#forme rotonde

[pier-carlo-universe]

Favorire la fortuna a Capodanno. Cosa fare (e non fare) secondo le tradizioni di tutto il mondo

Dal vischio sotto il cuscino al salto dal divano, ecco le tradizioni globali per attirare la buona sorte e augurarsi un 2025 fortunato.

Dal vischio sotto il cuscino al salto dal divano, ecco le tradizioni globali per attirare la buona sorte e augurarsi un 2025 fortunato. Ogni cultura ha sviluppato i propri riti e usanze per salutare l’anno vecchio e accogliere quello nuovo con speranza, prosperità e fortuna. Dal mangiare lenticchie in Italia a rompere piatti in Danimarca, le tradizioni di Capodanno sono un caleidoscopio di…

[chic-a-gigot]

La Mode nationale, no. 366, 29 avril 1893, Paris. No. 18. — Toilettes de jeunes femmes. Bibliothèque nationale de France

(1) Costume de réception, en lainage uni vert-mousse et lainage écossais vert et rouge. Corsage écossais plat, recouvert dans le bas par un double corselet de lainage uni, orné de velours vert-bouteille, descendant en patte sur le côté, avec garniture de boutons. Manches très bouffantes arrêtées sur l'avant-bras. Jupe écossaise, plate, sur laquelle le corsage-corselet se continue en longue polonaise, relevée d'un côté dans le bas et largement plissée derrière en s'ellongeant un peu.

(1) Reception suit, plain moss green woolen fabric and green and red tartan woolen fabric. Flat tartan bodice, covered at the bottom by a double bodice of plain wool, decorated with bottle-green velvet, falling in a tab on the side, with button trim. Very puffy sleeves stopped on the forearm. Scottish skirt, flat, on which the corsage-corselet continues in a long polo shirt, raised on one side at the bottom and widely pleated behind, lengthening a little.

Métrage: 8 mètres lainage écossais; 6 mètres lainage uni, grande largeur.

(2) Toilette de visites, en satin miroir rose et noir. Corsage plat, recouvert dans le haut par une berthe de dentelle posée de façon à faire faire plastron au corsage. Col montant avec petite ruche de dentelle. Manches de satin rose, coupées de velours noir, très bouffantes, avec hauts poignets de satin noir. Jupe rotonde, tout unie. Petit chapeau plateau, en satin rose, garni sur le sommet par une touffe de plumes noires.

(2) Visiting ensemble, in pink and black mirror satin. Flat bodice, covered at the top by a lace berthe placed in such a way as to form a plastron on the bodice. Stand-up collar with small lace ruffle. Pink satin sleeves, trimmed with black velvet, very puffy, with high black satin cuffs. Round skirt, all plain. Small tray hat, in pink satin, trimmed at the top with a tuft of black feathers.

Métrage: 12 mètres satin miroir; 3 mètres satin rose.

[poesiablog60]

"A una certa età si è già formato lo stampo del cuore, con le sue protuberanze rotonde e dure, le sue cavità e curve comode, i suoi angoli segreti e le sue lacerazioni.

Se un affetto deve riempire quel cuore, dovrà adattarsi al forme."

Manuel de Lope

[francesca-fra-70]

La rubrica "Salviamo le forme (rotonde)" presenta: No niente, son gli gnocchi che ho fotografato oggi. 🙄

[guyclement]

