The rain had barely stopped as Sithric and Goodall joined the main assault party. Reeve Cardon barely glanced up from his preparations to acknowledge them. "Ah, good, more archers. I thought we'd be short, what with our main forces taking it to the queen. But Cardon's got a nice task for you lads, don't you worry! Godart? I want them on the right flank. More to shoot at."

 

The figure opposite him, evidently Godart, nodded and pointed to a small group of armoured men gathering around a narrow mantlet. They made to leave but a gauntleted hand fell on Goodall's shoulder. Godart grunted and twitched his head to the left, indicating a larger group of men. "Good thinking, Godart. We could use that spear on the left. Get over there, man. Your young friend will have to fend for himself."

 

Goodall nodded his farewell as trotted over to the larger group readying themselves on the left flank. Sithric felt bad for his mentor's absence, but then he was the better archer. He sidled over to the mantlet, whose wheel had become bogged down in a rut. "Great."

 

A soldier looked up from strapping on his armour. "You're going to need that more than us. Better see to getting it free." He laughed and went back to fixing the last of the steel plates to his gambeson.

 

***

 

No horn announced their attack, only the repetitive clink of maille on armour as the assaulting soldiers jogged towards the fort. On the right flank, the mantlet bounced and lurched as Sithric and another archer drove it forwards, its axel squeeling despite the layers of pig grease they had hastily slapped on. Armoured men ran at its sides, helping to steady it but slowing its progress.

 

Somewhere in the distance, a sentry shouted. No sooner had Sithric registered it than a crossbow bolt slammed into the mantlet's front boards, followed shortly by another, ricocheting and twirling harmlessly off a soldier's armoured forearm. The men kept running as a great shout came up from the left flank as Cardon's men and the fort's guards joined in battle. Sweat stung his eyes as the mantlet finally grounded itself mere paces from the fort's wall. The other archer stepped out of its protective shadow to target the guards on the wall as Sithric and the other men ran forwards. The wall in front of them had been hastily shored up with planks and a soldier began to frantically tear them down, spurred on by his comrades. Sithric planted his back against one of the fort's towers and readied an arrow just as a crossbowman appeared on the ramparts. His eyes widened as Sithric loosed a goose-fletched arrow, burying itself in his chest and throwing him back. Slowly, the planks came down as the sound of steel striking steel rang from the fort's courtyard. If they could get in behind the defenders, the battle would be won...

________________________________

Entry for Lands of Roawia GC VII - The Rebellion Strikes Back!

 

Unrestricted category

  

My daughter, Nitara, is Senior Class president, and graduating with Honors, and is 3rd chair (violins) in the chamber orchestra.

 

She and many of her classmates were born during 9/11 and grew up under that climate and now are experiencing an unusual HS graduation celebration due to the Covid-19 pandemic.

 

But she and many of her friends are taking things in stride. While I'm proud of her academic achievements I more so admire her tenacity and persistence.

 

Come fall she will broaden her perspective and sharpen her skills at Stanford University.

ACKNOWLEDGED AS THE BEST HOTEL

 

Designed to resemble a billowing sail, the hotel soars to a height of 321 metres, dominating the Dubai coastline. At night, it offers an unforgettable sight, surrounded by choreographed colour sculptures of water and fire. This all-suite hotel reflects the finest that the world has to offer.

 

www.burj-al-arab.com/

  

"The regenerated apple"

by

Michelangelo Pistoletto (born 23 June 1933 in Biella)

is an Italian painter, action and object artist, and art theorist. Pistoletto is acknowledged as one of the main representatives of the Italian Arte Povera. His work mainly deals with the subject matter of reflection and the unification of art and everyday life in terms of a Gesamtkunstwerk.

From 1947 until 1958, Pistoletto worked in his father’s restoration workshop in Turin. In the 1950s, he started painting figurative works and self-portraits. In 1959, he participated in the Biennale di San Marino. In the following year, he had his first solo exhibition in the Galleria Galatea in Turin. In the beginning of the 1960s, Pistoletto started painting figurative works and self-portraits which he painted on a monochrome, metallic background. Later on, he combined painting with photography using collage techniques on reflective backgrounds. Eventually, he switched over to printing photorealistic scenes on steel plates polished to a high finish. He did that using the screen-printing method which made the observer almost completely melt in with what was depicted.[1] In the mid-1960s, gallery owner Ileana Sonnabend brought him into contact with an international audience.

 

In 1965/1966, he produced the series of works Oggetti in meno (Minus Objects), which belongs to Pistoletto’s early sculptural works. In 1966, Pistoletto had his first solo exhibition in the USA, at the Walker Art Center in Minneapolis. In 1967, his work was awarded first prize in the Biennale de São Paulo. In the same year, Pistoletto started focusing on performance, video art and theatre. He founded an action art group, called "Zoo Group", which gave several performances between 1968 and 1970. These took place in the studio, public buildings or on the streets of Turin or other large cities. As was already the case with Pistoletto’s 2-dimensional and sculptural works, the aim was to display the unity of art and everyday life. Pistoletto is represented by the Simon Lee Gallery in London and the Luhring Augustine Gallery in New York.

 

"Arte Povera"

Michelangelo Pistoletto began painting on mirrors in 1962, connecting painting with the constantly changing realities in which the work finds itself. In the later sixties he began bringing together rags with casts of omnipresent classical statuary of Italy to break down the hierarchies of "art" and common things. An art of impoverished materials is certainly one aspect of the definition of Arte Povera. In his 1967 Muretto di straci (Rag Wall) Pistoletto makes an exotic and opulent tapestry wrapping common bricks in discarded scraps of fabric. The work received a lot of feedback: Pistoletto, who started under the American influence of "post-pop art" and photorealism, was soon listed by gallery owners and critics in the catalogues as a significant representative of the novel, mostly Italian trend of the Arte Povera. Against the background of the 1968 student riots, Pistoletto withdrew his participation in the Venice Biennale. In the following years, he dealt with conceptual ideas, which he presented in the book L'uomo nero (1970). In 1974, he nearly completely withdrew from the art scene: he took an exam as a skiing instructor and spent most of his time in the mountains of San Sicario. At the end of the 1970s, he produced sculptures, heads, and torsos using polyurethane and marble. In doing so, he was a recipient of antique artifacts and he furthermore pursued other performance and theatre projects–including those in the USA in Athens, Atlanta, and San Francisco. At the beginning of the 1980s, he presented theatre works, such as Anno Uno (March 1981) in the Teatro Quirino in Rome. Since 1990, Pistoletto has been living and working in Turin.

 

FOR MORE INFORMATIONS:

en.wikipedia.org/wiki/Michelangelo_Pistoletto

For the place:

wikimapia.org/#lang=it&lat=45.484893&lon=9.203330...

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“It is an illusion that photos are made with the camera…

 

they are made with the eye, heart and head.”

 

[Henry Cartier Bresson]

 

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Please don't use any of my images on websites, blogs or other media without my explicit written permission.

 

© All rights reserved

By James Ballance

It's not uncommon to wonder what a place was like before it became what it is now. What did our houses or homes, or places of work, look like a century or two ago? This kind of history is deeply personal: having acknowledged our own attachments to a place, we start to wonder who else might have thought that same place dear to them, either in the recent past or the more distant.

 

Anyone walking through the doors of Kitcheners, the Cheltenham kitchenware shop, will see that there are more particular reasons to wonder what the shop has been. The internal architecture is particularly unusual in two respects. On the one hand, facing customers who walk in the front door, about two-thirds of the way across the main shop floor, is an ornately carved lateral wooden beam, which acts as the support for a clock-face. On the other hand, there is a cash desk, on the left-hand side of the shop, which is demarcated by wooden half-walls and vertical beams, creating a sort of enclosed, private space. Who built these peculiar features, and what was their purpose?

 

It is hard to tell with any certainty, of course, where these structures originated, or for what usage; but it is at least possible to give a relatively complete account of when the premises—No 4, Queen's Circus—were first built, and what they have been used for since then. This brief history will trace the development of the place into its modern form, and offer a few, highly speculative suggestions as to how it came to possess its internal features.

 

Cheltenham's transformation from a relatively poor backwater town to a thriving spa centre is well-documented. In 1800, J Shenton's Cheltenham directory wrote: “[t]his town has been greatly enlarged and improved within these few years by the addition of many elegant and commodious new buildings erected in the principal street…” Although quite complimentary, the directory paints a picture of a small town, whose “chief dependence…is on [its] lodgings”, and which flourishes only in the summer months. Only one church is mentioned, and from the description of the town there seemed to be almost no buildings worth mentioning south of what is now the High Street. This corresponds with maps of 1804 and 1827, copies of which can be found in Cheltenham public library, showing that the entire area of Montpellier, where Kitcheners is located, consisted then of little more than fields and open spaces. By 1820, Gell & Bradshaw's Gloucestershire directory could write in much more glowing terms, both of Cheltenham's reputation, which by then apparently stretched to “the British East and West Indies”, and of its architecture and town spaces. The town had clearly been the subject of rapid growth for “the houses are generally well built…occasionally, however, a few old dwellings obtrude themselves to the eye, to remind us of its former simplicity…”

 

The reason behind this transformation lie in the patronage of the nobility and gentry of the 18th and 19th centuries, and in particular royal patronage. The National Gazetteer wrote in 1868: “The medicinal virtues of the Cheltenham waters were accidentally discovered in 1716, and a visit from King George III, who was directed by his physicians to try the waters, in 1788, established their reputation and brought visitors from all parts of the world.” The 1820 Gloucestershire directory similarly claims that the King visited in 1788. (Whether George III did in fact visit the town might be questioned: Shenton's 1800 Directory describes a Royal visit of 1788, but mentions only that the Princesses Augusta and Elizabeth took up residence locally; and also that the Duke of York visited the two Princesses during their stay. The account makes no mention of a visit by George III. Surely, having named these three important members of the Royal Family, this early publication would also have included a reference to a visit by the King himself, if this had taken place?)

Irrkerlantye acknowledges the First Peoples of Australia and recognises their continuous connection to culture, community and Country. The land is depited in punctilinear style showing a mosaic of land conditions and vegetation communities by way of the different colours used. I understand that the mosaic firing of the grasslands sustains a diversity of wildlife and food sources. While some patches may be red earth exposed, yellow areas remind us of the wildflowers and of the seeding ripening grasslands. Blue may suggest areas recently burnt.

Around the perimeter of this landscape different motifs of plants, nuts, bees, grubs and other food are presented.

Across the landscape, move emus and kangaroos as evidenced by their distinctive tracks. Then from different communities come the tracks of people converging on the learning centre, Irrkerlantye, where they meet, congregate, paint, make and record music and engage in other crafts and learning.

