his life, the artist had a profound sense of right and wrong, of good and evil, and he devoted a considerable part of his energy to social causes. Attending Sunday School and church had been a regular part of the Harings' family life, and in summer Keith attended the camp run by the United Church of Christ. As a teenager he joined the Jesus Saves movement, read the Bible voraciously and developed "an obsession with the concept of the Second Coming..."8 Above all, Haring was influenced by "Revelation," which later offered him a veritable storehouse of trenchant visual imagery. Even at the age of 12, according to Haring's mother, "he began making drawings in which there were Jesus symbols and other types of symbols, like a loop with two dots."9 Haring's phase as a "Jesus Freak" was short-lived, and the impact of religion (above all, of organized religion) on his work can be overestimated. Indeed, the artist once complained to his journal that "Most religions are so hopelessly outdated, and suited to fit the particular problems of earlier times, that they have no power to provide liberation and freedom, and no power to give 'meaning' beyond an empty metaphor or moral code."10
When he finally decided, while dancing at New York's Paradise Garage, to depict the Ten Commandments within the arches of Bordeaux's Musee d'Art Contemporain for his show there in 1985, Haring was at a loss to remember all the commandments: "So the minute I get to Bordeaux, I ask for a bible!"11 Yet for all the vagueness surrounding Haring's grasp of biblical fundamentals and his distrust of the church as a moral authority, Christian mythology clearly had a profound impact on his use of angels and devils and madonnas, bleeding hearts and crucifixions and transubstantiations. (Painting an angel along with a mother and child on the coffin of his friend Yves Arman, who died in a car crash, transcended mere decoration to become a ritual act of healing.) Haring's fundamental religiosity, on the other hand, was also influenced by his interest in so-called "primitive" cultures, their myths and rituals and totemic objects - interests that inform the artist's pseudo-African masks, for example. And the Michael Rockefeller Collection of Primitive Art at New York's Metropolitan Museum was one of his favorite haunts.
Haring's use of traditional Christian imagery is particularly explicit in Apocalypse (1988), his first collaboration with William Burroughs. Each composition is a reprise on a collaged image taken from advertising, art history or Catholic theology. In addition to a Christ with a bleeding heart, the series includes an advertisement from the 1950s (significantly, the period of Haring's own infancy) in which a mother tenderly - and, by implication, Madonna-like - leans over her baby to offer him a milk-bottle. The explicitly Catholic allusions continue in Haring's next collaboration with Burroughs - the suite of etchings entitled The Valley. Here the imagery includes the torso of a male figure inserting a knife beneath his ribs to duplicate one of Christ's stigmata. This belated "embrace" of Catholic symbology aligns Haring even more closely with other prominent creative rebels: with Robert Mapplethorpe, Andy Warhol and Haring's street-wise friend and sometime-collaborator Madonna. For those three taboo-breaking artists the Catholic religion offered an especially fertile field for rebellion.
There is a kind of poetic logic in the fact that Haring's collaborations with Burroughs mark the end of his career, since it began with the mock New York Post headlines inspired by the cut-up technique Burroughs employed in Naked Lunch. The artist, furthermore, seems to have felt an intuitive sympathy for a surrealistic juxtaposition of images - partly inspired by his own use of hallucinogenic drugs, but also by his acquaintance with the works of Burroughs and the Beat-generation poets. A sentence from Burroughs' Soft Machine, published in 1962, might almost describe a composition by Haring: "Carl walked a long row of living penis urns whose penis has absorbed the body with vestigial arms and legs breathing through purple fungoid gills..."12 Haring had known Burroughs' work long before the two first met in 1983. In 1986, the artist told an interviewer that the author was "very into a lot of the world I've depicted, especially in the recent things - sex, mutations, weird science fiction situations."13 Erotic grotesquerie mixed with Christian symbolism characterized the works of both men. Timothy Leary, self-proclaimed guru of the acid age, remarked of the first Haring-Burroughs collaboration, Apocalypse, that it was "like Dante and Titian getting together."14 Dante and Hieronymous Bosch, whom Haring greatly admired, might seem the more appropriate parallel for works redolent with a sense of doom.
