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Peafowl is a common name for two bird species of the genus Pavo and one species of the closely related genus Afropavo within the tribe Pavonini of the family Phasianidae (the pheasants and their allies).
Viewing frustum. v. t. e. A bird's-eye view is an elevated view of an object or location from a very steep viewing angle, creating a perspective as if the observer were a bird in flight looking downward. Bird's-eye views can be an aerial photograph, but also a drawing, and are often used in the making of blueprints, floor plans and maps.
The name of the anthology is a play on the phrase "bird's eye view", an elevated view of an object from above. However, 鳥, meaning bird, is replaced with 烏 meaning crow. It is generally accepted that this is meant to further the themes of anxiety and fear that the poetry deals with, as crows are traditionally associated with misfortune.
Colorless green ideas sleep furiously was composed by Noam Chomsky in his 1957 book Syntactic Structures as an example of a sentence that is grammatically well-formed, but semantically nonsensical. The sentence was originally used in his 1955 thesis The Logical Structure of Linguistic Theory and in his 1956 paper "Three Models for the ...
View of Venice. View of Venice, also known as the de' Barbari Map, is a monumental woodcut print showing a bird's-eye view of the city of Venice from the southwest. It bears the title and date "VENETIE MD" ("Venice 1500"). It was printed from six wooden blocks designed from 1498 to 1500 by Jacopo de' Barbari, and then published in late 1500 by ...
Light pollution is the presence of any unwanted, inappropriate, or excessive artificial lighting. In a descriptive sense, the term light pollution refers to the effects of any poorly implemented lighting sources, during the day or night.
Modernist abstraction and the aerial landscape. The artist Kazimir Malevich (1878–1935), who wrote extensively on the aesthetics and philosophy of modern art, identified the aerial landscape (especially the "bird's-eye view", looking straight down, as opposed to an oblique angle) as a genuinely new and radicalizing paradigm in the art of the twentieth century.
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