#middle east sardinia pictures

[thevalleysbelow]

Constellation of the day: a brief introduction on sky cultures.

To begin with: every culture that’s ever existed on this planet seems to have found images to associate with groups of stars. Each culture gave those constellations names borrowed from mythology or everyday-life objects. So we have a number of Sky Cultures, some of which have been somehow systemised. I’d at least like to name them, as a form of respect and because they are intrinsically interesting and important.

Native American cultures are the Blackfoot culture, Inuit, Navajo, Tukano, Tupi-Guarani.

In Asia, the Bugis, Chinese (old and Contemporary), Indian Vedic, the Japanese (that is similar to the Chinese in dividing the Moon’s path in 28 “stations”), the Korean (also similar to the Chinese one), the Mandar, Mongolian, and Siberian.

In Europe we have constellation systems as the Belarusian, the Norse (love that one), the Romanian, the Ruelle chart (first ever attempt to reconstruct Greek constellation with geometrical figures), the Sami, a whole separate star chart for Sardinia, then there’s the Western- that’s the most used constellation system adopted by the International Astronomical Union, and three other variations of this particular system.

In the Middle East, we find three Arabic cultures (Al-Sufi, Ancient, Lunar Stations) and the Egyptian culture.

In Oceania, there are the Anutan, Hawaiian, Kamilaroi/Euahlayi, Māori and Tongan.

On the same Earth and under the same sky, apparently no human group could go without looking at the stars. If you���re interested, you may find more here (other references included). Even more bibliography and information can be found on my other main source, from which I learnt most of what I know about Sky Cultures, the mobile app Stellarium. Can also ask me for other links and such if you feel like it.

No constellation is, obviously, a faithful portrait of the hero, object, or animal it’s associated with. One could hardly think of Cassiopea as a W. To see why constellations are named as they are, one should look at the night sky not only with imagination in general, but with The imagination of those who named them first, influenced by their myths, their heroes and their lives. Slawik and Reichter give in their premise the pregnant example of Orion, that up there in the sky is stopping the attack of the Taurus, all the while chasing the beautiful Pleiades, and running from the Scorpion’s stinger. Looking at the sky as a group of humans looked at it, means having in front of you (or above your head for that matter) a sort of rotating, ever changing picture of their culture and beliefs. Stories and legends and are told and handed down in what we now schematise as dots and lines, and I find that re-learning to read them from scratches can be quite mind-opening.

See y’all later with another post, probably another introduction on catalogues and names, this time more technical.

~Ad Astra~

[artborghi]

Something does not fit

Something does not fit

Casa Zapata museum: the historical palace of the Spanish Zapata family above, a Nuraghe village from 1,500 BC beneath

Faithful paparazzi at Santa Maria procession, Villasimius

Historical graffiti sprayed on the Church Of The Holy Sepulcher, Cagliari

Global warming consequences at Punta Molentis Beach

The night fell on the 6 km long Santa Maria procession in Campolongu

All pictures shot with…

[sfjazz]

Omar Sosa back in Bay Area, ready to show off his new global sounds

http://www.mercurynews.com/2017/04/18/omar-sosa-back-in-bay-area-ready-to-show-off-his-new-global-sounds/

By ANDREW GILBERT | Correspondent

April 18, 2017 at 2:00 pm

Cuban pianist Omar Sosa shot to international jazz fame during his four years in the East Bay, a brief but creatively fecund period in the late 1990s when his music steadily expanded to encompass sacred Santeria chants, Afro-Ecuadoran rhythms, Moroccan modes, hip-hop cadences and post-bop harmonic vistas.

He returns to the Bay Area this week with three very different ensembles reflecting his ongoing evolution as an artist with globally attuned ears. While each band brings together a far-flung cast of musical innovators, it’s not hard to identify the common thread connecting the combos, namely the hard-hitting pianist’s abiding passion for percussion.

“I’m a percussionist, and I love to play with percussionists,” says Sosa, 52, who grew up in the eastern Cuba city of Camaguey, a stronghold of African culture, and has long lived in Barcelona with his wife and two children. “Thanks to God for giving me the opportunities to play with these masters.”

He opens his four-night SFJazz residency April 20-21 with his long-running Quarteto AfroCubano, a group that’s honed a springy, mercurial body of music that combines Afro-Cuban roots with southern African soul.

Featuring Mozambique native Childo Tomas on electric bass and vocals and Sosa’s Camaguey homies Leandro Saint-Hill on saxophone, flutes and vocals, and Ernesto Simpson on drums and vocals, the quartet is joined by special guest percussionist John Santos, with whom Sosa forged deep ties during his Bay Area stay.