On March 20, 1987, Haring made the following remark in his journal: "I always knew, since I was young, that I would die young. But I thought it would be fast (an accident, not a disease). In fact, a man-made disease like AIDS. Time will tell that I am not scared. I live everyday as if it were the last. I love life."15 That affirmative note is sounded throughout the artist's work, the numerous interviews he gave, the social activities he sponsored, the texts he composed. Yet in the same journal entry which included the vigorous assertion of his love for life, Haring composed the following reaction to the news that the policemen accused of killing Michael Stewart had all been acquitted:
I hope in their next life they are tortured like they tortured him. They should be birds captured early in life, put in cages, purchased by a fat, smelly, ugly lady who keeps them in a small dirty cage up near the ceiling while all day she cooks bloody sausages and the blood spatters their cage and the frying fat burns their matted feathers and they can never escape the horrible fumes of her burnt meat. One day the cage will fall to the ground and a big fat ugly cat will kick them about, play with them like a toy, and slowly kill them and leave their remains to be accidentally stepped on by the big fat pink lady who can't see her own feet because of her huge sagging tits. An eye for an eye... 16
Like a Bosch-Burroughs vision, the passage indicates the rage Haring could experience when confronted with social and political injustice. For an understanding of the artist's oeuvre as a whole, however, it is important to observe that in the journal entry for a single day, remarks of a tender, Christian-like nature - "I'm sure when I die, I won't really die, because I live in many people,"17 - are followed by fulminations of Old Testament rage. Yet this dichotomy in no sense represents a contradiction; far more, it is symptomatic of the complexity of the artist's vision. It is an underlying duality which make the early works more than naive cartoons, the late ones more than angry odes to man's mortality. Fitted out with the wings necessary to ascend into heaven and the shackles drawing him down into the fire and brimstone of hell, Keith Haring demonstrated an astonishingly precocious grasp of the inherent ambiguities of his generation, of his age. He was the loving, lusting, break-dancing, quintessential American boy, but also an untiring, uncompromising social critic, and he was doomed to die young of a disease that decimated his generation. "Nothing lasts forever," as he noted in one of his final journal entries. "And nobody can escape death."18
Sagrada Família, Barcelona, España.
El Templo Expiatorio de la Sagrada Familia, conocido simplemente como la Sagrada Familia, es una basílica católica de Barcelona (España), diseñada por el arquitecto Antoni Gaudí. Iniciada en 1882, todavía está en construcción (noviembre de 2016). Es la obra maestra de Gaudí, y el máximo exponente de la arquitectura modernista catalana.
La Sagrada Familia es un reflejo de la plenitud artística de Gaudí: trabajó en ella durante la mayor parte de su carrera profesional, pero especialmente en los últimos años de su carrera, donde llegó a la culminación de su estilo naturalista, haciendo una síntesis de todas las soluciones y estilos probados hasta aquel entonces. Gaudí logró una perfecta armonía en la interrelación entre los elementos estructurales y los ornamentales, entre plástica y estética, entre función y forma, entre contenido y continente, logrando la integración de todas las artes en un todo estructurado y lógico.
La Sagrada Familia tiene planta de cruz latina, de cinco naves centrales y transepto de tres naves, y ábside con siete capillas. Ostenta tres fachadas dedicadas al Nacimiento, Pasión y Gloria de Jesús y, cuando esté concluida, tendrá 18 torres: cuatro en cada portal haciendo un total de doce por los apóstoles, cuatro sobre el crucero invocando a los evangelistas, una sobre el ábside dedicada a la Virgen y la torre-cimborio central en honor a Jesús, que alcanzará los 172,5 metros de altura. El templo dispondrá de dos sacristías junto al ábside, y de tres grandes capillas: la de la Asunción en el ábside y las del Bautismo y la Penitencia junto a la fachada principal; asimismo, estará rodeado de un claustro pensado para las procesiones y para aislar el templo del exterior. Gaudí aplicó a la Sagrada Familia un alto contenido simbólico, tanto en arquitectura como en escultura, dedicando a cada parte del templo un significado religioso.
The Expiatory Church of the Sagrada Familia, known simply as the Sagrada Familia, is a Roman Catholic basilica in Barcelona, Spain, designed by architect Antoni Gaudí. Begun in 1882, it is still under construction (November 2016). It is Gaudí's masterpiece and the greatest exponent of Catalan modernist architecture.
The Sagrada Familia is a reflection of Gaudí's artistic plenitude: he worked on it for most of his professional career, but especially in his later years, where he reached the culmination of his naturalistic style, synthesizing all the solutions and styles he had tried up to that point. Gaudí achieved perfect harmony in the interrelationship between structural and ornamental elements, between plasticity and aesthetics, between function and form, between content and container, achieving the integration of all the arts into a structured and logical whole. The Sagrada Familia has a Latin cross plan, five central naves, a three-aisled transept, and an apse with seven chapels. It boasts three façades dedicated to the Birth, Passion, and Glory of Jesus. When completed, it will have 18 towers: four at each portal, making a total of twelve for the apostles, four over the transept invoking the evangelists, one over the apse dedicated to the Virgin, and the central dome tower in honor of Jesus, which will reach 172.5 meters in height. The temple will have two sacristies next to the apse and three large chapels: the Assumption Chapel in the apse and the Baptism and Penance Chapels next to the main façade. It will also be surrounded by a cloister designed for processions and to isolate the temple from the exterior. Gaudí applied a highly symbolic content to the Sagrada Familia, both in architecture and sculpture, dedicating each part of the temple to a religious significance.
