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4,663,162 次观看 • 1 年前 •via X (Twitter)

11 条评论

movesnyc 的头像
movesnyc1 年前

Song?

☯️ 的头像
☯️1 年前

I sat n waited to see he final product & was only left with disappointment 😭

William Barrett 的头像
William Barrett1 年前

Unreinforced mortar or cement Not even gravel. In other-words, performative nonsense, because none of it will last for shit

Michael Dorausch 的头像
Michael Dorausch1 年前

Underappreciated skills.

Croudemar 的头像
Croudemar2 年前

Minecraft Lego sets: where Minecraft and Lego meet! I think they did an especially good job on the little figures. Click an image below or see them all at:

Cody Savage 的头像
Cody Savage1 年前

Eye candy!

James Hague 的头像
James Hague1 年前

I can't be the only one waiting until the end to see the finished article and it never comes 😂

brotherdarul 🇺🇸🟠 的头像
brotherdarul 🇺🇸🟠1 年前

So is this for a theme park, like Disney World, where they often build structures that mimic other materials, but are more durable for all the traffic they get?

iiTzRonin 的头像
iiTzRonin1 年前

Song ? :3

Gator Stephens the Pilot of the 4 Winds 的头像
Gator Stephens the Pilot of the 4 Winds1 年前

Captain The most difficult part of my journey to release my creativity is finding worth in my efforts and time spent on them. A big part of my early programming was focused on how something was gonna make money or some tangible physical product. I can only spend a few minutes doing “nothing” otherwise known as the creative process before the negative voice comes in. But I am working daily to silent that thinking which was put there. Always looking for an aide to do so. It’s horrible to always feel you must produce or it’s worthless. Horrible.

Ronnie 的头像
Ronnie1 年前

😎

相关视频

11,000-year-old sculpture unearthed at Karahantepe.... 🇹🇷 Culture and Tourism Minister Mehmet Nuri Ersoy said an 11,000-year-old composite sculpture depicting a human figure sitting on the back of a leopard has been discovered during excavations at Karahantepe, located in southeastern Türkiye's Şanlıurfa province. In a social media post, Ersoy said the sculpture was unearthed as part of the Heritage for the Future Project’s 2026 excavation season. He described it as having a style not previously seen in similar finds. The 70-centimeter-high (28-inch) sculpture depicts a human figure seated on a leopard and was found on a bench running along the wall of a 3-meter-diameter structure whose floor was paved with flat stones, according to Ersoy. "I believe this discovery, which opens the door to new questions about the earliest periods of human history, will have a wide impact in the scientific community,” Ersoy said, thanking the General Directorate for Cultural Heritage and Museums, the excavation team, scientists and other field workers. Another sculpture from Karahantepe makes the new discovery especially arresting. That earlier work shows a human supporting a leopard on their back. The animal’s open mouth and visible teeth make clear that it is not represented as harmless or passive. Its legs extend around the person carrying it, creating one of the site’s most difficult images to interpret. The newly announced statue turns that arrangement around. Instead of carrying the animal, the human now occupies the leopard’s back. It would be premature to treat the two sculptures as consecutive scenes or surviving parts of the same story. They were not found together, and no text survives to explain them. Yet their contrasting compositions show that Karahantepe’s sculptors repeatedly explored the physical relationship between people and one of the region’s most formidable predators. The difference is sharper than a simple change in posture. In one sculpture the animal bears down on a human body; in the other, the human has been placed above the animal. Whether this conveyed control, confrontation, transformation or something else cannot yet be established. Leopards were part of the landscape known to the communities living around Karahantepe and Göbekli Tepe. In the art of the region, however, they were rarely treated as background wildlife. Felines appear on stone pillars and in three-dimensional sculpture, sometimes with open jaws, raised tails and carefully marked teeth. Comparable images at Göbekli Tepe and Sayburç place dangerous animals close to human figures, often in scenes that appear deliberately composed. Such depictions have prompted interpretations involving power, danger, group identity and ritual performance. None can be applied automatically to the new statue. The people who made it left no written explanation, while similar animals could have carried different meanings depending on the building, audience or occasion. Its location may eventually provide firmer evidence. The statue stood on a bench inside a small paved structure, meaning that its placement was probably visible and intentional. Archaeologists will need to establish whether it remained there throughout the building’s use or was deposited as part of its closure. Excavations at Karahantepe began in 2019, but even the limited area opened so far has produced an unusual concentration of human faces, heads and full-body figures. In 2023, archaeologists discovered a 2.3-meter human statue fixed within a bench. Deeply carved ribs, shoulders and a pronounced spine gave the seated figure an emaciated or deathlike appearance. A stone vulture had been placed nearby, adding another dangerous animal to the room’s imagery. 🎥© tckulturturizm © Anatolian Archaeology #archaeohistories

Archaeo - Histories

20,578 次观看 • 1 个月前

Acropolis Theater of Pergamon in Bergama - Türkiye 🇹🇷 The first traces of Greek Theatre of Pergamon, situated on west side of castle hill, can be dated back to early 5th Century BC. Today dominating cavea was built in late 5th Century BC. Spectators had access to their seats via theatre terrace. Current theatre was built in mid 3rd Century BC, at the beginning of Attalid dynasty and renovated extensively by King Eumenes II (r. 197-159 BC). Theatre is said to have had seating capacity of 10,000 and the cavea (seating area) was steepest in the ancient world. The 80 rows of seats were arranged on three levels, divided by 3 walkways (diazomata) around width of cavea. At the front of second row in centre of cavea are remains of royal box. The orchestra (performance area) was on 246.5m long, 17.4m wide colonnaded terrace along the front of the theatre. The stage itself was a wooden construction which could be removed when not in use, in order to clear the terrace and the approach to Temple of Dionysus at its north end. Today, all that remains of monumental terrace is a footpath, along which lie some of fragments of stoa (colonnade). Due to limitations of steep hillside site, cavea could not be built wider than a semi-circle as in other Greek theatres, however it was extended upwards to 37m above the orchestra. Standing at the top, looking over Selinus valley can be quite dizzying, and visitors should watch their step. The stage house consisted entirely of wood and was only erected and dismantled during seasons. This construction method was retained until change from 2nd-1st Century BC, as a marble stage house would have permanently obstructed the theatre terrace. To accommodate the supporting beams, recesses called "quivers" were made in floor. These are numerously verifiable and can be assigned to different construction phases. For square inlet holes still visible today, there were capstones with which a smooth continuous terrace could be restored after the stage had been dismantled. The hill of Pergamon Acropolis and many other nearby hills consist of this purplish-red, igneous, volcanic rock. Since it was in plentiful supply, it was used extensively for building in and around the city. However, it is not suitable for large building projects because, although it can bear a lot of weight, it breaks relatively easily, which is not an ideal quality in such a highly earthquake-prone area. Stones used for building walls had to be cut quite small, as can be seen in stone blocks immediately to left of millstone. At the end of 3rd Century BC, Pergamon took control of island of Proconnesos (today Marmara), and its marble quarries became royal property. Proconnesian marble was used thereafter in great quantites for building and sculpture in city. In Roman times quarries belonged to emperors. Since, the late 18th Century AD, architects and scholars, including William Martin Leake, have attempted to estimate the seating areas and audience capacities of ancient theatres using mathematical formulae and other methods. The resulting estimates often vary considerably. Roughly, a width of 50cm is allowed for each of "bums on seats". 🎥© arkeolojievreni #archaeohistories

Archaeo - Histories

19,711 次观看 • 1 年前