  

Here’s my first ever NON Barbie obsession since I started collecting… say hello to Tuesday Taylor! For the uninitiated, Tuesday Taylor was released around 1975 or 76 by that historic toy company Ideal (Acknowledged inventors of the Teddy Bear and makers of such famous dolls as Little Miss Revlon, Tammy and later, the hugely successful Crissy and friends dolls whom all had hair that ‘grew’, similar to Growing Pretty Hair Barbie and Francie) to compete directly with Barbie, a year after their 18 inch doll Tiffany Taylor was released. The great gimmick about these dolls was that you didn’t have to choose between blonde or brunette …. you could have both at the twirl of the scalp! I was a kid when she was released and lots of my friends had her so she was quite successful even here in Australia, but something about that rotating scalp freaked me out back then so I didn’t care much for her… I wish I had got her back then, though, as she is actually fantastic quality (even has rooted eyelashes!) and in hindsight, had a much cooler, groovier, more sophisticated look than Miss Superstar, IMHO. She looks like she would definitely be hanging out at Studio 54 with Halston and Liza … and what about that penthouse she had? ( Now THAT, I remember wanting REALLY badly as a kid, but never got it…. STILL badly want it to this day but they are SO hard to come by now and really pricey :( . I also want the convertible summer/winter vacation home that is perfect for this version of the doll…) This was the second version released in 1977/78, called Suntan Tuesday Taylor and she has a really cool added gimmick of being able to ‘tan’ when left in the sun. My one was NRFB, (though the box was a little damaged, so I had no problem de-boxing her,) complete with that very funky and bold tribal printed cover-up, sexy gold accented bikini and those WILD sunglasses that scream 70’s. This little gal hadn’t seen the sun in 40 years so she couldn’t wait to soak up some rays like the true 70’s babe she is, (Melanoma, Shmelanoma! LOL ) And it still worked!!! She actually goes a very lovely ‘sunkissed’ golden colour all over… and yes, she got those inevitable tan lines! (They don’t show up so much in the photos, but they are there!) She also came with some ‘doodle’ stickers you can put on her skin to leave some differently shaped ‘tattoos’ when her skin tans.

 

My one has a really weird rooting pattern on the blonde side that looks like someone mistakenly started rooting the front part for the bangs that were on all the 1st versions but then stopped when they realised that this version doesn’t have them… so I am so tempted to cut her some bangs!!! But then again, it probably makes her quite unique and looks really cool when centre parted, as you can see in the shot with her cover-up on, standing next to her box.

 

Unfortunately, Tuesday didn’t last long on toy store shelves… there were a couple of versions after this, but they didn’t have the twisting scalp feature (still wanna collect them, though!) and she was gone by the time the 80’s dawned… I think that the issue was her feet. Even though she fits some of Barbie’s clothes quite well (even though, like most fashion models of her time, she’s not as busty as Barbie, and has a slightly thicker waist and more angular body) her feet are much larger, and her available footwear was quite limited…some collectors say that only the white sandals you see here were the only shoes for her, though a few told me that the Mego Cher shoes fit her quite well, and they were right, which is great as they came in many more colours so there’s more variety to match her fashions! Tuesday also had a very cool friend that I was thrilled to get, so she will be making her debut soon, along with some very HTF minty fashions of hers. In the meantime, check out these very cool Tuesday Taylor commercials on YouTube (The first one is of that earlier, larger doll Tiffany Taylor.) www.youtube.com/watch?v=cA2lOTHeqpc

 

El río Pisuerga es un río español, afluente del Duero. Nace en el norte de la provincia de Palencia y desemboca en el río Duero cerca de Geria, provincia de Valladolid.

Durante parte de su recorrido hace de frontera entre las provincias de Palencia y Burgos. En Alar del Rey gran parte de sus aguas son desviadas hacia el canal de Castilla, que son utilizadas para riego, fundamentalmente. Su principal afluente por la margen izquierda es el río Arlanza y por la derecha el río Carrión. El embalse de Requejada en Cervera de Pisuerga y el de Aguilar en Aguilar de Campoo son sus dos mayores embalses y se encuentran en la cabecera del río.

Tiene sus fuentes en la cuenca glaciar de Covarrés, entre el pico Valdecebollas y la sierra de Híjar, en el llamado Sel de la Fuente, cerca de Brañosera, (Palencia). El agua procedente de manatiales y el deshielo se acumula en el fondo de la cuenca, formando pequeñas lagunas y regatos que desaguan en una sima. Tras un recorrido subterráneo de 3000 metros, el caudal reaparece en la Fuente del Cobre (Cueva del Cobre). Posteriormente continúa en dirección SO, para girar al SE por Tierra de Campos.

Casi todo su recorrido lo hace en dirección Norte-Sur girando hacia el Oeste en su tramo final. Numerosos tramos del río sirven de frontera entre las provincias de Palencia y Burgos, casi desde Aguilar de Campoo hasta casi su unión con el Arlanza. Tras atravesar Torquemada, Venta de Baños y Dueñas se adentra en la provincia de Valladolid. Baña las riberas de Valladolid y Simancas y poco después de Pesqueruela desemboca en el río Duero por su margen derecha en Geria (Valladolid).

En su desembocadura el caudal del Pisuerga es mayor que el del Duero. La longitud total del río es de 283 km. El caudal máximo registrado en la ciudad de Valladolid fue de 2340 m³/s.

Sus afluentes son: río Areños, río Lores, río Castillería, río de Resoba, río Rivera, río Vaíllo, río Camesa, río Ritobas, río Monegro, río Sauguillo, río Burejo, río Valdavia, río Vallarna, río Odra, río Arlanza, río Carrión y río Esgueva.

En su recorrido atraviesa numerosas localidades, como Santa María de Redondo, Cervera de Pisuerga, Aguilar de Campoo, Becerril del Carpio, Alar del Rey, Herrera de Pisuerga, Ventosa de Pisuerga, Olmos de Pisuerga, Naveros de Pisuerga, Lantadilla, Melgar de Yuso, Villodre, Astudillo, Villalaco, Cordovilla la Real, Torquemada, Magaz de Pisuerga, Venta de Baños, Tariego de Cerrato y Dueñas en la provincia de Palencia; Zarzosa de Río Pisuerga, Castrillo de Riopisuerga, San Llorente de la Vega y Melgar de Fernamental en la de Burgos; Valoria la Buena, Cabezón de Pisuerga, Santovenia de Pisuerga, Valladolid, Arroyo de la Encomienda, Simancas y Geria en la de Valladolid.

La peor inundación de la historia en Valladolid sucedió el 4 de febrero de 1636. La riada se llevó calles enteras y se hundieron 800 casas. El agua llegó hasta el convento de Santa Teresa, donde hay una placa que lo recuerda.

La mayor inundación registrada en el siglo XX se dio el 3 de enero de 1962.

En el siglo XXI, de momento, la peor inundación ocurrió el 6 de marzo de 2001.

 

es.wikipedia.org/wiki/Pisuerga

 

The Pisuerga is a river in northern Spain, the Duero's second largest tributary. It rises in the Cantabrian Mountains in the province of Palencia, autonomous region of Castile and León. Its traditional source is called Fuente Cobre, but it has been discovered that the real source is a glacier higher in the mountains. The river flows south into the Douro river shortly after passing through the city of Valladolid. Its length is approximately 270 kilometres (170 mi).

Since the 1950s the water level of the river has been very regular throughout the year due to the huge Aguilar de Campoo dam which collects all the water from the river's rainy upper valleys. This regulation has allowed the creation of vast extensions of irrigated farmland along the Pisuerga's course across the northern Castilian plain.

The Spanish phrase "aprovechando que el Pisuerga pasa por Valladolid" ("And now since Pisuerga crosses Valladolid...") is a popular way to point or acknowledge a non sequitur since the river has no bearing with the following "consequence".

 

en.wikipedia.org/wiki/Pisuerga

 

Base image copied from one of my father's photo albums. Unknown photographer/camera. Stalag 13c Hammelburg am Main, Bavaria, Germany 1943. To acknowledge Remembrance Day, November 11th.

"Trust in the Lord with all your heart, and do not lean on your own understanding. In all your ways acknowledge him, and he will make straight your paths." Proverbs 3: 5-6

  

"Now faith is the assurance of things hoped for, the conviction of things not seen."

Hebrews 11: 1

   

"All Scripture is breathed out by God and profitable for teaching, for reproof, for correction, and for training in righteousness " ~ 2 Timothy 3:16

 

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Testimony

  

I have many christian testimonies of God's intervention but I will share with you the latest one TODAY ! .

 

My husband had a bike accident last week , had injury on his forehead and on area surrounding the eye ,but not fatal , one important thing it missed his eye , could have been so bad , but his whole arm was on plaster cast for days due to fracture on his radius . He is off sick from work , added to that ,it makes things with me bit more tough in the house . We normally share household chores as we are both working . For one thing I don't like shopping groceries . I just make the lists and he will do one big shopping once a week .It's normal routine since the beginning even before we got married .We always have this arrangements with chores .I cook , he cooks ,but now I will do all that . I felt it was tough in the last few days .

 

Just when this accident happened he was in such agony and went to A&E ( Accident and Emergency ). I prayed to God ,like a conversation, he wouldn't have fractures . But he came out and diagnosed having fractured his radius shown from the X-ray results . His arm was put on a plaster cast soon and to be seen again soon . It was a bit tough on him especially being stuck and can't do much things .

 

Came the time today of another hospital check on his arm - the result was ,they can't see any fracture from another X-ray , buffled , they said he was misdiagnosed . He came with a soft splint in his arm for the bruise , not even a sprain ,I can't see much bruise either , he is not anymore in such pain .He 's back on his bike today . :) -- and volunteered it's his turn to cook dinner ( while I am posting this one on flickr :) He didn't know I was writing about him in my post . How good God is - you see :)

 

Praise God for the healing !

 

GOD IS SO GOOD !

  

If you love God and delight in Him and His righteous ways ,he will be right with you when you need Him .Make sure you dial the right number --- through Jesus Christ alone !

 

Because there's no name given under heaven whereby we are save and put right with God !

   

The Bible said so :

 

"And there is salvation in no one else, for there is no other name under heaven given among men by which we must be saved.” ~Acts 4:12

 

“For God so loved the world, that he gave his only Son, that whoever believes in him should not perish but have eternal life. " John 3 : 16

 

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Walid Shoebat , a former muslim talks of Christianity and Islam eschatology , Jesus and Muhammad , muslims ,christians and Jews ,cresent moon , Israel , Anti-christ , the coming big events in the middleast etc .Very interesting - he has the points ,it sounds right when you have prior background awareness with old testamment prophecies. I just don't agree of him ignoring the Vatican / Toman Catholic church in the prophecies and its big involvement in the end time scenario /one world government -one world religion which the Vatican is promoting .Yet his discussion of Islam on another branch of eschatology hard to ignore . This isn't an indignation to our muslim brothers and sisters but as an encouragement for many to also try looking into the Bible ,have a comparatve reading with Quran - read it , heartily pray and search for truth .