Sagrada Família, Barcelona, España.
El Templo Expiatorio de la Sagrada Familia, conocido simplemente como la Sagrada Familia, es una basílica católica de Barcelona (España), diseñada por el arquitecto Antoni Gaudí. Iniciada en 1882, todavía está en construcción (noviembre de 2016). Es la obra maestra de Gaudí, y el máximo exponente de la arquitectura modernista catalana.
La Sagrada Familia es un reflejo de la plenitud artística de Gaudí: trabajó en ella durante la mayor parte de su carrera profesional, pero especialmente en los últimos años de su carrera, donde llegó a la culminación de su estilo naturalista, haciendo una síntesis de todas las soluciones y estilos probados hasta aquel entonces. Gaudí logró una perfecta armonía en la interrelación entre los elementos estructurales y los ornamentales, entre plástica y estética, entre función y forma, entre contenido y continente, logrando la integración de todas las artes en un todo estructurado y lógico.
La Sagrada Familia tiene planta de cruz latina, de cinco naves centrales y transepto de tres naves, y ábside con siete capillas. Ostenta tres fachadas dedicadas al Nacimiento, Pasión y Gloria de Jesús y, cuando esté concluida, tendrá 18 torres: cuatro en cada portal haciendo un total de doce por los apóstoles, cuatro sobre el crucero invocando a los evangelistas, una sobre el ábside dedicada a la Virgen y la torre-cimborio central en honor a Jesús, que alcanzará los 172,5 metros de altura. El templo dispondrá de dos sacristías junto al ábside, y de tres grandes capillas: la de la Asunción en el ábside y las del Bautismo y la Penitencia junto a la fachada principal; asimismo, estará rodeado de un claustro pensado para las procesiones y para aislar el templo del exterior. Gaudí aplicó a la Sagrada Familia un alto contenido simbólico, tanto en arquitectura como en escultura, dedicando a cada parte del templo un significado religioso.
The Expiatory Church of the Sagrada Familia, known simply as the Sagrada Familia, is a Roman Catholic basilica in Barcelona, Spain, designed by architect Antoni Gaudí. Begun in 1882, it is still under construction (November 2016). It is Gaudí's masterpiece and the greatest exponent of Catalan modernist architecture.
The Sagrada Familia is a reflection of Gaudí's artistic plenitude: he worked on it for most of his professional career, but especially in his later years, where he reached the culmination of his naturalistic style, synthesizing all the solutions and styles he had tried up to that point. Gaudí achieved perfect harmony in the interrelationship between structural and ornamental elements, between plasticity and aesthetics, between function and form, between content and container, achieving the integration of all the arts into a structured and logical whole. The Sagrada Familia has a Latin cross plan, five central naves, a three-aisled transept, and an apse with seven chapels. It boasts three façades dedicated to the Birth, Passion, and Glory of Jesus. When completed, it will have 18 towers: four at each portal, making a total of twelve for the apostles, four over the transept invoking the evangelists, one over the apse dedicated to the Virgin, and the central dome tower in honor of Jesus, which will reach 172.5 meters in height. The temple will have two sacristies next to the apse and three large chapels: the Assumption Chapel in the apse and the Baptism and Penance Chapels next to the main façade. It will also be surrounded by a cloister designed for processions and to isolate the temple from the exterior. Gaudí applied a highly symbolic content to the Sagrada Familia, both in architecture and sculpture, dedicating each part of the temple to a religious significance.
From 4,000 feet over Burke County, NC.
Synthesized IRG-->RGB cross-sampled image from a single exposure. Converted camera, #12 filter. Worked up in Pixelbender and Photoshop.
© 2011 2025 Photo by Lloyd Thrap Photography for Halo Media Group
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NASA researchers have helped produce the first map showing what parts of the bottom of the massive Greenland Ice Sheet are thawed – key information in better predicting how the ice sheet will react to a warming climate.
Greenland’s thick ice sheet insulates the bedrock below from the cold temperatures at the surface, so the bottom of the ice is often tens of degrees warmer than at the top, because the ice bottom is slowly warmed by heat coming from the Earth’s depths. Knowing whether Greenland’s ice lies on wet, slippery ground or is anchored to dry, frozen bedrock is essential for predicting how this ice will flow in the future, But scientists have very few direct observations of the thermal conditions beneath the ice sheet, obtained through fewer than two dozen boreholes that have reached the bottom. Now, a new study synthesizes several methods to infer the Greenland Ice Sheet’s basal thermal state –whether the bottom of the ice is melted or not– leading to the first map that identifies frozen and thawed areas across the whole ice sheet.
