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Fireworks over the 2021 Visual Arts Centre in Scunthorpe, North Lincolnshire, to celebrate the Christmas lights switch-on.
School of Art and Art History at University of Iowa in Iowa City, Iowa. Designed by New York City architect Steven Holl.
#landcarlos1 #sx50carlos1 #2014carlos1 #piedadecarlos1 #instagram
UM LINDO VISUAL...
- Este jogo de sombras e luz, que adoro, me faz lembrar de uma colega de trabalho... a Beatriz. Ela também adora fotos, mas não é muito fã de sair...
- No chão o que se encontra no céu...
A BEAUTIFUL LOOK...
- This play of shadows and light, which I love, reminds me of a coworker... Beatriz. She also loves photos, but she's not much of a fan...
- On the ground what is in the sky...
The secret life of flowers
Aim for CM members - The intricate beauty and design of flowers, wanted to give the viewers visual overload
British postcard by GoCard. Dennis Hopper in Der amerikanische Freund/The American Friend (Wim Wenders, 1977).
Dennis Hopper (1936-2010) was a multi-talented American actor, director, and visual artist, but also one of the true "enfants terribles" of Hollywood. In 1970, he won a Golden Palm for Easy Rider (1969) and Hopper was also Oscar-nominated for writing this groundbreaking anthem to freedom and rebellion. In 1987, he received a second nomination for his supporting role in Hoosiers (1986).
Dennis Lee Hopper was born in Dodge City, Kansas, in 1936. When he was 13, Hopper and his family moved to San Diego. Hopper was voted most likely to succeed at Helix High School, where he was active in the drama club, speech, and choir. It was there that he developed an interest in acting, studying at the Old Globe Theatre in San Diego. He attended the Actors Studio and made his first television appearance in the TV series Medic (1954). He debuted on the big screen in 1955 with a supporting role in the film that would make James Dean famous: Rebel Without a Cause (Nicholas Ray, 1955). Dean was both his friend and mentor. They also appeared together in Giant (George Stevens, 1956), with Rock Hudson and Elizabeth Taylor. Dean's death in a car accident in September 1955 affected the young Hopper deeply. Jason Ankeny at AllMovie: "After Dean's tragic death, it was often remarked that Hopper attempted to fill his friend's shoes by borrowing much of his persona, absorbing the late icon's famously defiant attitude and becoming so temperamental that his once-bright career quickly began to wane." Hopper appeared in the Western Gunfight at the O.K. Corral (John Sturges, 1957), starring Burt Lancaster and Kirk Douglas. After a run-in with director Henry Hathaway on the set of From Hell to Texas (1958), Hopper was reportedly blackballed from major Hollywood feature film roles until 1965, during which time he was working on television. In 1961, Hopper played his first lead role in Night Tide, an atmospheric supernatural thriller involving a mermaid in an amusement park. He returned in The Sons of Katie Elder (Henry Hathaway, 1965), featuring John Wayne. Hopper also acted in another John Wayne film, True Grit (Henry Hathaway, 1969), and during its production, he became well acquainted with Wayne. He appeared in a number of psychedelic films, including The Trip (1967) and the Monkees feature Head (Bob Rafelson, 1968), but Hopper really became the symbol of the sex'n'drugs'n'rock'n'pop generation with Easy Rider (1969). He wrote the script together with co-star Peter Fonda and Terry Southern and it was also his directorial debut. Fonda, Hopper, and a young Jack Nicholson were the stars. They had less than half a million dollars in the budget and an idea about motorbikes, a drug deal, and an LSD trip. Besides showing drug use on film, it was one of the first films to portray the hippie lifestyle. Their long hair became a point of contention in various scenes during the film. Initially rejected by producer Roger Corman, the film became a countercultural touchstone. As the director, Hopper won wide acclaim for his improvisational methods and innovative editing. Easy Rider earned Hopper a Cannes Film Festival Award for "Best First Work" and he shared with Fonda and Southern a nomination for the Academy Award for Best Original Screenplay. The film grossed forty million dollars worldwide and broke open the Hollywood bastion, benefiting a new generation of filmmakers from Martin Scorsese to Steven Spielberg.