URBEX Guy Clément FRANCE | LAON | LE CATHEDRALE DE LAON VIDEO - N'hésites pas à t'abonner à ma chaîne et activer les notifications 🔔pour être informé de mes prochaines explorations et découvertes! Feel free to subscribe my channel and activate notifications 🔔to be aware about my next explorations and discoveries! La vieille rotonde a été détruite pendant la seconde guerre mondiale. L’objectif de la SNCF dans la reconstruction : le coût le plus bas grâce aux éléments modulaires. Construit en 1948, le bâtiment a été conçu par l’ingénieur Lafaille pour abriter des locomotives. Il s’agit d’une rotonde en forme de V de 36 voies avec un pont de 24 mètres. Ce site a également servi de garage pour l’équipement destiné à la destruction et au stockage des bouteilles minérales. Rotonde de 8000 m2, qui jusqu’aux années 1960 servait de dépôt pour les trains à vapeur et les wagons. Désafectée en 2003 La rotonde et le hall ferroviaire sont inscrits sur la liste des monuments de France par décret du 30 juin 2015. The old rotunda was destroyed during the 2nd world war. The SNCF’s objective, when rebuilding: the lowest cost through modular elements. Built in 1948, the building was designed by engineer Lafaille to accommodate locomotives. It is a 36-lane V-type rotunda with a 24-metre bridge. The site was also used as a garage for machinery intended for demolition and storage of mineral bottles. . The 8,000 m2 rotunda that served as a depot for steam trains and railcars until the 1960s. Decommissioned in 2003 The rotunda and the railway hall are listed as monuments of France by decree dated 30 June 2015. La antigua rotonda fue destruida durante la 2a Guerra Mundial. La SNCF tiene como objetivo, durante la reconstrucción: el menor coste a través de elementos modulares. Construido en 1948, el edificio fue diseñado por el ingeniero Lafaille para albergar las locomotoras. Es una rotonda de tipo V de 36 vías con puente de 24 metros. El lugar también sirvió de garaje para maquinaria destinada a la demolición y después de almacenamiento para las botellas minerales. . La rotonda de 8.000 m2 que servía como depósito para los trenes a vapor y los autoferrocarriles hasta los años 60. Desocupada en 2003 La rotonda y el taller-hall ferroviarios están inscritos en los monumentos de Francia por decreto del 30 de junio de 2015. La vecchia rotonda è stata distrutta durante la seconda guerra mondiale. La SNCF ha come obiettivo, durante la ricostruzione: il minor costo attraverso elementi modulari. Costruito nel 1948, l'edificio è stato progettato dall'ingegnere Lafaille per ospitare le locomotive. È una rotonda di tipo V di 36 corsie a ponte di 24 metri. Il luogo è stato utilizzato anche come garage per macchine destinate alla demolizione e successivamente come deposito per le bottiglie minerali. . La rotonda di 8.000 m2 che serviva come deposito per i treni a vapore e gli autorail fino agli anni '60. Dismessa nel 2003 La rotonda e il salone-officina ferroviari sono iscritti ai monumenti di Francia con decreto del 30 giugno 2015. Stara rotunda została zniszczona podczas II wojny światowej. Cel SNCF podczas przebudowy: najniższy koszt dzięki elementom modułowym. Zbudowany w 1948 roku budynek został zaprojektowany przez inżyniera Lafaille'a, aby pomieścić lokomotywy. Jest to 36-pasmowa rotunda typu V z 24-metrowym mostem. Witryna była również wykorzystywana jako garaż dla maszyn przeznaczonych do rozbiórki i przechowywania butelek mineralnych. . Rotunda o powierzchni 8 000 m2, która służyła jako zajezdnia dla pociągów parowych i wagonów do lat 60. XX wieku. Wycofany z eksploatacji w 2003 r Rotunda i hala kolejowa są wymienione jako zabytki Francji dekretem z dnia 30 czerwca 2015 r. Старая rotunda была разрушена во время 2-й мировой войны. Цель SNCF при восстановлении: наименьшая стоимость благодаря модульным элементам. Построенный в 1948 году, здание было спроектировано инженером Лавелем для размещения локомотивов. Это 36-полосная V-образная ротонда с 24-метровым мостом. Этот участок также использовался в качестве гаража для оборудования, предназначенного для разрушения и хранения минеральных бутылок. . Rotunda площадью 8000 м2, которая до 1960-х годов служила складом для паровых поездов и вагонов. Выведена из эксплуатации в 2003 году Ротонда и железнодорожный зал включены в список памятников Франции указом от 30 июня 2015 года. Retrouvez-moi sur les réseaux / Follow me for daily content: 👍 Facebook: Urbex Guy Clement  https://www.facebook.com/profile.php?... 👉 Youtube  URBEX Guy Clément  https://www.youtube.com/channel/UCNhQ... 📸 Instagram: @abandoned.urbex.world  https://www.instagram.com/abandoned.u... 🎵TikTok: @urbexguyclement https://www.tiktok.com/@urbexguycleme... 🐦Twitter: @GuyPellegrin https://twitter.com/GuyPellegrin #abandoned #exploration #urbex

[stilouniverse]

Dianella Bardelli "Come sono eccitanti gli uomini che ci spezzano il cuore"

Lenore Kandel, la musa dell’amore hippy Lenore Kandel è una figura tutta da scoprire per il pubblico italiano. Il suo libro di poesie The Love Book provocò un terremoto nell’America degli anni Sessanta. Lenore fu tra le protagoniste della Summer of Love di San Francisco nel 1967: la stagione che avrebbe dovuto cambiare il mondo.Bellezza carismatica, forme rotonde e sensuali, un carattere forte e…

[wildesignblog]

Maniglie e porte scorrevoli

Le maniglie destinate alle porte scorrevoli, comunemente conosciute come maniglie per porte a scrigno, non solo svolgono una funzione pratica ma rivestono anche un ruolo estetico fondamentale nell'ambito dell'arredamento domestico, non limitandosi esclusivamente alle porte scorrevoli.