 

* Prophecy 101 by Walid Shoebat

    

* Walid Shoebat : ISLAM IN BIBLE PROPHECY

   

* Walid Shoebat : End Times Today ( Quran and the Bible , Christianity and Islam , Israel and long persecution,Satan ,Angle of light , great deception , Biblical prophetic associations connected with the Quran / symbols ,Muhammad ,Revelations )

   

SIGNS OF THE TIMES :

    

* What Happens When You Ignore God's WARNINGS

  

* Paul Begley : Bank of England "Plans" for Euro Collapse

 

* Chagas Disease, an incurable infection, called the ‘new AIDS of the Americas'

 

* Quake reveals day of Jesus' crucifixion, researchers believe

    

* Saudis Suppy 90% of Jihad funding

 

* How can 1.2bn people be identified quickly?

 

* Money Flies Out of Spain, Regions Pressured

    

* The Pacific Ocean Is Dying: Special Report On Fukushima Nuclear Catastrophe

   

* Fukushima Reactor 4 poses massive global risk

  

* JERUSALEM POST: Yielding Temple Mount would be a fatal mistake

 

* Steve Quayle : Severe Warning !

  

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I'm still so busy at the moment and hardly be able to spend extented time on flickr ,so I wouldn't be visting your photo streams sooner or answer your emails. But many thanks of your visits and kind comments .Take care friends ,I'll see you later :)

I want to acknowledge and thank each and every one that has visited my photo stream, favored my photos, and chosen to follow my gallery. I really appreciate that people such as yourselves, that have so much incredible talent and artistry like my photos. Peace and love to all. Thank you for the confidence boost!

And every tongue acknowledge that Jesus Christ is Lord,

to the glory of God the Father.

Philippians 2:11

Everyday should be a day to acknowledge mothers but thanks to this day we can take some time off from our daily lives to acknowledge all the mothers in this world! Wishing all the mothers of the world a very Happy Mother's Day!

 

This image acknowledges the existence of the grid while challenging it's visibility. The grid was present in the mind of the artist whose explicit use of special disorientations and irreconcilability with actual physical space is part of the reality.

On Gordon Point are the remains of Fort Ballance, a defence site that was once Wellington's primary source of protection against sea-borne invasion. Built in 1885 following fears of an impeding war with Russia, Fort Ballance is one of the best preserved of a string of nineteenth century coastal defences constructed to protect New Zealand from a naval attack. In 1885, the Government, reluctantly acknowledging that they could not rely solely on Britain for protection, commissioned engineer Major Henry Cautley to design a series of fortifications to protect the country's main ports.

Fort Ballance, Wellington's main fortification, was built by the Armed Constabulary, day labourers and prison inmates. Erected on the former site of Te Mahanga Pa the fort was named after the then Minister of Defence, John Ballance [1839-1893]. In the event of war Fort Ballance was to prevent enemy ships entering the inner harbour and provide covering fire for the minefield between Gordon Point and Ward Island. Supported by positions at Kau Point and Point Halswell, when fully armed, Fort Ballance had more guns than any other fort in New Zealand.

The Louisiana Museum of Modern Art is an art museum located on the shore of the Øresund Sound in Humlebæk, 35 km (22 mi) north of Copenhagen, Denmark. The most visited art museum in Denmark, it has an extensive permanent collection of modern and contemporary art, dating from World War II to the present day; in addition, it has a comprehensive programme of special exhibitions. The museum is also acknowledged as a milestone in modern Danish architecture, and is noted for its synthesis of art, architecture, and landscape. The museum occasionally also stages exhibitions of work by the great impressionists and expressionists, e.g. Claude Monet was the focus of a major exhibition in 1994. (Wikipedia)

The theme for a 11/2 lifetime is bringing life into a sense of balance through the analyzing and synthesizing of ideas. Learning to trust in yourself, your intuition, and your psychic abilities.

Justice and the High Priestess (Papess) represent form the gateway into an 11/2 lifetime. Justice (ruled by the planet Libra) places focus on harmony, understanding others, and finding a sense of balance in life. Libra is by nature active and social, with the need to balance between nurturing self and helping others. The High Priestess (Papess) is ruled by the Moon, which places focus on our inner selves, our inner needs, intuition, unconscious, and psychic abilities. Here we are looking at reacting, rather than taking action. The nature here is a passive one. Personal empowerment is the ability to focus our personal and spiritual energy in a manner that enhances how we experience our life. As we define our true power, we actualize out potential and begin to live life from a core of inner confidence.

 

theworldoftarot.wordpress.com/2014/03/15/birth-card-pairs...

 

The occult has moved from secrecy to mainstream acceptance, and tarot card reading stands as a testament to this shift. The Rider-Waite deck, named after the mystic A.E. Waite and publisher William Rider and Son, is considered the definitive tarot deck. However, the captivating imagery and symbolism that define this deck come from the artistic genius of Pamela Colman Smith, a woman often forgotten in the history of the occult.

Smith, an artist with possible Jamaican roots, led a bohemian lifestyle and was introduced to the Hermetic Order of the Golden Dawn by the renowned poet William Butler Yeats. She joined the secret society, which explored occult and paranormal aspects, as well as philosophy and magic. There, she met A.E. Waite, who would later request her artistic talents in creating a new deck of divination cards. Despite the immense popularity of the Rider-Waite deck, Smith’s role in its creation was largely forgotten.

However, many tarot enthusiasts today have started acknowledging her contributions by calling it the “Smith-Waite” deck or using decks that feature her name prominently.

 

culture.org/the-unseen-mothers-of-the-occult-pamela-colma...

 

"Gospel according to "Myriam" and this Mary is generally identified, without certainty, as being Mary of Magdala....In Christian tradition, the Three Marys also refers to three daughters – all three called Mary – whom Anne, the maternal grandmother of Jesus would have had with three successive husbands. According to Fernando Lanzi and Gioia Lanzi, this tradition would have been condemned by the Council of Trent (16th century), but it is still very much alive, particularly in German-speaking countries16 and in the Netherlands. then retired to the cave of Sainte-Baume where she lived for 30 years as a hermitage, with her only clothing, the fleece of her hair, and as her only food, the song of the angels who daily raised her to the heavens, seven times a day, it is said. She left Sainte Baume to die with Saint Maximin, one of the 72 disciples, in the small town where he had built his oratory and which today bears his name. He buried the saint in an alabaster sarcophagus.The name Magdala comes from Magdal in Aramaic or Migdal in Hebrew and designates a construction in the shape of a tower, representing faith, very similar to the House of God (The Tower) in Marseille's Tarot !

 

The Tarot de Marseille would then be a testimony to the teaching of Mary Magdalene. In Spanish-speaking countries, the Orion Belt Asterism is called “Las Tres Marias” (The Three Marys). In other Western countries, it is sometimes called "The Three Kings", a reference to the "Magi who came from the East" of the childhood narrative added to the Gospel according to Matthew and to the tradition of the three Magi, bearers of gifts for the child Jesus, whose oldest witnesses are found in Tertullian and Origen (early 3rd century). My "Mary Magdalene theory" is fortunately supported by thousands of codes that all come interconnected. "You will progress on a healthier basis with someone you know. Be authentic. Make sure you reserve moments of relaxation and do not pull too much on the rope, you tend to exceed your physical limits. Mary (mother of Jesus) Mary Magdalene Mary of Clopas. These three women are very often represented in art, as for example in this picture. The Three Marys (also spelled Maries) are women mentioned in the canonical gospels' narratives of the crucifixion and resurrection of Jesus. Mary was the most common name for Jewish women of the period. Mary speaks of strange encounters with Creator Beings. Read about her experiences with them, and how their decree changed her life with Jesus. In this final volume of the trilogy, Magdalene appears to the author by the river in Rennes les Bains, France. There she reveals an ancient healing technique called The True Baptism. Mary illustrates how to organize the life force from the matrix of The All and allow it to trigger our genetic code. Mary then answers more of your questions, this time about the hidden properties of gold, the evolution of her bloodline with Jesus, free will, inner earth, the star knowledge, and much more. The Tarot, in both its origin as a card game and in its transformation into an occult divinatory tool, functions as an iconographic mirror of a particular culture's time and place. By the examining the evolution of the World card, from the 14th century Italian decks to contemporary ones, we will see a shift from male Christ imagery to female anima mundi imagery. Parallel to this iconographic shift is the figure of Mary Magdalene, who in Renaissance painting began to be portrayed less as a sinner and more of a penitent saint. The assumption of Mary Magdalene in art correlates with the finalized form of the World card. The alterations of Christian iconography and symbolism in Tarot cards are the result of occultists’ reappropiation of the Tarot in the late 1700s. The fear/distrust/disbelief of God and Christianity that began at this time funneled into an interest in the occult; in the Tarot, we see a preservation of the luminous but a problematic relationality with Christianity. The World card, as it has been handed down to us today, is a synthesis of the assumption of Mary Magdalene, the Christus Victor, and the anima mundi. A sacred priestess of the ancient Womb Rites, Mary Magdalene was at the center of a great and enduring Mystery tradition. Unveiling the lost left-hand path of the Magdalene, the authors offer rituals and practices to initiate you into the Womb magic of the ancient priestesses and access deeper dimensions of sexuality and feminine power.

 

www.innertraditions.com/books/magdalene-mysteries

 

Tarot historians are in agreement that the appropriation of the cards by occultists occurred in the late 18th century. The first known interpretation of the Tarot through an esoteric lens was penned by the French occultist Court de Gebelin. He believed the deck was the lost Egyptian Book of Thoth, containing the secret mysteries of Egyptian wisdom and magic; following Gebelin, occultists began syncretizing the Tarot with the systems of Kabbalah, Hermeticism, and alchemy. I believe we can locate the apex of this appropriation in the Waite-Smith deck from 1909 – the most familiar and popular deck to the contemporary reader. Later we will consider the effect this had on the Tarot symbolism and its relationship to the shifts in religious understanding in France and other European countries.Although there is a clear historical distinction between Tarot as “playing cards” and as occult divination tools, this is not to say that the imagery of the early decks are absent of symbolism or meaning. Rather than esoteric, the early cards are exoteric in their imagery; the symbols are clear referents to religion, culture, and mythology. While they seem esoteric today, as much of Christian iconography is to the contemporary viewer, these cards were probably not hard to decipher by their audiences. While much is admittedly conjecture, (as is a lot of Tarot historical studies), there is still much we can tease out of the visual evolution of the cards over time. It is surprising that there has been so little work done on the correlations and similarities between Tarot and Christian symbolism and iconography. My research hit a lot of dead-end roads in terms of proof, but I believe it is important to reveal my initial observations to show that, while perhaps not conscious, there is a great deal of Christian symbolism in Tarot, even in decks from the post-occult turn of the 18 and 19 centuries and from today as well.In the Waite-Smith deck, the most obvious Christian card is the 20 Major Arcana, Judgment, in which an angel blows a trumpet and the souls of dead bodies rise from coffins. Another obvious example is the Tower card, clearly a depiction of the fall of the Tower of Babel. Less obvious, perhaps, is the Fool card. It depicts a young man walking up to a cliff precipice, as though he does not see it; he carries a bag of money and is followed by a dog. Does this not recall the story of blind Tobias, who also carries money and is followed by a dog? Although in painting he is normally portrayed being guided by the angel Raphael, the similarities are astounding. How did this come to be?