Dennis Hopper's star faded considerably after the critical and commercial failure of his second film as director, The Last Movie (Dennis Hopper, 1971). Jason Ankeny calls it "an excessive, self-indulgent mess that, while acclaimed by jurors at the Venice Film Festival, was otherwise savaged by critics and snubbed by audiences." Hopper later admitted, he was seriously abusing various substances during the 1970s, both legal and illegal, which led to a downturn in the quality of his work. He acted in such interesting European films as Der amerikanische Freund/The American Friend (Wim Wenders, 1977) opposite Bruno Ganz. He returned to the Hollywood A-list thanks to his role as a pot-smoking, hyper-manic photojournalist in the Vietnam War epic and blockbuster Apocalypse Now (Francis Ford Coppola, 1979), alongside Marlon Brando and Martin Sheen. Hopper traveled to Canada to appear in a small film titled Out of the Blue. At the outset of the production, he was also asked to take over as director, and to the surprise of many, the picture appeared on schedule and to decent reviews and honours at the Cannes Film Festival. In 1983, Hopper entered a drug rehabilitation program, and that year he played critically acclaimed roles in Rumble Fish (Francis Ford Coppola, 1983) and the spy thriller The Osterman Weekend (Sam Peckinpah, 1983). He created a sensation as the aggressive, gas-huffing villain Frank Booth in the eerie and erotic Blue Velvet (David Lynch, 1986). For this role, he won critical acclaim and several awards. That same year he received an Oscar nomination for Best Supporting Actor for his role as an alcoholic assistant of basketball coach Gene Hackman in Hoosiers (David Anspaugh, 1986). Hopper's fourth directorial outing came about through the controversial gang film Colors (1988), starring Sean Penn and Robert Duvall. It was followed by an Emmy-nominated lead performance in Paris Trout (1991). In 1990, Dennis Hopper directed The Hot Spot, which was not a box-office hit. Hopper had more success portraying the villain of Speed (Jan de Bont, 1994), starring Keanu Reeves and Sandra Bullock. Hopper received a Razzie Award for his supporting role in Waterworld (Kevin Reynolds, 1997), starring Kevin Costner. In 2001, Hopper had a role in the television series 24. His life story counted five marriages, seven directions, and over 130 film and television appearances. He also collaborated on the Gorillaz song 'Fire Coming Out Of The Monkeys Head'. He recorded the lyrics for it. In addition to his film work, Hopper was also active as a visual artist; he worked as a photographer, painter, and sculptor. Among other things, he made the cover of the album River Deep - Mountain High by Ike & Tina Turner. In 2001, his work was exhibited in the Stedelijk Museum Amsterdam. In 2009, Hopper's manager announced that Dennis Hopper had prostate cancer. He underwent several treatments. Future film plans were postponed. In January 2010, it was announced that Hopper was beyond treatment. On 26 March of the same year, Hopper was honoured with a star on the famous Hollywood Walk of Fame. Dennis Hopper died in 2010, at the age of 74, at his home in Venice, California. Jason Ankeny at AllMovie: "The odyssey of Dennis Hopper was one of Hollywood's longest, strangest trips. A onetime teen performer, he went through a series of career metamorphoses -- studio pariah, rebel filmmaker, drug casualty, and comeback kid -- before finally settling comfortably into the role of character actor par excellence, with a rogues' gallery of killers and freaks unmatched in psychotic intensity and demented glee. " In 1971, Hopper had filmed scenes for Orson Welles' The Other Side of the Wind appearing as himself. After decades of legal, financial, and technical delays, the film was finally released on Netflix in 2018
Sources: Jason Ankeny (AllMovie), Wikipedia (Dutch and English), and IMDb.
And, please check out our blog European Film Star Postcards.
Cliente: Visual Wave
Foto: Diego Castanha
Model: Leonardo Agra
Beauty: Joaquim Júnior
Produção: Patricia Cox
Taken over the China Sea (or around the area of Subic/Olongapo) in Maynard Halili's Beechcraft Baron. Shot through a dirty aircraft window.
© 2002 Bong Manayon | FB: Bong Manayon Photography
Pentax MX + SMCP A 35-70/4 + Fuji Reala 400
05.04.08 22.11.29
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This photo has made it to explore! Rank #146 on 2008-06-24 .
Bom é o mesmo da Lea só que eu tirei aquela welcome ridicula e coloquei uma imagem da Lea achei muito melhor.
A ver, me puedo creer que lo que lleva en su mano derecha es lo que todos nos imaginamos cuando miramos con atencion a la estatua, pero lo que no me trago es... que lo que tiene en su mano izquierda, sea la otra parte que le falta! Eran grandes guerreros, y muchas cosas mas pero hasta ahí.
from the visual journal that I've been working on, started on '09 and now continued. Most of the images in the 2022 section come from a French children's book on zoology, "Pour les tout Petits,Lectures sur les Animaux."
La Colegiata de Santa María la Mayor es un templo de culto católico en la localidad zamorana de Toro, España.