Realizzate in svariati materiali come l'acciaio, l'alluminio e l'ottone, queste maniglie possono essere personalizzate con finiture aggiuntive per conferire ulteriori elementi di pregio ed eleganza.

Le forme disponibili sono molteplici, quali rotonde, rettangolari o con particolari cavità ergonomiche come, ad esempio, quelle delle maniglie da incasso.. La priorità è garantire la comodità per chi le utilizza, senza tralasciare l'aspetto estetico che deve rispecchiare un design accattivante.

UTILITÀ

Approfondiamo ora il tema delle porte scorrevoli. Queste porte, caratterizzate dal movimento orizzontale su un binario, si aprono e si chiudono lateralmente, dando così origine al loro nome. Analogamente alle maniglie, anche le porte scorrevoli possono essere realizzate con diversi materiali, come il vetro e il legno.

Queste porte possono essere installate sia internamente che esternamente. Nel secondo caso, è essenziale che siano robuste e massicce, preferibilmente realizzate in metallo, come acciaio, ferro o bronzo.

A chi sono destinate? Soprattutto a coloro che dispongono di spazi limitati o preferiscono ottimizzare l'utilizzo dello spazio disponibile. A differenza delle porte a battente, che si spostano su un asse circolare o semicircolare, le porte scorrevoli richiedono uno spazio minimo per la loro apertura e chiusura. Pertanto, non è necessario che lo spazio antistante sia completamente libero, a differenza delle porte a battente.

Questo concetto di risparmio di spazio si applica anche alle porte basculanti, a libro e ad anta.

ASPETTO ESTETICO DELLE MANIGLIE PER PORTE SCORREVOLI Tornando al tema delle maniglie, sia per le porte scorrevoli che per altri tipi di porte, è importante sottolineare che queste sono così intrinsecamente legate al design di una casa da essere oggetto di progettazione da parte di rinomati designer.

Un tappeto può aggiungere un tocco di classe al vostro arredamento.

[furlantravelfashionblogger]

AVETE MAI VISTO LA CASA BATLO' di BARCELLONA?

Passeggiando lungo il Passeig de Gràcia non potrà fare a meno di notare la facciata colorata di Casa Batlló, che le farà desiderare di ammirarla più da vicino.

Con le sue originali finestre rotonde ed il tetto a scaglie di drago, quest’edificio ha tutta la magia di un castello incantato.

Le forme e le linee rivelano immediatamente l’identità del suo creatore: Antoni Gaudí, l’architetto modernista più celebrato di Barcellona.

La casa prende il nome dal precedente proprietario, Josep Batlló i Casanovas, un ricco magnate tessile che commissionò a Gaudí la ristrutturazione della propria casa nel 1904. L’architetto lasciò libera la propria immaginazione ed annunciò che avrebbe creato un paradiso in terra. 2 anni dopo, Casa Batlló aveva un piano in più e la sua meravigliosa facciata. Furono inoltre apportati notevoli cambiamenti anche agli interni. È difficile trovare una sola linea retta: Gaudí le evitava il più possibile nei propri progetti.

Il Señor Batlló ottenne esattamente ciò che desiderava: una casa straordinaria.

[orizoncontrols]

EKINEX - IL SISTEMA A MODULI KEYSTONE

Il sistema keystone di Ekinex prevede una serie di componenti da assemblare per comporre il kit di tastiera smart a parete preferito. Il kit è composto da moduli con aggancio Keystone compatibili per le serie civili Ekinex. Prevede un ampia gamma di dispositivi per integrare impianti di rete, impianti multimediali ed impianti d’antenna. Le coperture frontali possono essere declinate nei vari colori disponibili, grazie ad uno speciale processo di verniciatura che consente di abbinarle cromaticamente agli altri dispositivi a parete. Vanno completati con una placca quadrata, doppia o tripla con finestra da 55 x 55 mm, in grado di ospitare uno o più moduli. Le placche sono disponibili in materiale plastico, in numerose varianti di colore e finitura. I tappi di plastica sono disponibili per coprire gli spazi non utilizzati.