  

The Hanged Man card is surprisingly consistent from the early Italian decks to the contemporary post-occult decks, and is one of the most mysterious within esoteric interpretation. In the Waite-Smith deck, it depicts a man hanging from a Tau cross by one leg; his other leg is crossed underneath the other to form another cross, and a nimbus glows around the head. Most occult interpretations of this card go along the lines that it is a symbol of self-sacrifice for spiritual gain. Robert Place argues that this can be understood as Christ, in that Christ was executed as a traitor by the state.3 Furthermore, a numerical reading of the card offers insight – being card 12, it might refer also to the self-sacrifice and martyrdom of the twelve disciples. By employing basic gematria, we can add the digits one and two to reach three, which could be the Trinity.

 

www.academia.edu/8851376/Tarot_and_Christian_Iconography_...

  

The Gospels refer to several women named Mary. At various points of Christian history, some of these women have been identified with one another..look at this picture from the Waite-Rider-Smth tarot:from left to right 1 Mary Magdalene 2 Mary of Jacob (mother of James the Less) 3 Mary, mother of Jesus (Matthew 27:56; Mark 15:40; Luke 24:10) Mary of Clopas (John 19:25), sometimes identified with Mary of Jacob. Mary of Bethany (Luke 10:38–42, John 12:1–3), not mentioned in any Crucifixion or Resurrection narratives but identified with Mary Magdalene in some traditions. Another woman who appears in the Crucifixion and Resurrection narratives is Salome, who, in some traditions, is referred to as Mary Salome and identified as being one of the Marys. Other women mentioned in the narratives are Joanna and the mother of the sons of Zebedee.Marie-Madeleine, Marie Salomé and Marie de Clopas are the 3 Maries of Saintes-Maries-de-la-Mer, a French town, capital of the Camargue, in the department of Bouches-du-Rhône. The designation "of-the-sea" derives from the fact that after the death of Jesus, the three Marys crossed the sea by boat to there and then lived there, thus helping to bring Christianity to France and Europe. These 3 Marys were present during the execution of Jesus and, they were the first witnesses of the empty tomb at the resurrection of Jesus... After the death of Jesus, around 42 J.C. the Christians were persecuted, and the three Marys were arrested and expelled from Palestine. They therefore embarked, with many other Christians, on a ship named "The Ship of Peter" devoid of oars and sails which, led by Providence, managed to reach the shores of Provence, in the south of France in a place which now bears their names.This is where the three Marys were welcomed by Sara, according to some texts, according to others, Sara, herself would be the Holy Grail, the direct descent of Mary Magdalene and Jesus. Only Marie Salomé, Marie Jacobé and Sarah will remain; Marie Madeleine, will retire to a hermitage in a cave...This is a historically attested fact, because Christianity began to spread in Europe precisely from Gaul, which thus became the gateway to the new religion in Europe. Mary Magdalene occupies a privileged place for Christ, at the head of a group of women who accompany him. She will be the first witness to the Resurrection of Christ, the first to whom the Lord appears on Easter morning, a sign, whether we believe in it or not, of an exceptional position. She is Jewish like Christ, like him from the North of Palestine (Israel), from Galilee, probably from Magdala, near Nazareth and Cana. It is believed that she was an aristocrat born in the year 3 AD, who after attending the court of the king of the Jews Herod, was converted by Christ, changed her life and decided to follow him and put her fortune at the disposal of the group. Arrived in the Camargue, with the two other Maries, she evangelized the Marseillais, then withdrew to the cave of Sainte-Baume where she lived 30 years in hermitage, with as only clothing, the fleece of her hair, and as only food, the song of the angels who raised her daily in the heavens, seven times a day, it is said.

 

www.calistabellini.com/post/les-saintes-maries-de-la-mer-...

 

Different sets of three women have been referred to as the Three Marys: Three Marys present at the crucifixion of Jesus;

Three Marys at the tomb of Jesus on Easter Sunday; Three daughters of Saint Anne, all named Mary. The three Marys at the

 

The presence of a group of female disciples of Jesus at the crucifixion of Jesus is found in all four Gospels of the New Testament. Differences in the parallel accounts have led to different interpretations of how many and which women were present. In some traditions, as exemplified in the Irish song Caoineadh na dTrí Muire, the Three Marys are the three whom the Gospel of John mentions as present at the crucifixion of Jesus: However, Jesus was not crucified upside-down. Looking at the Visconti-Sforza deck, we have an almost identical depiction of the Hanged Man. Helen Farley points out that in Renaissance society, there was an art form called pittura infamante – ‘shame painting’ – “in which a person was depicted as a traitor, particularly when beyond the reach of legitimate legal. recourse.”4 By depicting someone hanging upside-down, this could alternately mean the person had turned away from God. It also was used for the execution of Jews, witches, and Christians who had committed perfidy. I immediately thought of Peter, who is said to have asked to be crucified upside-down because he was unworthy to die as Christ died. In Christian iconography, he is the only individual portrayed in this manner. Peter could be said to be a traitor, in that he denied Christ three times, but the negative associations of shame paintings don’t seem to correlate with Peter’s sainthood. Judas is also said to have hung himself, and is traitor par excellance, but I remained convinced that this card was based upon Peter. While the usual understanding of Peter’s request for an upside-down crucifixion is his humility in relation to Christ’s death, there is a different explanation in apocryphal accounts. In the Acts of Peter, Peter speaks from the cross, saying that, “when the first man [Adam] came into the world, he came headfirst. That means that Adam’s perspective, as the one who brought sin into the world, was entirely reversed and upside down. That is why people seem to think that what is true is false and what is false true....All of this is because humans have reverse vision, due to the actions of Adam.”6 Thus, hanging upside-down is a model for Christians to live by, to see the world correctly. This is nearly identical to how Tarot esotericists interpret the Hanged Man; it is both Christ in its self-sacrifice, and also an inversion of corporeal ‘reality’ and perspective through which one gets a better understanding of how to reach God. While one cannot veritably locate a thread between the Acts of Peter and the Hanged Man, this connection exemplifies the latent Christian symbolism that flows through the Tarot, from 14th century Italy to now.

 

Mary Magdalene, Mary of Clopas and Mary (mother of Jesus). These three women are very often represented in art, as for example in these Flickr's picture.

 

Women at the tarot like a passkey to heaven; The Three Marys as passkey. What may be the earliest known representation of three women visiting the tomb of Jesus is a fairly large fresco in the Dura-Europos church in the ancient city of Dura Europos on the Euphrates. The fresco was painted before the city's conquest and abandonment in AD 256, but it is from the 5th century that representations of either two or three women approaching a tomb guarded by an angel appear with regularity, and become the standard depiction of the Resurrection. They have continued in use even after 1100, when images of the Resurrection of Jesus in Christian art began to show the risen Christ himself. Examples are the Melisende Psalter and Peter von Cornelius's The Three Marys at the tarot. Eastern icons continue to show either the Myrrhbearers or the Harrowing of Hell. The fifteenth-century Easter hymn "O filii et filiae" refers to three women going to the tomb on Easter morning to anoint the body of Jesus. The original Latin version of the hymn identifies the women as Mary Magdalene (Maria Magdalene), Mary of Joseph (et Iacobi), and Salome (et Salome).

 

en.wikipedia.org/wiki/The_Three_Marys

 

The World (XXI) is the 21st trump or Major Arcana card in the tarot deck. It can be incorporated as the final card of the Major Arcana or tarot trump sequence (the first or last optioned as being "The Fool" (0). It is associated with the 21st letter of the Hebrew alphabet, 'Shin' also spelled 'Sin'. The oval shape of the wreath is also used by the Golden Dawn in their Tattva cards. These colorful cards were designed to aid the development of clairvoyance through visual meditation, and one of the symbols in the cards is an oval. The oval corresponds to the Akasha, ether or spiritual realm (see Akashic Records).

 

Description

 

Christ in Majesty is surrounded by the animal emblems representing the four evangelists in a German manuscript.

In the traditional Tarot of Marseilles, as well as the later Rider–Waite tarot deck, a naked woman hovers or dances above the Earth holding a staff in each hand, surrounded by a wreath, being watched by the four living creatures (or hayyoth) of Jewish mythology: a man, a lion, an ox, and an eagle. This depiction parallels the tetramorph used in Christian art, where the four creatures are used as symbols of the four Evangelists. Some astrological sources explain these observers as representatives of the natural world or the kingdom of beasts. According to astrological tradition the Lion is Leo—a fire sign, the Bull or calf is Taurus—an earth sign, the Man is Aquarius—an air sign, and the Eagle is Scorpio—a water sign. These signs are the four fixed signs and represent the classical four elements. In some decks the wreath is an ouroboros biting its own tail. In the Thoth Tarot designed by Aleister Crowley, this card is called "The Universe." The World card, the highest ranked Major Arcana card, exists in the early Visconti-Sforza, Marseilles, and contemporary decks. It will serve as our loci in considering the relationship between Tarot and Christian iconography, the evolution of Mary Magdalene in Christian depiction/understanding, and the rise of the female anima mundi in occult and esoteric movements. To recall, the Visconti-Sforza is one of our earliest known decks. Helen Farley notes that the deck’s symbolism reflects concerns and themes of the Italian Renaissance: The proximity of death, the fickle hand of fortune, the desirability of living a life

of virtue, the importance of spirituality but also the contempt with which corporeal concerns were held, namely the corruption of the Church...[it] portrayed the lives and history of the Viscontis...as a game: a potent allegory of Visconti life. These themselves more as we follow the orbit of the World card around the sun of time.reveal themes, particularly the tension between spirituality and Catholicism, will. In the Visconti-Sforza deck, the world is shown as a globe, within which is surrounded by turbulent waters (fig. I). The globe is held aloft by two putti. The blue wings indicate they are Seraphim, the highest rank of angels. In other versions from this time, there is usually a figure of a woman or angel upon the globe and city usually represents Jerusalem, the city of God; “the microcosm of the city symbolically linked the earthly (human) body with the heavenly (cosmic) ‘body’”, observes Farley. This derives, of course, from St. Augustine’s The City of God, wherein the Christian empire is located around the Church of Rome, which links humankind with God. The earthly city reflects the heavenly city, and this card connects the actual city of Milan with the celestial city of heaven. Duke Sforza’s domination of Milan is enforced and made holy through its pictorial self-portrayal as the Augustinian city. This pride in the city-state enforces the power, wealth, and status of Milan; interestingly, as the World card follows the Resurrection/Judgment card, Milan is portrayed as the city Augustine believes will contain the saved souls. One also may observe that the city is separated from the rest of the ‘world’ by the edge of the globe; it is strongly fortified and separated by waters, illuminated by the stars of heaven.