La inspiración de esta colegiata es la Catedral de Zamora, que también influyó en el diseño de otras construcciones, como es el caso de la catedral Vieja de Salamanca. Comenzó a construirse en el siglo XII, bajo los auspicios de los reyes de León, siendo una de las construcciones más características del románico en su fase de transición. El cimborrio de esta colegiata se enmarca dentro de un grupo conocido como grupo de cimborrios leoneses formado, además, por los de las catedrales de Zamora, Plasencia y Vieja de Salamanca.
Las obras se extendieron más de lo normal en el tiempo, ya que fueron llevadas a cabo entre el último tercio del siglo XII y mediados del XIII. Esto indica que fuera construida en dos etapas: la primera, en la que se realizaron las portadas laterales, los muros y las trazas; y la segunda, en la que se lleva a cabo la cubierta y un cimborrio con torres adosadas.
El primer maestro que trabajó en su construcción utilizó la piedra caliza para levantar el edificio, utilizando técnicas muy vanguardistas para la época. Sin embargo, el segundo maestro utilizó elementos más antiguos estilísticamente hablando y utilizó la piedra arenisca en tonalidades rojizas como material base.
La planta es de cruz latina, de cimentación importante con grandes sillares, tres naves de tres tramos con bóvedas de horno en la cabecera, de cañón en el crucero y nervadas en el centro. En el hastial sur, se encuentra una torre de planta cuadrada que destaca del conjunto por su altura. El crucero del transepto se remata con un magnífico cimborrio de planta hexadecagonal. La cabecera consta de tres interesantes ábsides semicirculares; el central es el más decorado, ya que cuenta con arquerías y vanos ornamentados.
La colegiata cuenta con elementos que merecen ser comentados separadamente, como la portada septentrional, la sacristía o el Pórtico de la Majestad. Dentro del edificio, destaca una talla del siglo XII de la Virgen de la Esperanza o de la O, la advocación y tipología que representa a la Virgen encinta. El órgano, de época barroca, también es digno de mención.
Portada norte o septentrional
La portada septentrional es la que se utiliza para acceder al templo. Está formada por diferentes arquivoltas decoradas con ornamentación vegetal y religiosa, de entre las que destaca la que cuenta con un Cristo como Juez Justiciero rodeado de los 24 ancianos. Es una de las mejores muestras del Románico de Zamora. La torre, además, conserva sólo los dos cuerpos inferiores.
Puerta sur o del mediodía
La puerta del mediodía, a la cual se accede desde el interior del templo, tiene un arco ligeramente apuntado (muestra del románico de transición) con decoración únicamente geométrica-vegetal. Tiene claras reminiscencias a las construcciones del Císter.
Pórtico de la Majestad
Artículo principal: Pórtico de la Majestad
Se llega a él, como a la puerta del mediodía, a través de la propia colegiata. Es un conjunto visualmente muy llamativo por ser de los pocos que conservan la policromía original. Narra la vida de la Virgen, de Cristo y el Juicio Final, además de mostrar una serie de músicos que se han convertido en souvenirs habituales de la zona.
Sacristía
La sacristía de la colegiata de Santa María la Mayor cuenta a su vez, en la actualidad, con un pequeño museo que tiene algunas obras de arte (especialmente flamenco) de cierta entidad, entre las que destaca la Virgen de la mosca del siglo XVI, un "Calvario de marfil y carey" del siglo XVII, único en España, y una custodia de plata de 1538, obra de Juan Gago Díez, que estuvo en Londres hasta 2005, así como una colección de orfebrería religiosa.
Asimismo, en la Sacristía de la Colegiata se conserva también el cráneo de San Valentín.
Este edificio religioso se encuentra en un estado de conservación más que loable. Se halla protegido desde la promulgación del Decreto del 22 de abril de 1949, para más tarde continuar siéndolo bajo la ley 16/1985 de Patrimonio Histórico Español.
es.wikipedia.org/wiki/Colegiata_de_Santa_María_la_Mayor_(Toro)
torosacro.com/historia/colegiata-de-santa-maria-la-mayor/
The Collegiate church of Santa María la Mayor is a medieval church in Toro, province of Zamora, Spain. It is dedicated to Saint Mary the Great (a Marian devotion, it is a common name for churches and sites).
One of the most characteristic examples of transitional Romanesque architecture in Spain, the church of Santa María la Mayor is inspired by the Cathedral of Zamora, in turn, inspired by the Old Cathedral of Salamanca. The tower-dome is usually listed as one of the four most typical in León together with those in the cathedrals of Salamanca, Plasencia and Zamora.
It was begun around 1170 and was finished in the mid-13th century. Two different directors of the work have been identified, according to the different types of stone used (limestone in the old sections, sandstone in the most recent ones), and by the barrel vaults in the transept. The church is on the basilica plan, with a nave and two aisles, with a transept over whose crossing is the hendecagonal dome. The transept ends with three semicircular apses.