Fornitura

Telai adattatori, placche e cornici sono disponibili per il montaggio su scatole da incasso rotonde o quadrate con fori di fissaggio a interasse 60 mm, oppure su scatole da incasso rotonde abbinabili ad dispositivi con interasse pari a 71 mm.

Accessori

Per il completamento sono disponibili i seguenti accessori da ordinare separatamente: - cornice quadrata e doppia versione Form o Flank - placca quadrata, doppia e tripla con finestra da 55 x 55 mm - adattatore in materiale plastico

Funzioni / Caratteristiche

- Uso: interno - Protezione IP: IP20  - Materiale del corpo: Plastica

Read the full article

[parmenida]

La #venere di Fernando Botero io la amo, perché è bella di una bellezza carnale, ma non sfatta. È una bella Venere dalle forme rotonde, dalla mano alzata che pare dire “ahò, ma che te credi?” Che me la fa sentire incredibilmente romana, come l’Urbe sua. È una Venere sbrigativa, sfottente, di carattere, non la Barbie che siamo abituati a pensare, è una donna di temperamento, che se fai tanto di dirle: “Però dovresti dimagrire…” ti tira un ceffone e ti dice :”Ma fatti i c***i tuoi!”. È una Venere che tiene in mano il pomo della vittoria e guarda su, verso le altre dee, dicendo: “Avete visto, io piaccio lo stesso e voi zitte!”

È una Venere che mi piace, come mi piace Fernando Botero.

Di cui avevano annunciato poco fa la morte, ma pare che sia una bufala,

E quindi potrò continuare ad amare e guardare senza malinconia le sue donne formose, ma pesanti mai. #botero #arte #art #venere

Edit: no, non era una fake news. La terra ti sia lieve come lo erano le tue donne.

[daniela--anna]

RECIPE: BANANA SHREDDED

COCONUT SAMOA (sweet)

🥄INGREDIENTS

🔸 1 ripe banana 🍌

🔸 ½ cup shredded coconut 🥥

🔸 ¼ cup melted chocolate 🍫

🥣 PREPARATION

🔹Mash one ripe banana with coconut until “batter” forms.

🔹Scoop dollops onto parchment lined baking sheet, and flatten with your hand or the back of a measuring cup until flat and round.

🔹 Using your finger, create a hole in the center.

🔹 Bake at 350F for 20-25 minutes, until golden brown -- (or longer, if you want chewier and darker cookies.)

🔹Cool and drizzle with melted chocolate.

RICETTA: BANANA A PEZZI

COCCO SAMOA (dolce)

🥄INGREDIENTI

🔸 1 banana matura 🍌

🔸 ½ tazza di cocco grattugiato 🥥

🔸 ¼ di tazza di cioccolato fuso 🍫

🥣 PREPARAZIONE

🔹 Schiaccia una banana matura con il cocco fino a formare la "pastella".

🔹Mettere delle cucchiaiate su una teglia foderata di pergamena e appiattirle con la mano o il retro di un misurino fino a renderle piatte e rotonde.

🔹 Usando il dito, crea un buco al centro.

🔹 Cuocere in forno a 350F per 20-25 minuti, fino a doratura -- (o più a lungo, se si desidera biscotti più masticabili e più scuri.)

🔹Freddare e guarnire con il cioccolato fuso o Nutella 🍫

[chic-a-gigot]

La Mode illustrée, no. 47, 23 novembre 1863, Paris. Le Czar, Drap velours. La Rotonde en peluche noire. Le Guide. Le Consul, Velours en garni de Passementerie et dentelles. Lélégante, Velours brodé et guipure. Le grand duc, Drap velours violet garni de Passementerie. Rotonde, Velours écossais Montagnac. Manteaux et Confections de Grands Magasins de Louvre. Rue de Rivoli, Toute la rue Marengo et rue St. Honoré. Ville de Paris / Bibliothèque Forney

Manteaux des Magasins du Louvre, rue de Rivoli:

No. 1. Le César. Grand manteau en drap-velours brun; l'ampleur du manteau est drapée en larges plis au milieu du dos; des ornements en passementerie fixent ces plis au milieu du dos; des ornements en passementerie fixent ces plis et dessinent une pèlerine simulée. Les mêmes ornements, composés de galons, de point vénitien et de glands, sont placés sur chaque côté vers le bord inférieur.