 

What does 3 stars in the sky mean? many meanings...Each culture gives the Três Marias a different meaning. In Christian tradition, the stars are associated with the three women who visited the tomb of Jesus at the resurrection. They also represent the Three Wise Men -Gaspar, Melchior and Baltasar-, who would be on their way to Bethlehem at the birth of the messiah. What are the three Marias? Mark 16:1 indicates that "Mary Magdalene", "Mary the mother of James" and "Salome" went to the tomb to anoint Jesus....How many stars do the 3 Marias have?

The Belt or Belt of Orion, popularly known as the Three Marys or Three Kings, is an asterism of three stars that form the belt of the constellation of Orion, the hunter. The stars, easily identifiable in the sky by their brightness and alignment, are known as Mintaka, Alnilam, and Alnitak. Where are the three Marias?

To identify it we must locate 3 stars close to each other, of the same brightness, and aligned. They are called Tres Marías and they form the belt of the constellation of Orion, the hunter. Their names are Mintaka, Alnilan and Alnitaka, from the Arabic Al-Mintakah, the belt, An-Nidham, the pearl, and An-Nitak, the rope.

What are the stars we see in the sky? Stars are large spheres formed by plasma heated to thousands of degrees. Its shape is due to its gravity, which points towards the core of the star. Stars are large spheres of plasma that are powered by nuclear fusion. Stars are large spheres of plasma, held together by their own gravity. > Constellation of ORION: Why are the three Marias called Três Marias? Origin and meanings of Três Marias.Each culture gives the Três Marias a different meaning. In Christian tradition, the stars are associated with the three women who visited the tomb of Jesus at the resurrection. They also represent the Three Wise Men -Gaspar, Melchior and Baltasar-, who would be on their way to Bethlehem at the birth of the messiah. What are the three Marias? Mark 16:1 indicates that "Mary Magdalene", "Mary the mother of James" and "Salome" went to the tomb to anoint Jesus....How many stars do the 3 Marias have? The Belt or Belt of Orion, popularly known as the Three Marys or Three Kings, is an asterism of three stars that form the belt of the constellation of Orion, the hunter. The stars, easily identifiable in the sky by their brightness and alignment, are known as Mintaka, Alnilam, and Alnitak.Where are the three Marias? To identify it we must locate 3 stars close to each other, of the same brightness, and aligned. They are called Tres Marías and they form the belt of the constellation of Orion, the hunter. Their names are Mintaka, Alnilan and Alnitaka, from the Arabic Al-Mintakah, the belt, An-Nidham, the pearl, and An-Nitak, the rope.The most curious thing of all is that, in reality, their names are Mintaka, Alnilan and Alnitak, Arabic names that mean, respectively, the "Belt", the "Pearl/Precious Stone" and the "Rope". Another is knowing that they are actually very close together in the sky, approximately 1,500 light-years from Earth.There are three enormous stars visible in the winter sky and in the center of the constellation Orion, the celestial cathedral. These three stars form a nearly perfect tilted alignment, separated by seemingly nearly equidistant distances. They are known as the three Marys, the three wise men or the belt of Orion -a giant hunter from mythology-, but these names are not enough to understand the mysteries that such colossal stars contain. We must look towards the south, at half height; between the horizon and the zenith. It has no loss, it is a brilliant stellar alignment, which is unique in the firmament. Three blue stars, three giants: Mintaka, Altinak and Alnilam.

 

Источник: planetariodevitoria.org/estrelas/qual-e-o-nome-das-estrel...

 

An engineer born in Alexandria in 1948, Robert Bauval, with a background in astronomy and an interest in Egyptology, discovered that the three Marys are positioned exactly like the three great pyramids of Giza in Egypt. The star Mintaka, in the upper part of the alignment of the three Marys, is somewhat deviated with respect to the previous two, the same imperfect alignment has the three great pyramids. But also, the pyramid deviated from the straight line that joins the other two, is the smallest of the three (Micerino), like Mintaka, which is the star that shines the least of the three Marias. Also, the pyramid that is highest on the plateau of the three and that stands out the most (Kefren) is the central one, as is the central star of Las tres Marías, which is the brightest. Did the Egyptians also know that these stars are visible from all over the world? And more specifically Mintaka, which is right on the celestial equator. Everything can be the product of chance, but many coincidences bear the truth. Curiously, the Egyptians believed that after their death, the gates of heaven opened in the place occupied by Orion's belt, but they never understood the greatness of those three spectacular stars. The three Marys were the place where the soul of Osiris, the Egyptian god of resurrection, rested and presides over the court of the judgment of the deceased, among other powers.Alnitak, an Arabic name meaning "belt", is the lowest of the three stars. A new star 6 million years old, while the Sun is about 5,000 million. This blue giant, 16 times the diameter of the Sun, with a visual magnitude of 1.79, located 700 light years from the Sun, of spectral type O9, shines with an intensity 100,000 times greater than that of our Sun, which next to it is a tiny star with a mass 20 times less than Alnitak. It ranks 35th among the most luminous stars we know of, including stars from other galaxies. Alnitak is a peculiar star, whose surface temperature reaches 29,000 degrees. The Sun only reaches 6,500. But it is also a very intense source of X-rays, due to the strong stellar winds that are projected from the surface in the form of particles, essentially hydrogen and helium, sweeping the surrounding space at speeds of 2,000 km/s. These types of giant stars have their days numbered. The bigger the stars are, the less time they live, so that Alnitak, in a short time will become a red supergiant, it will explode in the form of a supernova, which can be seen even during the day from Earth, to end up as a tiny star about 10 km in diameter, called a neutron star, a star so dense that a teaspoon of its surface would weigh as much as a mountain. Also Alnitak is a triple star. Alnilam. Located in the center of the stellar trio that make up Las tres Marías, it is a true celestial spectacle. It shines with a magnitude of 1.70, being the fourth brightest star in Orion and the brightest of the three Marys, in addition to being the furthest at 1,340 light years, but that is nothing compared to the luminosity of the star, equal to 380,000 times greater than the Sun, ranking 27th of all known stars. It is a blue supergiant star, 31 times the diameter of the Sun and 40 solar masses. Extraordinarily young, only 4 million years old, somewhat colder than the previous one, with about 25,000ºC on the surface. It also has a powerful stellar wind with speeds of 2,000 km/s, 20 million times more than the solar wind. The temperature and radiation are so high in this star that it lights up a nebula of gas and dust called NGC 1990 by reflection. Alnilam is so young that it is not yet a stable star, but variable in its brightness (pulsating variable), due to its continuous expansion and contraction. The Sun is a stable star, it does not pulse, expand, or contract. The force of gravity pulling in on the Sun has been offset by the expansive force of thermonuclear reactions by converting hydrogen to helium, but in Alnilam, both forces continue without agreeing. If it is possible to have planets, life there as we know it would be impossible, due to the instability of the star. Alnilam will end its days as Alnitak, becoming a premature red supergiant, exposing its superdense core; a neutron star. Meanwhile, it is moving away from us at a speed of 26 km/s. Mintaka: Arabic word meaning "for belt." Another blue giant star, although the faintest in brightness of the three Marias reaching 2.5 magnitude. It contains 20 solar masses and a luminosity 90,000 times greater than that of the Sun. Located at a distance of 915 light years, it is surprising that it shines with such intensity, not in vain its surface temperature is 31,000ºC. Mintaka is one of the most complex multiple systems known. The main star, that is to say Mintaka, has a companion of magnitude 6.8 at a real distance of more than 2.3 trillion km, or what is the same, ¼ of a light year. But in turn, this star that appears to be 1' of arc distant from Mintaka, is a spectroscopic binary, that is, it has another companion so close to it that it is impossible to take it off with telescopes, but it can be done using spectroscopy; the only thing we can detect is the spectrum of the companion, but we can't see it. Between the spectroscopic binary and Mintaka, there is a faint 14th magnitude star that may belong to the system. But in addition, Mintaka has an extraordinarily close companion to her, which is why she is a spectroscopic binary. Curiously, the companion star has almost the same characteristics as Mintaka, the same mass, temperature and luminosity and must be the same size. A complex 5-star star system. Almost all stars are double or multiple, the rarity is our Sun, which is a solitary star. However, many researchers look for dwarf stars that may be trapped by the Sun's gravity.

 

www.abc.es/ciencia/20140122/abci-tres-marias-estrellas-co...

  

The two putti slowly disappeared in other decks, to be replaced by either a male or female figure. In this example from the Museo Civico, we see a woman holding a wand and a globe as she stands upon the globe (fig. II). Another early example of a female World card is the Cary-Yale Visconti deck (fig. III), depicting a royally-clothed woman wielding a scepter and a crown. It was not uncommon to portray the earth as a feminine figure, but these early examples seem to be stressing not so much a personification of the earth but rather the domination of earth by something/someone. Consider figure IV and figure V. Here we have a male figure, one clothed and the other nude, ruling over the world. Consider also the nude male in the Jacques Vieville deck and the Bologna deck (fig. VI). In Christian art, when Jesus is portrayed as the Christus Victor, he looms over the world holding a globe with a cross fixed to it. He is often surrounded by the four evangelists as he stands upon God’s throne. When he is surrounded by the four evangelists, Christ is enclosed within a mandorla, and the four evangelists are often in the four corners. Should we understand these male figures as Christ? The examples we’ve looked at that have a clothed male figure can clearly be an iconographic Christus Victor; the World card, being the last Major Arcana, is Christ victorious over the entire world after the Resurrection. But what of the nude figures? The only instance of Christ nude in Christian art, that I know of, is Michelangelo’s altar wall in the Sistine Chapel; there, Christ is nude and beardless, as with these particular cards. But there is a shift from the Christ standing upon the world to the Christ on God’s throne. As we see with the Jacques Vieville card (fig. VI), the nude Christ holds his standard iconographic scepter with attached globe, is enclosed by a mandorla (a laurel wreath), and surrounded by the four evangelists. Again, following the tradition of Christian art, Matthew is a human with wings, Mark is a lion, Luke is an ox, and John is an eagle. There is no essential difference between this Tarot card and an atypical Christus Victor. It should be noted that this visual structure was also used in alchemy through the 16 to the 18 century. The four