Map caption: This first-of-a-kind map, showing which parts of the bottom of the Greenland Ice Sheet are likely thawed (red), frozen (blue) or still uncertain (gray), will help scientists better predict how the ice will flow in a warming climate.
Credit: NASA Earth Observatory/Jesse Allen
Read more: go.nasa.gov/2avKgl2
NASA Goddard Space Flight Center enables NASA’s mission through four scientific endeavors: Earth Science, Heliophysics, Solar System Exploration, and Astrophysics. Goddard plays a leading role in NASA’s accomplishments by contributing compelling scientific knowledge to advance the Agency’s mission.
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Sagrada Família, Barcelona, España.
El Templo Expiatorio de la Sagrada Familia, conocido simplemente como la Sagrada Familia, es una basílica católica de Barcelona (España), diseñada por el arquitecto Antoni Gaudí. Iniciada en 1882, todavía está en construcción (noviembre de 2016). Es la obra maestra de Gaudí, y el máximo exponente de la arquitectura modernista catalana.
La Sagrada Familia es un reflejo de la plenitud artística de Gaudí: trabajó en ella durante la mayor parte de su carrera profesional, pero especialmente en los últimos años de su carrera, donde llegó a la culminación de su estilo naturalista, haciendo una síntesis de todas las soluciones y estilos probados hasta aquel entonces. Gaudí logró una perfecta armonía en la interrelación entre los elementos estructurales y los ornamentales, entre plástica y estética, entre función y forma, entre contenido y continente, logrando la integración de todas las artes en un todo estructurado y lógico.
La Sagrada Familia tiene planta de cruz latina, de cinco naves centrales y transepto de tres naves, y ábside con siete capillas. Ostenta tres fachadas dedicadas al Nacimiento, Pasión y Gloria de Jesús y, cuando esté concluida, tendrá 18 torres: cuatro en cada portal haciendo un total de doce por los apóstoles, cuatro sobre el crucero invocando a los evangelistas, una sobre el ábside dedicada a la Virgen y la torre-cimborio central en honor a Jesús, que alcanzará los 172,5 metros de altura. El templo dispondrá de dos sacristías junto al ábside, y de tres grandes capillas: la de la Asunción en el ábside y las del Bautismo y la Penitencia junto a la fachada principal; asimismo, estará rodeado de un claustro pensado para las procesiones y para aislar el templo del exterior. Gaudí aplicó a la Sagrada Familia un alto contenido simbólico, tanto en arquitectura como en escultura, dedicando a cada parte del templo un significado religioso.
The Expiatory Church of the Sagrada Familia, known simply as the Sagrada Familia, is a Roman Catholic basilica in Barcelona, Spain, designed by architect Antoni Gaudí. Begun in 1882, it is still under construction (November 2016). It is Gaudí's masterpiece and the greatest exponent of Catalan modernist architecture.
The Sagrada Familia is a reflection of Gaudí's artistic plenitude: he worked on it for most of his professional career, but especially in his later years, where he reached the culmination of his naturalistic style, synthesizing all the solutions and styles he had tried up to that point. Gaudí achieved perfect harmony in the interrelationship between structural and ornamental elements, between plasticity and aesthetics, between function and form, between content and container, achieving the integration of all the arts into a structured and logical whole. The Sagrada Familia has a Latin cross plan, five central naves, a three-aisled transept, and an apse with seven chapels. It boasts three façades dedicated to the Birth, Passion, and Glory of Jesus. When completed, it will have 18 towers: four at each portal, making a total of twelve for the apostles, four over the transept invoking the evangelists, one over the apse dedicated to the Virgin, and the central dome tower in honor of Jesus, which will reach 172.5 meters in height. The temple will have two sacristies next to the apse and three large chapels: the Assumption Chapel in the apse and the Baptism and Penance Chapels next to the main façade. It will also be surrounded by a cloister designed for processions and to isolate the temple from the exterior. Gaudí applied a highly symbolic content to the Sagrada Familia, both in architecture and sculpture, dedicating each part of the temple to a religious significance.
Blue Ridge Parkway, Transylvania County, NC.
Synthesized IRG-->RGB image from single exposure. Full-spectrum camera, 525LP dichroic filter. Worked up in Pixelbender and Photoshop.
For an ordinary color rendition of this scene, see here.