No. 1. The Caesar. Large brown velvet coat; the fullness of the coat is draped in wide pleats down the middle of the back; passementerie ornaments fix these pleats at the center of the back; ornaments in passementerie fix these folds and draw a simulated pelerine. The same ornaments, composed of braids, Venetian point and tassels, are placed on each side towards the lower edge.

—

No. 2. Sortie de bal en peluche moirée, à rayures blanches et noires , avec large effilé de chenille blanche et noire.

No. 2. Ball gown in plush moire, white and black striped, with broad tapering of white and black chenille.

—

No. 3. Le Guide. Paletot en drap bleu foncé, avec ornements en galons noirs.

No. 3. The Guide. Overcoat in dark blue cloth, with ornaments in black braid.

—

No. 4. Le Consul. Manteau de visite en velours noir; des passementeries noires et des dentelles marquent les pans et les poches de ce paletot, imitant un peu la forme d'un habit.

No. 4. The Consul. Visitor coat in black velvet; black trimmings and lace mark the sides and pockets of this overcoat, somewhat imitating the shape of a coat.

—

No. 5. L'Élégante. Rotonde en velours noir, brodée en soie noire de cordonnet ; le dessin de la broderie représente des palmettes ; les deux larges volants en guipure, garnissant cette rotonde , reproduisent le dessin de palmettes.

No. 5. The Elegant. Rotunda in black velvet, embroidered in black silk cord; the design of the embroidery represents palmettes; the two large guipure flounces, decorating this rotunda, reproduce the design of palm leaves.

—

No. 6. Le Grand-duc. Paletot en drap-velours violet; des ornements en passementerie noire, avec longues olives , ornent les côtés, les devants, les manches et leurs entournures.

No. 6. The Grand Duke. Overcoat in purple velvet; ornaments in black passementerie, with long olives, adorn the sides, the fronts, the sleeves and their armholes.

—

No. 7. Grande rotonde de velours-montagnac, à carreaux écossais blancs, gris et noirs ; la garniture se compose d'une large frange en chenille de nuances assorties à celles de la rotonde ; une cordelière sert à fixer le manteau près de l'encolure.

No. 7. Large roundhouse of montagnac-velvet, with white, gray and black Scotch checks; the trim consists of wide chenille fringe in shades to match those of the rotunda; a cord is used to fasten the coat near the neckline.

[fashionbooksmilano]

Oeufs

Paul Starosta

Texte de Laurent Vallotton

5 Continents Editions, Milano 2018, 240 pagine, 28,8 x 28,9 cm, ISBN  978-8874398355

euro 49,00

email if you want to buy :booksinprogressmilano@yahoo.it

Rotonde, fragili, difficili da manipolare, le uova vengono raramente esposte al grande pubblico. Un vero peccato, poiché i dettagli dei disegni sui loro gusci rivelano bellezze insospettabili. Questi minuscoli disegni, disposti sulle pure linee curve della superficie delle uova, uniscono arabeschi a puntini, macchie, ombre e velature. Le tonalità sono delicate, talvolta semitrasparenti. Opachi o lucidi, porosi o lisci, questi capolavori su conchiglia coniugano caso e necessità con inaspettata inventiva e potenza. Perché questi colori? Perché queste forme? Perché l'uria depone uova così a punta, con disegni e colori estremamente variabili, mentre gufi e civette fanno uova sferiche perfettamente bianche? Perché le uova del tinamo sono lisce e lucide come la porcellana? Raccolta la sfida di questi oggetti perfetti che richiedono luci perfette, il fotografo Paul Starosta si è immerso nella collezione Werner Haller di 30.000 uova conservata presso il Museo di storia naturale di Ginevra. In questo libro trovate il risultato del suo incontro con le uova più belle e magnetiche del mondo.