evangelists are correlated with the four elements of the world, the four seasons, and the four directions. Consider figure VII; note the chalice with the serpent, the attribute of John the Evangelist, unusually associated with the anima mundi. But something happened. Recall that the Marseilles deck, circa blueprint structure and pattern for most subsequent decks created in France, Italy, and Belgium, and also for the decks created by occultists in the 19th century deck is unusual considering its forerunners. We have the same iconography of the four evangelists and the mandorla, but instead of the Christus Victor or royally-clothed woman, there is a nude woman (figure VIII). There are many versions of this, of course, but we can say that she is often portrayed with long hair, with a loose banner rippling around her nude body. She sometimes holds a bottle and a scepter; more often, two equal wands (that is, wands with a knob on both ends). She is always enclosed within a laurel wreath, and the four evangelists remain in the four corners of the card. Suddenly, a nude woman is dancing, or floating, on God’s throne instead of Christ; perhaps, she is being assumed up into heaven. This card serves as the bridge between the City of God and the Christus Victor depictions to most of the subsequent World cards: the rather curious and baffling conflagration of Christian iconography and feminine/Goddess imagery. What does this shift mean, and how can we situate it within Christian art? Let us turn our attention, now, to the portrayal of Mary Magdalene in Christian art. Mary Magdalene underwent quite a transformation through Renaissance art. The sinner Magdalene ultimately becomes the penitent, holy reformer to which many upheld as an exemplary and relatable model. Mrs. Jameson locates the rising popularity of Magdalene as penitent in the 16th and 17th into heaven. Magdalene became “still more endeared to the popular imagination by more affecting and attractive associations, and even more eminently picturesque...We have Magdalenes who look as if they never could have sinned, and others who look as if they never could have repented.”11 Magdalene became more sexualized just as she became more penitent. Rachel Geschwind observes that in the 16th century, paintings like Rossiglio’s Conversion of the Magdalene began to give Venus-like characteristics to Magdalene; she is both divine and corporeal. and art, and sometimes one might even mistake a Venus for a Magdalene. Courtesans at this time would write of divine love and the desire to enter the ‘paradise of Venus’, which was a metaphor where she is praying for forgiveness or being reconciled and/or assumed up for the city. (Recall the City of God from the Visconti deck). Magdalene seemed to serve as a perfect model for passion and romance that was acceptable religiously, and as a locus for the world of divine love. The dichotomy between the corporeal and the divine is also inherent in Correggio’s Noli Me Tangere; Margaret A. Morse writes that “Correggio evoked a natural style, while maintain a beauty and sanctity for which his subjects called, whereby the beholder...would be able to recognize the divine in the physical.”14 She is a bridge between the viewer and Christ, between the body and the spirit. Given that Neo-Platonism was on the rise during the Renaissance, it makes sense that this balance between two kinds of love, “sacred and profane, formulated by Plato in the Symposium”15, found Mary Magdalene as the perfect template and model. In addition to Venus-like characteristics, Magdalene was also beginning to assume the role as a “new Eve” from the Virgin.The relationship between the images of the Tarot de Marseille and the medieval heresy of the Holy Grail. The followers of this heresy claimed that Jesus of Nazareth had married Mary Magdalene. In this work are presented all the symbols of the Tarot in relation to this heresy and, for the first time, it is revealed that these images constitute the secret heritage of Mary Magdalene. that the game was the lost Egyptian book of Thoth, containing the secret mysteries of Egyptian wisdom and magic; following Gebelin, occultists

2 began to syncretize the Tarot with the systems of Kabbalah, Hermeticism and Alchemy. We believe we can place the pinnacle of this appropriation in the Waite-Smith game of 1909 - the most familiar and popular game for the contemporary reader. Later we will look at the effect this has had on Tarot symbolism and its relationship to changes in religious understanding in France and other European countries.

 

Mary Magdalene (Mary of Magdala), the woman with jars in Christian symbolism, could very well in this case be represented in the star map. But their assumptions stopped there. No one had ever imagined that the Tarot itself represents in its entirety the teaching and life of Marie-Madeleine on the one hand and even less that the Tarot was created by Marie-Madeleine herself in the 1st century. This is the entirely new Tarot theory that I have been expounding since the beginning of the second millennium. If my theory of the Tarot turns out to be correct, it completely changes the vision and the understanding that one could have of the Tarot. It changes the dating of the Tarot which goes from the 14th century to the 1st century AD with Mary Magdalene, the Tarot de Marseille thus becoming the ancestor of all Western tarots, that is to say "the Tarot". Historians and experts said that the Tarot originated in Italy during the Renaissance era around the end of the 14th century the beginning of the 15th century. On the other hand, no one thought that the Tarot de Marseille itself originated from Marseille. When I started to propose the theory of a Marseille origin of the Tarot de Marseille, Tarot historians and Tarot experts thought that I was an eccentric or that I wanted to make a publicity stunt. In 1999, I explained publicly that in my opinion the Tarot had been transmitted to Europe around 415 by the monk Jean Cassien who was entirely dedicated to Marie-Madeleine and who founded the order of the Abbey of Saint-Victor in Marseille. My Tarot theory is based on thousands of secret codes that can be found in the new Tarot de Marseille Camoin that I drew in the 90s. The Mandorla that surrounds the naked woman indicates that it is a saint who has reached the beatific state. The most significant secret Tarot code in "The Mary Magdalene Theory" that I have discovered resides in the last two cards of the Tarot Major Arcana, Judgment and the World. Indeed, by their number, these two cards are naturally placed next to each other. I revealed that the two cards put together give the key to the mystery of the Tarot character that is found in the World card. Because the identity of this character had remained a mystery for centuries. Almost all Tarot researchers claimed that it was the androgynous Christ, so much so that it had become a real dogma in the Tarot world. Historians could not imagine that it was a woman because of the presence of the four living beings who are attributed to Christ in Christian sacred art. Some had interpreted this mysterious young woman as being the soul of the World, "Anima Mundi".

But the Tarot is coded in another way. Tarot codes are embedded in other Tarot codes and so on. Also, if we disregard the four living beings in the World map, we obtain a naked woman surrounded by an almond-shaped oval. This oval called mandorla symbolizes the state of beatific vision. We find the mandorla around some saints. This means that in the Tarot de Marseille, the woman on the World Map is a saint. My "Mary Magdalene theory" continues like this. In the pantheon of Western saints, there is only one saint who is depicted naked, and that is Saint Mary Magdalene. However, Marie de Magdala lived in the vicinity of Marseilles for 30 years. My theory, which is unique in the history of the Tarot, states that it is Mary Magdalene who is represented in the map of the World and that the Tarot de Marseille is therefore dedicated to this saint.

 

The two cards form a new symbol. Mary of Magdala is the Saint who sees the Resurrection of Christ (in blue. Furthermore, we can locate similar attributes to Magdalene from apocryphal sources as well as the writings of Origen. In the apocryphal Pistis Sophia, Magdalene is the sole recipient of Christ’s gnosis, rather than Peter and the other disciples. Christ says, “Well done, Mary. You are more blessed than all women on earth, because you will be the fullness of fullnesses and the completion of completions.”17Although this apocryphal account could not have been known to people during the Renaissance, it reveals that even within the early Christian communities there was a holiness attributed to Magdalene that transcended all others. Yet the Gnostic contempt for materiality seems to clash with the embrace of dualism during the Renaissance. This dualism can be found in Origen’s writings, however. In his commentary on the Song of Songs, he allegorically reads the bride as the Christian church. The bride anoints her lover with an ointment; Origen connects this with the scriptural account of Mary Magdalene anointing Christ. He interprets the line spoken by the bride, “I am dark but comely, O daughters of Jerusalem” (Song 1:5), as follows: “She has repented of her sins...beauty is the gift conversion has bestowed; that is the reason she is hymned as beautiful. She is called black, however, because she has not yet purged of every stain of sin, she has not yet been washed unto salvation, nevertheless she does not stay dark-hued, she is becoming white.”18 The dualism of black/evil and white/good is unfortunate, but the connection between the Bride of the Song of Songs and Magdalene reinforces her movement away from sin into penitence, and her positive association with the Church and Christ. The sexual language employed in the Song of Songs has always been difficult for commentators; however we see that when Magdalene is associated with the Bride, the sexuality is compounded with Magdalene’s penitence, in the same way we’ve seen in Renaissance painting. The portrayals of Magdalene’s assumption into heaven connect us back to the Tarot. Mrs. Jameson observes, dryly, that Italian paintings of Magdalene’s assumption began “to recall the idea of a Venus Meretrix.”19 Let us consider Giovanni Lanfranco’s La maddalenan portata in cielo, (fig. IX) and Sandro Botticelli’s Birth of Venus (fig. X). Jameson is quite correct in her observation, despite her negativity towards this shift. In the Lanfranco, Magdalene’s hair barely covers her nude body as she is borne aloft by three putti. She holds out her hands at an angle, and below her is the world’s expanse of mountains, lakes, and forests. It is sexual and chaste, physical and divine. Her figure is very much the Platonic divine love, the ideal Venus. In some of the Assumptions, she is almost dwarfed by the sublime immensity of the landscape. The fact that the very earth is prominent in these paintings underscores Magdalene’s dualistic characteristics of corporeality and divinity; the world gapes below her as she rises above it into the sky. Although she is always borne by putti in her assumption, she seems to float and dance in ecstasy as she rises. We observed the replacement of the Christus Victor with a female nude in the Marseilles World card. That card is remarkably similar to the Lanfranco, Durer’s Assumption of the Magdalene, and others. One gets the same sense of elevation and completion (recall Christ’s words in the Pistis Sophia) in the rise of Magdalene as one gets in the World card. I argue for a parallel between Magdalene’s evolution and the World card’s evolution; just as painting was infusing Magdalene with traits of divine love and worldliness, Tarot decks began to see the post- Resurrection world not in light of Christ but in a neo-Platonic Venus, a Magdalene/New Eve that encompasses the new World. We saw that some World cards have the woman holding a bottle of some sort, which is an attribute of Magdalene. Also, the instances of the two equal wands supports the dualism of divinity and corporeality, dark and light, sinner and penitent, in the portrayals of Magdalene. Robert Place agrees, writing that “She takes her position in the sacred center, which identifies her as the Anima Mundi and the Quinta Essentia...she has mastered or transcended duality...the World Soul is depicted as both Christ, or Sophia his female counterpart....divine wisdom.”20 She is the completion, the alchemical Great Work, the culmination of all earthly phases into the elevation of the world into heaven. This is, of course, an esoteric alchemical interpretation, which as we noted did not apply to Tarot until the late 1700s. I hold that Magdalene’s iconographic transition in the Renaissance parallels the exoteric symbolism of the World; but what to make of the occultists’ appropriation of this image in the late 1700s? Farley argues that, “With tarot removed from its original environment, its symbolism lost its previous relevance and context, rendering its imagery mysterious.”21 Institutionalized religion was being questioned at this time; indeed, the first publications by occultists on the Tarot coincide with the French Revolution. While we cannot delve deeply into the Revolution here, suffice it to say that it was characterized by a rejection of Christianity but a preservation of Christian structure. “It had its creeds, liturgies and sacred texts, its own vocabulary of virtues and vices...and the ambition of regenerating mankind itself, even if it denied divine intervention or the afterlife. The result was a series of deified abstractions worshipped through the denatured language and liturgy of Christianity.”22 Much of the Revolution’s tactics was the replacing of old symbols with new ones, but maintaining the same essential religious structure. Similarly, I argue that the occult appropriation of the Tarot was also an appropriation of Christian iconography, in a general sense; esoteric interpretations and the revisions of Tarot symbolism was an attempt to escape Christian doctrine through fabricated ancient lore (Egyptian roots, e.g.) and synthesized connections between the Tarot and old esoteric traditions such as Kabbalah.