Saturday’s concert introduces a new electronica-laced ensemble that keys on the great French-Martiniquai percussionist Mino Cinelu, best known for his work with Miles Davis and Sting, and German trumpeter Joo Kraus, who contributed gorgeously atmospheric lines on Sosa’s Grammy-nominated 2012 Afri-Lectric project “Eggun.” The special guest is Cuban alto saxophonist and chekere expert Yosvany Terry, another Camagueyano, “who’s the completely acoustic guy,” Sosa says. “He’s going to be inside the river and go with the flow, floating around and being as free as he can.”

Initially booked as Sosa’s JOG Trio, the concert turned into a rare reunion with Cinelu, who stepped up when visa problems prevented folkloric Venezuelan percussionist Gustavo Ovalles from making the date.

“I played with Mino for four years as a duo, but then he started to play with Sting and got really busy,” Sosa says. “We have so much beautiful chemistry. He was the first guy who introduced me to electronics on the piano. He’s my teacher. He took me to the store and told all the gear to buy. He was the first to tell me about sampling myself.”

On April 23 at SFJazz and April 24 at Kuumbwa, Sosa presents the North American debut of GFS Trio, featuring the innovative Indian percussionist Trilok Gurtu and brilliant Italian trumpet player Paolo Fresu, with whom Sosa has performed widely as a duo. They’ve also recorded two breathtaking albums, 2012’s “Alma” with the great Brazilian cellist Jaques Morelenbaum, and 2016’s “Eros” with Morelenbaum and Anglo-Middle Eastern vocalist Natacha Atlas.

With Sosa on piano, various keyboards and electronics and Fresu adding percussion and electronics, the duo developed a spacious, gossamer lyricism with “a lot of silence,” says Fresu, a prolific composer who works in theater, dance, radio, television and film.

“With Trilok, the silence is a new instrument for him. It’s completely different than the duo, with more energy. We travel a lot in the music of the world. I’m from Sardinia, so there’s the Mediterranean earth. Omar is Cuba and Africa. And Trilok is India and everywhere. It’s a kind of picture of music of the world.”

Sosa is particularly excited about introducing the GFS Trio to his Bay Area friends and fans, as Fresu and Gurtu have spent far too little time on Bay Area stages in recent years. Gurtu used to perform in Northern California when he toured with guitarist John McLaughlin (in a trio that often featured Berkeley electric bassist Kai Eckhardt), and the world jazz ensemble Oregon, which he joined after the death of his close friend, Collin Walcott. He also performed and recorded at the turn of the century with Zakir Hussain and Bill Laswell’s pioneering Tabla Beat Science.

“Sometimes I do a Cuban danzón, and Trilok plays danzón on tabla,” Sosa says. “It’s good that people can see the concept of how he plays. He’s got a unique sound. His tuning is completely different. Trilok, Mino and John Santos are my heroes. They’re my three masters and these concerts are a dream come true.”

[isabellafoster930-blog]

It is less likely that virtual interactions with our co-workers will give us that lively sense of interaction which truly makes these processes successful.

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[artborghi]

Sardinia Zen

Past visions and memories of this wonderful land placed in the middle of the Mediterranean sea.

The shores of Cala Santa Caterina, Villasimius

Castello della Marmilla on the mountain cone of Las Plassas

Infinity pool at Campolongu

A shallow ford to Peppino’s sea rock, Santa Giulia, Costa Rei

The sunset seen from Cala Santo Stefano, Villasimius

All pictures shot with Nikon D800 plus Nikon 50…

[artborghi]

A dream of you and me

A dream of you and me

Love and romance above and below sea level

Sunset bathing at Porto Giunco, Villasimius

Diving at Cavoli island

On the stairs of Bastione St Remy, Cagliari

Paparazzo at Punta Molentis

You and me at Cala Santa Catarina

All pictures shot with Nikon D800 plus Nikon 50 mm 1.4G / 16-35 mm 2.8 / 70-200 mm 2.8.  Click each picture to zoom in.

Previous episodes:

1 Sardinia welcomes 2 Blues alla…

[artborghi]

Big fishes

Snapping the tail of a trigger fish

A purple star fish

A stingray hovering on the sea bed

The monster from the Abyss

Jelly encounters of the third kind

Tordo verde through a Poseidonia prairie

The curious eye of a trigger fish

Underwater pictures shot either with Huawei p30 pro or Olympus Though-1. Click each picture to zoom in.