Paul Starosta est biologiste et photographe. Associant ses deux passions - la nature et la photographie-, il a publié plus de 40 livres sur les plantes et les animaux, qui lui ont valu plusieurs récompenses. La collection "Photo Poche", créée par Robert Delpire, publiée par Actes Sud et qui fait référence dans le monde entier, lui a consacré son numéro 129 en 2010. Laurent Vallotton a obtenu son diplôme de biologiste à l'université de Lausanne en 1993. Son intérêt pour l'environnement date de sa petite enfance au Brésil, mais sa passion pour les oiseaux s'éveille en 1989 quand rencontre l'ornithologue Lionel Maumary, avec lequel il va s'investir dans plusieurs projets ornithologiques, notamment la mise en place d'une station de suivi de la migration dans les Alpes dès 1991, la construction d'une île pouf les oiseaux sur le lac Léman en 2002 et la publication de la bible de l'ornithologie helvétique, Les Oiseaux de Suisse, en 2007. Depuis 2003, il est adjoint scientifique au Muséum d'histoire naturelle de la Ville de Genève, où il partage son temps entre la recherche, la gestion des collections et la médiation scientifique.

17/12/22

orders to:     booksinprogressmilano@yahoo.it

ordini a:        booksinprogressmilano@yahoo.it

twitter:         @fashionbooksmi

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[petalididonna]

Ho cercato me stessa

In ogni solitudine

In ogni mio riso

In ogni mio pianto

A tutti sembravo

Una brava bambina

Invece ero una tempesta

Silente…

Ho cercato me stessa

In ogni donna della mia vita

Che fosse:madre oppure sorella

Ma non mi sono trovata!

Troppo differente

Troppo chiara,troppo ossuta

Troppo alta,troppo spigolosa

E,adesso che il tempo è passato

Mi sono scoperta,sono uscita

Ho abbracciato il cielo,ho baciato la terra

Ora non ho spigoli…ma forme rotonde

Guardo il vento ad occhi aperti,

Mi lascio cullare dal presente

Non ho capelli che s'intrecciano

Non ho forme di gazzella

Ho invece la trasparenza negli occhi

La semplicità di un sorriso oppure un riso

Che mi ritempra…un fuoco che rianima

Un desiderio infinito di vita.

Donatella Pardini©

#ermionepoesia

[the-art-of-animated-gifs]

Interview with my friend A.L. Crego

I have not met A.L. Crego.  I have not spoken with him on the phone, in fact I do not even know what he looks like.  But I can confidently call him my friend.  Three years ago when I started this blog he immediately disagreed with me in the comments about things I was writing and I loved it.  As a person putting ideas out there, you treasure things like that....because you know someone cares.  We have had many back and forth discussions over the years....if we had lived in Paris in 1911 we would be having arguments at La Rotonde (not to compare either of us to Picasso).

A.L. Crego is a motion artist who does a wide variety of things.  He has now become a very visible and active figure in the NFT Movement.  He recently completed a large and very successful project in which he animated the work of a number of well know street artists on the building themselves, something he has done for years.  His Tumblr page is a good place to start to see his work, which is largely surrealist in nature -- another Spanish artist following in the footsteps of other great Spanish surrealist artists.

---------------------------------------------------------------

How long have you been creating gif art?

In a conscious and intentional way since 2014. Previously I haven't pay too much attention on one hand for its common use that was mostly ads and funny little videos, and on the other hand because it was a 'standard' format we accepted as something part of the web so I never stopped to analyze its potential. The key point for me was about 2010-2011 when the concept of 'Cinemagraph' was brought to life just giving it a name. It's format is .gif but its characteristics are different so I saw there the midpoint between photography and video, which gave born another format of art.

Art mutates when a new format appears. I was using and studying this format since then but it wasn't until 2014 that I decided to publish some of them.

What is your background?

In general terms, bachelor, 2 years of stone sculpting and two attempts of photography and audiovisual mediums. I say attempts because I gave up both of them as I was feeling that I was looking for something else more than studying all the previous history, style and isms, which is nice to understand where everything comes from and to be aware what are the key points on the history to use as reference, as a map. But in some way I felt limited as I was using digital tools since I had my first computer with 14 years, and I was being taught things I learnt by then. Even more in this times we are living where we are 21 century people, been taught by teachers from the 20 with 19 century methods.

A constant line that feeds my background is literature and music overall and later Street Art, next to more temporal interests as everything related with mythology, alchemy, history, psychology, neurology, biology, human condition in general... I don't have studies buy I'm a studying guy!

I always like to highlight that all these years that internet got strong and social networks appeared, I decided voluntary to be out of them. First reason was to keep my privacy safe in a growing world where it seemed that some "curtain" felt and everybody accepted that intimacy was now 'ex-timacy' and correct to show their private life, (this shocked me). Another reason was about the psychological effect that social networks were having on people I had around and everywhere in general. I started to notice patterns and "waves" about series, aesthetics, styles, and I was seeing clearly that if I go there, I will become permeable to all this "Amniotic Culture" I was trying to avoid.