Notable is the Majesty Portico (Pórtico de la Majestad), which houses the southern entrance. It was built in the reign of Sancho IV of Castile and León (1284–1295) and is decorated with polychrome sculptures depicting scenes of the life of the Virgin, Christ, and the Final Judgement.
Also in the church are the Flemish painting La Virgen de la Mosca ("Virgin of the Fly") and an unusual sculpture of a Pregnant Virgin, dating to the 13th century. The painting of the Virgin of the Fly is especially unusual because of the realistic portrayal of a fly on the tunic which covers the Virgin's knee. Studies of the work demonstrate that this insect was added later. These same studies have pointed out numerous touchings-up in the original painting, such as the halo that surrounds the head of the Virgin, previously covered by a veil, or the rich embroidery on the dress of Saint Catherine of Alexandria, whose face has a great resemblance to some paintings of Isabella I of Castile.
en.wikipedia.org/wiki/Collegiate_church_of_Santa_María_l...(Toro)
Embark on a visual journey through the still streets of our city's most telling quarters. "Whispers of Winter" is a photographic essay that captures the poignant quietude of industrial realms and the intimate corridors of residential areas. As you meander through this series, you'll find each image steeped in the silent stories that the cool, winter air carries through the narrow alleys and broad avenues. From the subtle hues of dawn's first light to the sharp shadows of the day's end, these photographs are an ode to the enduring spirit of urban landscapes, draped in the serene blanket of snow.
Poem:
In the hush of winter's embrace,
The city's heart slows to a tender pace.
Through streets where silent histories dwell,
In faded colors, stories they tell.
The snowflakes dance, a spectral ballet,
On buildings standing in stoic array.
Reds and yellows, now subdued,
Against the gray, they're quietly viewed.
A tree stands guard, its branches bare,
A sentinel in the chilled air.
Its form etched with frosty grace,
In the city’s embrace, it finds its place.
A walk through these urban scenes,
Is like flipping through worn magazine.
Each corner turned, a picture unfolds,
Of life in hues of winters old.
The crunch of snow 'neath wandering feet,
In this cityscape where memories meet.
A frozen moment, captured still,
In the winter's cold, an urban chill.
Haiku:
Winter's soft whisper,
Red bricks muffled by snowfall,
City breathes in white.
A series of assemblages and mixed media paintings by Chiew Sien Kuan (Singapore) displayed along the Esplanade Tunnel during A Little Love Story in Singapore.
ups, andaba un poco desaparecida...
era por mis exámenes, pero ya estoy de vuelta, :)
Hoy, es mi cumple!! Wiiiiiiiiiiiii.... :D
quiero muchos saluditos lindos! ^^
20 ya!, oh my gosh, qué vieja estoy! jeje!
--
- Cámara: Tomasa
- Objetivo: 18-55mm
Paz Belén*
[18 de Diciembre-2008]
´
© Paz Vásquez ~ All rights reserved.
any unusual visual expereiences recently.
A hallucination, in the broadest sense, is a perception in the absence of a stimulus. In a stricter sense, hallucinations are defined as perceptions in a conscious and awake state in the absence of external stimuli which have qualities of real perception, in that they are vivid, substantial, and located in external objective space. The latter definition distinguishes hallucinations from the related phenomena of dreaming, which does not involve wakefulness; illusion, which involves distorted or misinterpreted real perception; imagery, which does not mimic real perception and is under voluntary control; and pseudohallucination, which does not mimic real perception, but is not under voluntary control. Hallucinations also differ from "delusional perceptions", in which a correctly sensed and interpreted genuine perception is given some additional (and typically bizarre) significance.
Hallucinations can occur in any sensory modality — visual, auditory, olfactory, gustatory, tactile, proprioceptive, equilibrioceptive, nociceptive, thermoceptive and chronoceptive.
A mild form of hallucination is known as a disturbance, and can occur in any of the senses above. These may be things like seeing movement in peripheral vision, or hearing faint noises and/or voices. Auditory hallucinations are very common in schizophrenia of the paranoid type. They may be benevolent (telling the patient good things about himself) or malicious, cursing the patient etc. Auditory hallucinations of the malicious type are frequently heard like people talking about the patient behind his back. Like auditory hallucinations, the source of their visual counterpart can also be behind the patient's back. Their visual counterpart is the feeling of being looked-stared at, usually with malicious intent. Not infrequently, auditory hallucinations and their visual counterpart are experienced by the patient together.
For those who never saw the Visual Graphix releases from the 90`s....You can watch vol.2,4 & 5 here...Be sure to check the Brighton sections...
Vol.2 - www.youtube.com/watch?v=aQmto0PqB68