Previous episodes:

1 Sardinia welcomes 2 Blues alla Carbonara

[artborghi]

Team players

No sand can be collected, no shell can be picked… and of course no sea creature can be fished. That is why the waters comprised in the Natural Marine Area of Capo Carbonara swarm with fishes.

Saddled breams at Porto Giunco

Mullets at Cava Usai

Rock fishes, Cala Santo Stefano

Saddled breams at Cavoli island

Ascidia colony, Timiama

Mullets at Punta Molentis

The boat engine from a wreck off…

[artborghi]

Under landscapes

A glimpse on the sea bottom variability present in the Natural Marine Area of Capo Carbonara. White granite rocks covered with multicolored algae, blue depths, Posidonia sea beds. And fishes.

Cavoli island

Cava Usai

Timiama

Capo Carbonara

Cala Caterina

Cala Pira

Underwater pictures shot either with Huawei p30 pro or Olympus Though-1. Click each picture to zoom in.

Previous episodes:

1 Sardi…

[artborghi]

Walk on ancient rocks

Walk on ancient rocks

First Sardinia rocks emerged from the Mediterranean sea bed around 600 Mya. Some hundreds Mya later Sardinia turned into an island. You always walk on very old rocks here. Even when on basalt walls carved by Nuragic stonemasons that dates back up to 2,000 years ago.

Cava Usai, Villasimius

(World largest) Nuragic village, Barumini

Solid love story at Peppino’s rock

Snorkeling above the rocky…

[artborghi]

Bend it

Low tide at Stagno (pond) Notteri, Capo Carbonara

Via Giuseppe Manno, Cagliari

Spiaggia Timi Ama, Villasimius

Flamingos in Notteri pond, Villasimius

Giunco beach, Villasimius

Ancient graffiti along Cagliari streets

All pictures shot with Nikon D800 plus Nikon 50 mm 1.4G / 16-35 mm 2.8 / 70-200 mm 2.8.  Click each picture to zoom in.

1 Sardinia welcomes 2 Blues alla Carbonara 3 Summer greens

[artborghi]

Row, row, row your boat

Row, row, row your boat

Inspirations for tenacity, strength and patience.

Graffiti in Cagliari

The light house of Cavoli island, capo Carbonara

Standing alone, Villasimius

Punta Molentis, high tide beach

Cava Usai, Villasimius

All pictures shot with Nikon D800 plus Nikon 50 mm 1.4G / 16-35 mm 2.8 / 70-200 mm 2.8.  Click each picture to zoom in.

Previous episodes:

1 Sardinia welcomes 2 Blues alla Carbonara 3 Summer…

[artborghi]

Barriers

Natural and artificial barriers: subjects rather than nuisances, sometimes.

Spiaggia di Cava Usai, a mine of white granite

Sandy dunes of Campolongu

Peppino’s rock, Santa Giuglia, Costai Rei

Porto Giunco beach, Villasimius

On the road to Porto sa Ruxi

All pictures shot with Nikon D800 plus Nikon 50 mm 1.4G / 16-35 mm 2.8 / 70-200 mm 2.8.  Click each picture to zoom in.

Previous episodes:

1 S…

[artborghi]

Summer greens

Not only blues in Sardinia, all shades of greens prevail above and below sea level.

Chiesa dell’Immacolata Concezione, Barumini

Storm approaching Cala Santa Stefano, Villasimius

Ìsula de is Càvurus (island of the crabs in local language), on hike towards the light house (1856), Villasimius

A ship wreck (here the boat engine) on the sea bottom of Capo Carbonara, Villasimius

Bastione St Remy,…

[artborghi]

Blues alla Carbonara

The Natural Marine Area of Capo Carbonara was established in 1999. It consists of white sandy beaches, shallow waters, Posidonia oceanica prairies and granite rocks. All ingredients contributing to the shades of blue you can dive and snorkel in.

Timiama, Villasimius

Porto Giunco, Villasimius

Punta Molentis Beach

Cala Santa Stefano, Villasimius

Porto Giunco beach (front), Stagno Notteri…

[artborghi]

Sardinia welcomes

Either because of its sandy beaches, deep blue seas, religious traditions, unique food choices, ancient history and rich cities, Sardegna will always call your memories back there. Just after you enjoyed it, and every time you will choose your next summer holiday location.

After rocky North-Western shores of S’Archittu du Cuglieri, jewels bays and industrial archeology of Nebida in the South-West…