This fact of being far (but study them closely) helped me a lot about researching and developing my own ideas and style, for the mere fact that I was using all this time and attention Social Networks require, on drinking from another sources. The B-side of this is that I was 'out of the radar' of mass people as this social networks are designed to live inside them. My idea of internet and spreading ideas is not in this way.

Where do you live and work?

In the north west of Spain, Galicia. Now due to Covid I travel less but before it, I was working and traveling many places as I only need a camera and a computer. This allows me move to work anywhere.

Do you think that animated gifs are a new art form?

I think so, despite the fact that the format existed since 1987. But as every new format of art it takes its time to be considered as art. The first photographs were not considered art until many years later. Same happened with film, same with CGI. Is nice to have in mind that gif format is the last strictly digital format of the three main ones on the web: picture, video and gif. Photography has about 200 years of history, video about 130, CGI about 60. Finally gif has 33, and used as art itself no more than 10-15. In the same way anybody takes a picture of anything does not convert it into art, is the same with gifs. One thing is the format, another is the 'art'. Everybody can take a picture, record a video or do a gif. The difference is on the how, the why, and from my point of view overall, the what.

Do you think that there is a difference between pure .gif files and the .mp4 files that people post on Instagram?

The first, big and obvious difference is the format. Is not the same a painting as a picture of a painting. Here happens the same. For example, if you treat a gif with Cinemagraph technique, you are converting in picture some parts of the image, so they still remain and with the texture and totally stillness of a picture. If you convert this gif into a mp4 this still parts, despite not having motion, will convert into a video texture (noise, subtle motion in pixels, etc) so the main characteristic, among the perfect loop, is lost. Another point is that you must play a video, a gif is always running. Waterfalls are always running and this characteristic is something that is inside our human nature, we react nice to "bucle" motions as waterfalls, fire, etc. We find pleasure on this. Of course if it's a video the perfect loop is lost and the visual mantra disappear. And another key point here is the soundtrack. In a video you can use sound to enhance or give another meaning to the piece that you can't with gifs. For me this is another characteristic that give meaning to gif. For me gif is silence, the sound is generated by the motion, the melody are the details and the beat the perfect loop. You can "hear" almost every gif.

The difference between a gif and a video is the same that between a waterfall and a hose (if this works).

What do you think are the characteristics of good gif art?

For me first and overall the perfect loop. Not using it is not using the only format that has this characteristics. Of course there can be gif art that is not perfect loop, but from my point of view and in my work is a must. It's a new way not only of creating but also of thinking. Imagine an still scene is easy, imagine an A-B point action is easy. For me the challenge is about thinking an idea that is perfect looped where all the elements interact and eventually come back to its initial point. Succeed doing this is where the perfect loop appears and you are not able to find where is the start point of the action. Like a visual mantra, that it's repetition leads you inside the piece. Gif art is nice to use the power of the hypnotic movements. Another point to have in mind for me is the flow of it, the frame rate I mean. Depending on the idea and the kind of animation this should vary; is not the same fps to achieve something with flow than if you want to achieve a more 'retro' old style. Another thing is about dithering and color palette. This second one is essential to understand as it affects the final file. When we work with photo and video we are using millions of colors but when rendered as gifs all the gradients, lights and even colors will change if there is a previous understood of this point.

As summary: If motion doesn't add, change of enhance the meaning of the piece, is expendable.

I'd would like to add that I'm not really supporter of this kind of gifs generated automatically that just move a still image itself. I understand that this 'technique' is used as a tool for certain motion (I use it) but not to move a whole image. I feel the same as if somebody hold a painting in front of me and moves it randomly. If the work was born still, it must remain still. A good example of 'inner motion', this means that the motion is implicit on the image despite not being in motion, are the photographs of Cartier Bresson for example. Giving motion to this pictures for example, will kill it because it will break the concept of 'perfect instant' .

'Instant' differs etymologically from 'moment' in the motion. So, still image (painting, photo, sculpture, etc) is an instant, videos are stories with a-b point, and gifs are moments, the mid point.

How would you describe your gif art?

I usually condense it as "Visual Mantras", as the technique and the aesthetic vary depending on the idea , but in all of them the perfect loop and the intention of hypnotizing is always present.

In another terms about aesthetics and themes I think ‘Industrial Nature’ can fit nice. I use a lot of industrial elements but I like to mix their mechanics with the biological natural ones.