 

Interpretation

According to A.E. Waite's 1910 book The Pictorial Key to the Tarot, the World card carries several divinatory associations:

 

Mary Magdalene (Mary of Magdala), the woman with jars in Christian symbolism, could very well in this case be represented in the star map. But their assumptions stopped there. No one had ever imagined that the Tarot itself represents in its entirety the teaching and life of Marie-Madeleine on the one hand and even less that the Tarot was created by Marie-Madeleine herself in the 1st century. This is the entirely new Tarot theory that I have been expounding since the beginning of the second millennium.

If my theory of the Tarot turns out to be correct, it completely changes the vision and the understanding that one could have of the Tarot. It changes the dating of the Tarot which goes from the 14th century to the 1st century AD with Mary Magdalene, the Tarot de Marseille thus becoming the ancestor of all Western tarots, that is to say "the Tarot". Historians and experts said that the Tarot originated in Italy during the Renaissance period around the end of the 14th century the beginning of the 15th century. On the other hand, no one thought that the Tarot de Marseille itself originated from Marseille.

 

21.THE WORLD—Assured success, recompense, voyage, route, emigration, flight, change of place. Reversed: Inertia, fixity, stagnation, permanence.

The World represents an ending to a cycle of life, a pause in life before the next big cycle beginning with the fool.[3] The figure is male and female, above and below, suspended between the heavens and the earth. It is completeness. It is also said to represent cosmic consciousness; the potential of perfect union with the One Power of the universe.[4] It tells us full happiness is to also give back to the world: sharing what we have learned or gained. As described in the book The New Mythic Tarot by Juliet Sharman-Burke and Liz Greene (p. 82), the image of the woman (Hermaphroditus in Greek Mythology) is to show wholeness unrelated to sexual identification but rather of combined male and female energy on an inner level, which integrates opposites traits that arise in the personality charged by both energies. Opposite qualities between male and female that create turmoil in our life are joined in this card, and the image of becoming whole is an ideal goal, not something that can be possessed rather than achieved.

 

According to Robert M. Place in his book The Tarot, the four beasts on the World card represent the fourfold structure of the physical world—which frames the sacred center of the world, a place where the divine can manifest. Sophia, meaning Prudence or Wisdom (the dancing woman in the center), is spirit or the sacred center, the fifth element. Prudence is the fourth of the Cardinal virtues in the tarot. The lady in the center is a symbol of the goal of mystical seekers. In some older decks, this central figure is Christ, whereas in others it is Hermes. Whenever it comes up, this card represents what is truly desired.

 

In other media

In the manga JoJo's Bizarre Adventure: Stardust Crusaders, tarot cards are used to name the character's powers, named 'Stands'. The overarching antagonist of Stardust Crusaders, DIO, has a Stand named The World, named after The World card. This stand has the power to stop time whenever DIO commands it to, and he can move during frozen time. In Steel Ball Run, an alternate version of DIO, Diego Brando, later gains this Stand after being summoned by Funny Valentine.

 

In the film Cryptozoo, a tarot reading is done with the Waite-Smith Deck that reveals The World card as part of the protagonist's journey.

 

en.wikipedia.org/wiki/The_World_(tarot_card)

 

The relationship between the images of the Tarot de Marseille and the medieval heresy of the Holy Grail. The followers of this heresy claimed that Jesus of Nazareth had married Mary Magdalene. In this work are presented all the symbols of the Tarot in relation to this heresy and, for the first time, it is revealed that these images constitute the secret heritage of Mary Magdalene. that the game was the lost Egyptian book of Thoth, containing the secret mysteries of Egyptian wisdom and magic; following Gebelin, occultists began to syncretize the Tarot with the systems of Kabbalah, Hermeticism and Alchemy. We believe we can place the pinnacle of this appropriation in the Waite-Smith game of 1909 - the most familiar and popular game for the contemporary reader. Later we will look at the effect this has had on Tarot symbolism and its relationship to changes in religious understanding in France and other European countries.The Mandorla that surrounds the naked woman indicates that it is a saint who has reached the beatific state.

The most significant secret Tarot code in "The Mary Magdalene Theory" that I have discovered resides in the last two cards of the Tarot Major Arcana, Judgment and the World. Indeed, by their number, these two cards are naturally placed next to each other. I revealed that the two cards put together give the key to the mystery of the Tarot character that is found in the World card.

Because the identity of this character had remained a mystery for centuries. Almost all Tarot researchers claimed that it was the androgynous Christ, so much so that it had become a real dogma in the Tarot world. Historians could not imagine that it was a woman because of the presence of the four living beings who are attributed to Christ in Christian sacred art. Some had interpreted this mysterious young woman as being the soul of the World, "Anima Mundi". But the Tarot is coded in another way. Tarot codes are embedded in other Tarot codes and so on. Also, if we disregard the four living beings in the World map, we obtain a naked woman surrounded by an almond-shaped oval. This oval called mandorla symbolizes the state of beatific vision. We find the mandorla around some saints. This means that in the Tarot de Marseille, the woman on the World Map is a saint. My "Mary Magdalene theory" continues like this. In the pantheon of Western saints, there is only one saint who is depicted naked, and that is Saint Mary Magdalene. However, Marie de Magdala lived in the vicinity of Marseilles for 30 years. My theory which is unique in the history of the Tarot stipulates that it is Mary Magdalene who is represented in the map of the World and that the Tarot of Marseilles is therefore dedicated to this saint.

 

fr.camoin.com/tarot/Tarot-Marie-Madeleine-Magdala.html

  

What is the name of the brightest star?

Sirius, also called Sirius, α Canis Majoris is the brightest star in the night sky visible to the naked eye, with an apparent magnitude of −1.46. In Greek mythology, Orion's hunting dogs are said to have ascended to heaven at the hands of Zeus, taking the form of the star Sirius.,What are the stars called?

they are called bright stars. How the stars are classified? Astronomers classify stars by size and surface temperature. Based on their size, stars can be called supergiants, bright giants, giants, subgiants, dwarfs or normals, and subdwarfs.

 

Источник: planetariodevitoria.org/estrelas/qual-e-o-nome-das-estrel...

 

Hebrew Letter: Tave

In this article The World Symbols, I refer to The World card from the Rider Waite Tarot deck, also known as the Waite-Smith, or Rider-Waite-Smith, or Rider tarot deck. The symbolism found on this trump card is primarily drawn from mythology, Christianity, alchemy, astrology. Contents

The World: Key Symbol. Compare The World Tarot Card Symbols with Historical Decks

What Does The Dancer Symbolize in The World Tarot Card? Dancer Purple Sash Red Hairband

Two Wands Crossed Legs Symbolism What is The Meaning of The Laurel Wreath in The World Card?Laurel Wreath Two Red Ribbons Who Are The Four Figures in The World Card and What do They Symbolize? Man Lion Eagle Bull What is The Meaning of The Blue Background? The Rider Waite World card borrows heavily from the Marseille Tarot. Waite himself says, “this final message of the Major Trumps is unchanged – and indeed unchangeable – in respect of its design”. In both instances the naked World dancer moves encased within a victory wreath. The four corners of the card contain tetramorphs, mystical creatures of antiquity and mythology depicting a bull, lion, bird and human face.

The dancer holds dual magical wands, as opposed to The Magician who only holds one. What Does The Dancer Symbolize in The World Tarot Card? Dancer. The dancer symbolizes the fetus waiting to be born again, as the Fool prepares to start over through the procession of the Major Arcana. However, this is no babe starting from scratch, we are presented with a woman at her height of beauty and youth. She signifies the next stage of evolution. Some occultists claim that the figure is a hermaphrodite, because her sexual gender is hidden by the scarf. They say she is the union of male and female, and that sexual identity is no longer relevant or defining. The dancer perfectly integrates aspects of the male and female. Wouldn’t this card be a suitable iconographic image for gender fluidity in todays times! The dancer is both the bride and bridegroom. Purple Sash. The purple sash is the color of divinity and wisdom. It evokes the images of a Catholic priest who puts on a purple stole when offering the sacrament during mass. The sash curves in the figure of eight, suggestive of the cosmic lemniscate or infinity sign.

Red Hairband. The dancer wears a red hairband, which draws fire energy to her head area. It symbolizes that her mind and conscious is active. This is not someone who exists only in the spiritual realm.

Two Wands. The dancer holds two double-sided wands, which represent the polarity powers of involution and evolution. Involution is the decent of God into the soul or consciousness, and evolution is the assent of the soul back to God or the creator. ⭐Wands also appear here: The Magician Symbols

Crossed Legs Symbolism. The dancer crosses her legs in a similar manner to the Hanged Man. However, the triangle he represents is under the cross of the tree, symbolizing he is still bound by earthly things. The dancer is reversed, she forms a triangle pointing upwards, from the tip of her head to her two outstretched hands. Thus the triangle of Spirit now overturns the cross of the material earthly plane. What is The Meaning of The Laurel Wreath in The World Card? Laurel Wreath. The woman is surrounded by a large laurel wreath, traditionally a symbol of success and victory. The implication here, on the Fools Journey, is that there is cause for celebration. This is the end of the road before a new era begins. The wreath forms the shape of a zero, which is the number of The Fool card. The wreath also symbolizes the womb, signaling that the woman is like an embryo waiting to be reborn. The oval shape of the wreath is also used by the Golden Dawn in their Tattva cards. These colorful cards were designed to aid the development of clairvoyance through visual meditation, and one of the symbols in the cards is an oval. The oval corresponds to the Akasha, ether or spiritual realm (see Akashic Records). See Shamanism for more information on Tattva cards. ⭐A laurel wreath also appears here: The Chariot Symbols, Ace of Swords Symbols, Seven of Cups Symbols, Six of Wands Symbols Two Red Ribbons. The red ribbon bindings at the top and bottom of the wreath indicate completion, the circle has been made complete.

It also reminds one of the ancient quote, “as above, so below”. Who Are The Four Figures in The World Card and What do They Symbolize? The four beasts represent the four living figures or hayyot, which are a class of heavenly beings in Jewish mythology. According to both Jewish and Christian tradition, the creatures vary by description. In this card we see the four tetramorph, a lion, man, eagle and bull.

These creatures represent the four seasons, as well as the four elements of Fire, Air, Water and Earth. Their presence implies that they are the cornerstones of a balanced life. Man. The blond-haired man represents the astrological sign of Aquarius, winter season and the element Air. Lion. The Lion represents Leo, summer and fire. Eagle. The Eagle represents Scorpio, autumn and water.

Bull. The Bull represents Taurus, spring and earth. What is The Meaning of The Blue Background?

The blue background is the cosmic mind or ‘Universe’ as it has come to be known in the New Age. The dancer is able to manipulate this realm easily with her two wands.