How long have you been creating and selling NFTs?

I am selling NFTs since mid 2019, but it wasn't until October 2020 that I focused more on it and dug into the ecosystem to find new paths to focus my work.

Do you think that NFTs are a positive for gif artists?

For me, and the main reason I jumped into cryptoart and NFT, is that now I can certify my digital work as original. Even more to gif works as they were always understood as something banal and minor for the context of its born. Gif art was born prostituted, used mostly for ads and to claim our attention on the internet, next to the highest glamour of painting and traditional art, and 3d, photography and video these last decades. Even worst if we realize that gif format was the only visual format born by and for the internet.

NFTs are totally positive for gif artists because despite being a digital/online native format it never had its own ecosystem to live in. I feel that I was creating creatures for an ecosystem I was waiting to drop them there. Now with the blockchain, NFTs and cryptoart, I found the place where they can live, being watched by everybody and have the certify that is my work. Until some months ago my work was "free" on the web and I had no control over it at all. This was a huge problem I was suffering since my first month into gif art as people use it indiscriminately with no credit at all. It's ok, and I always defend that my work is to be seen, to be shared, but I was looking for the way to be able to have this link with my work without losing the option of being available for everybody. NFT totally changes this.

What do you think will happen in the future as NFTs get even more popular?

In general terms I think it will happen the same as when print got more popular. People will use it more, a lot of crazy and useless things will appear, tons more of different uses and useful purposes, (not only on art). This opens a new door a lot of people was waiting so the future is unpredictable but we can feel where things are going. NFT arrived to stay and the concept of decentralization is something that was always present on the internet since first days but born inside a centralized system. NFTs are being a way for people to understand the 'peer to peer' philosophy and this makes people think in different codes, so we can expect a lot of new horizons, in art, music, design...

What do you think of the environmental impact of NFTs?

This question can goes really deep but in general terms I think that is something that is being oversized due to the hype and the boiling point we are, and it's understandable because is not false that it has an environmental impact, as everything does. But on the other hand I have two main areas in mind. The first and the obvious from my point of view is that when something is new and developing is less efficient, in the way that it requires more effort to achieve the result. But at the same time, the more this technology is used the more is developed and all this issues are part of it. The first car was not electric.

The second point that usually reverberates in my mind and that it seems that 'hard critics' omit is that they are not having in mind that this NFTs we mint, give us a profit that can be used offline to do another things that can be useful to solve this problem, for example, investing part of this money on living on our own in a minimal and clean way (not working for huge multinational that their environmental impact is tons times more than NFTs and then being part of an ONG to feel clean) and on using part of this money on looking and researching new ways to mint and to keep this digital ecosystem more efficient and clean. Every development needs time.

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If you have found this content valuable considering getting me a cup of coffee

[notrebellefrance]

Simiane-la-Rotonde

une commune française située dans le département des Alpes-de-Haute-Provence, en région Provence-Alpes-Côte d'Azur. Le nom de ses habitants est Simianais. Simiane a reçu le label « village et cité de caractère ».

Simiane-la-Rotonde est resté pratiquement inchangé depuis des siècles. Accroché à une petite colline sur un haut plateau des Alpes-de-Haute-Provence, il est situé au nord-est d'Apt et du Luberon, pas loin du Mont Ventoux. En juin et juillet les champs autour explosent dans une profusion de lavande.

Le village est blotti contre une motte sur laquelle se dresse la silhouette tronconique de ce qui a donné à Simiane-la-Rotonde son nom : le donjon, ou rotonde, de l'ancien château des Simiane-Agoult. Construite au XIIe siècle, son extérieur massif est remarquable par sa forme hexagonale. L'intérieur, un dodécagone irrégulier, est vraiment splendide. Une grande salle présente une série d'arcades avec chapiteaux finement sculptés. La pièce est surmontée d'un coupole de pierre en 12 voutes de croisée d'ogives d'une impressionnante hauteur de 5 mètres. Un étonnant exemple d'architecture romane, tant civile que militaire.

L'aile sud du château a été restaurée et vous pouvez faire un tour du corps de logis et des fortifications. Les pièces du rez-de-chaussée datent du Moyen Age et racontent l'histoire du château. L'étage supérieur, datant de la Renaissance, abrite le Laboratoire d'Aromathérapie Sainte Victoire qui propose au public des ateliers d'initiation aux huiles essentielles.