 

karinastarot.com/world-symbols/

 

Furthermore, we can locate similar attributes to Magdalene from apocryphal sources as well as the writings of Origen. In the apocryphal Pistis Sophia, Magdalene is the sole recipient of Christ’s gnosis, rather than Peter and the other disciples. Christ says, “Well done, Mary. You are more blessed than all women on earth, because you will be the fullness of fullnesses and the completion of completions.”17Although this apocryphal account could not have been known to people during the Renaissance, it reveals that even within the early Christian communities there was a holiness attributed to Magdalene that transcended all others. Yet the Gnostic contempt for materiality seems to clash with the embrace of dualism during the Renaissance. This dualism can be found in Origen’s writings, however. In his commentary on the Song of Songs, he allegorically reads the bride as the Christian church. The bride anoints her lover with an ointment; Origen connects this with the scriptural account of Mary Magdalene anointing Christ. He interprets the line spoken by the bride, “I am dark but comely, O daughters of Jerusalem” (Song 1:5), as follows: “She has repented of her sins...beauty is the gift conversion has bestowed; that is the reason she is hymned as beautiful. She is called black, however, because she has not yet purged of every stain of sin, she has not yet been washed unto salvation, nevertheless she does not stay dark-hued, she is becoming white.” The dualism of black/evil and white/good is unfortunate, but the connection between the Bride of the Song of Songs and Magdalene reinforces her movement away from sin into penitence, and her positive association with the Church and Christ. The sexual language employed in the Song of Songs has always been difficult for commentators; however we see that when Magdalene is associated with the Bride, the sexuality is compounded with Magdalene’s penitence, in the same way we’ve seen in Renaissance painting.

The portrayals of Magdalene’s assumption into heaven connect us back to the Tarot. Mrs. Jameson observes, dryly, that Italian paintings of Magdalene’s assumption began “to recall the idea of a Venus Meretrix.”19 Let us consider Giovanni Lanfranco’s La maddalenan portata in cielo, (fig. IX) and Sandro Botticelli’s Birth of Venus (fig. X). Jameson is quite correct in her observation, despite her negativity towards this shift. In the Lanfranco, Magdalene’s hair barely covers her nude body as she is borne aloft by three putti. She holds out her hands at an angle, and below her is the world’s expanse of mountains, lakes, and forests. It is sexual and chaste, physical and divine. Her figure is very much the Platonic divine love, the ideal Venus. In some of the Assumptions, she is al

One style sometimes acknowledges another. There is a place of reference at the beginning that sometimes is not the conclusion, rather it reveals a pathway with significant moments upon the journey. This figure laid out on the skyline goes through all the variations of the atmospheric conditions each year wearing snow and lush green growth with light and shadow from the Sun and from clouds. The diversity of each day and night bring about variations.

 

© PHH Sykes 2023

phhsykes@gmail.com

 

The town of Terowie was established in the early 1870s as a service centre for northbound traffic. Terowie owes its birth to one man, John Aver Mitchell; and its subsequent growth and success to its position on a major South Australian transport route, and later, to its important position within the South Australian rail network. John Aver Mitchell (1833 - 1879) is widely acknowledged to be the founder of Terowie. He and his family arrived in South Australia in 1847, and settled in the Marrabel area. Mitchell turned his hand to many things and lived in many places, including Kapunda and Hallett, before establishing himself in the Terowie area.

 

In 1872, Mitchell selected Section 158 from the recently proclaimed Hundred of Terowie. This land had previously been part of McCulloch's Gottlieb's Well sheep run, the lease of which had been resumed by the Government and opened for credit selection. Mitchell planted wheat on his land, but soon turned to other ideas for a livelihood. The growing amount of northward traffic passing through his section required services, and he is believed to have established an underground store or possible sly-grog shop at the side of the track as early as 1872.

 

He soon built two substantial stone buildings close to one another, the Hotel which was licensed on the 7th of May 1874; and a chapel which probably served a variety of functions including as a general meeting place. The hotel and chapel are considered to be Terowie's earliest buildings, but it was not long before a smithy and store were also constructed near the hotel. To ensure the growth and success of his infant town, Mitchell donated land and money for a school and a Methodist Chapel, both of which were erected in 1877.

 

The fact that the young town of Terowie offered much needed services to the northward traffic, as well as to the growing number of local settlers, secured its future prosperity. By the end of the 1870s over 500 people had settled in the town. Subsequent fluctuations in population had two main causes: the times of depression which affected local production, state-wide production and hence local services; and the rise and fall of railway operations, which reached high points in the 1880s (with the Silverton/Broken Hill Traffic), the 1940s (Military manoeuvres) and the 1950s (Leigh Creek Coal). The 1970 bypassing of the Terowie break-of-gauge sounded the death knell for the town's prosperity.

 

This history, of massive boom and prosperity in the 1880s, but then a subsequent dip in popularity followed by later peaks of a similar height has, to a large extent, dictated the face of Terowie today. Almost all of the buildings in the core of the town were constructed before the turn of the century. Lack of a steadily rising population led to there being no necessity for new buildings to be built after the 1880s, as the old ones were built during a wave of optimism, and then rarely outgrown.

 

Therefore, within the core of the town, very few twentieth century buildings have been built, and few modern alterations and additions have been required. Terowie survives as a fascinating nineteenth century commercial and residential time capsule. However, it is also a living town, with a small number of interested residents trying to retain their unique heritage.

 

Source: Department for Environment & Heritage, District Councils of Mount Remarkable, Orroroo/Carrieton & Peterborough, Regional Council of Goyder, Northern Areas Council, and Port Pirie Regional Council "HERITAGE OF THE UPPER NORTH - Volume 2 - Regional Council of Goyder "

In 2009, the United Nations General Assembly proclaimed 22 April as International Mother Earth Day. In so doing, Member States acknowledged that the Earth and its ecosystems are our common home, and expressed their conviction that it is necessary to promote Harmony with Nature in order to achieve a just balance among the economic, social and environmental needs of present and future generations. The same year, the General Assembly adopted its first resolution on Harmony with Nature.

~

www.harmonywithnatureun.org/

~

we need harmony with this planet

digital drawing and painting enhanced and manipulated via GIMP

OK folks, here is yet another installment of the ongoing adventures with Disneyland Security...

 

Before I get into the details that surround this particular photograph, I would like to acknowledge that some people have differing opinions on the rights and the privileges of photographers taking pictures at Disneyland... I understand that some folks are passionate about their rights to photograph whatever they want. I understand that some folks are passionate about preserving photography in general at Disney Parks, and feel that taking pictures like this is going to be the end of tripods at Disneyland. I understand that EVERYONE has a different opinion about their rights to use a tripod at a Disney Park, or in particular, Disneyland, INCLUDING Disneyland Security and Castmembers.

I respect all of the differing opinions, and present my adventures here as a reference for all that may read them...

Also note that I have had far more positive, pleasant, and friendly encounters with Security at Disneyland than I have had unpleasant. Again, I post this encounter so that others may be aware of the situation and avoid similar encounters...

 

For documentary purposes, here is an excerpt from the Disneyland FAQ website that offers this information about photography under "What items are NOT permitted at Disneyland"

 

disneyland.disney.go.com/faq/parks/

 

What items are not permitted within Disneyland Park or Disney California Adventure Park?

Items not permitted include, but are not limited to, the following:

• Professional cameras and recording equipment. Reporters must make prior arrangements with Disneyland Resort Media Relations.

• Folding tripod stands that can fit inside a standard backpack are permitted.

 

So there we were, Me and my Son Justin, Ryan Pastorino, and Don Sullivan (visiting from Florida) setup with (3) tripods photographing the submarine lagoon at approximately 11:30PM on a night that the Park closes at Midnight...It was very quiet, with virtually nobody around, and no pedestrian traffic to speak of. I was running a little later than the other guys with my brackets because I was waiting for a submarine to cruise through. As Ryan and Don were breaking down their setups, they pointed out to me that security was watching us...Looking over my shoulder, I saw FOUR security CMs looking right at me from 20 yards away, standing near the Matterhorn Queue...Looking back to Ryan and Don, they were packed up and moving out while my last exposure cooked off just as the four security guards surrounded me and Justin...

 

"No tripods are allowed in the Park." One of them says, standing right next to me.

As I break down my setup, I politely say, "I thought the posted rules state that collapsible tripods are allowed?"

"Yours is too big" He says as I collapse the legs and put the tripod in my bag...

"No professional equipment is allowed" He continues...

Seeing that it was pointless to continue this conversation as they were already in an aggressive stance, I quietly picked up and headed into Tomorrowland where Ryan and Don had gone...I had four Security guys in tow walking right behind me.

 

The Security guys stopped 20 yards away from us as I walked up to Ryan and Don. We were all puzzled by the reaction from security, but Don was really looking forward to taking some night shots of Tomorrowland so he began to setup his tripod. Immediately we were approached again by Security who gave us the same spiel...We still could not understand the aggressive stance from Security in a virtually empty Park, and 15 minutes BEFORE closing. We decided to press for answers and got a little more info...

"You were taking pictures of the Monorails" (Huh? We were not...)

"We feel like a target since 911"

And my favorite:

"You guys can take any picture you want as long as you don't use a tripod" (???)

 

Again seeing the hopelessness of the situation, we left BEFORE midnight shadowed all the way by multiple Security guys. Don wanted to stop into City Hall and complain, which of course did not do any good either. Disappointed, we all left the Park.

 

So this is the photo that Security interrupted...It is not quite what I had planned due to the rush at the end...The sky was overcast, but fortunately at this end of the park there is some cooler lighting going into the haze that I was able to work with, therefore negating that ugly orange-brown cast...

 

Remember:

Tripods may be allowed inside the Park, but it doesn't mean you can use them...Security can and will interpret this rule as they see fit.

 

1937 Packard Twelve Coupe

 

Ironically, many of the greatest automobiles of the classic era arose from the depths of the Great Depression. The Packard Twelve had few peers and was acknowledged as one of the finest automobiles of its time, and Packard’s relentless and careful refinement ensured that these hand-built “Senior” Packard models continue to rank among the most highly prized and sought-after classics today.

 

By the 1930s, the Packard Motor Car Company already possessed a wealth of experience with 12-cylinder engines. Their first, the Twin Six of 1916-1923, had become almost synonymous with the genre and was phased out in favor of the simpler and more advanced Single Eight that was introduced in 1924. While the Single Eight set new standards for smoothness and agility during the late 1920s, the rekindled multi-cylinder wars had resumed in earnest by the onset of the 1930s in Detroit. Cadillac introduced both its V-16 in 1930 and its V-12 in 1931, while Auburn, Marmon, Pierce-Arrow and even Franklin had their own 12-cylinder engines in the wings for 1932.

 

Resurrecting the “Twin Six” name, Packard met this new competitive threat with a completely new engine. A large-displacement V-12 design with a 67-degree cylinder-bank angle, development of this new power unit was the happy by-product of an aborted front-wheel drive development project. As released, the new Twelve initially displaced 445 cubic inches, 20 more than the old Twin Six, while developing 75 percent more power. In 1933, the model name was simplified to “Packard Twelve,” and two years later, engine displacement rose to 473 cubic inches, and output now climbed accordingly to 175 brake horsepower.

 

The weight of the car is 5,255 pounds, and the original list price was $3,420 - a tidy sum for the period. This top-of-the-line Packard was purchased by its current owner from the Columbus, Ohio Packard dealership in 1955.

 

Overall, the Packard Twelve was a conservative car with finely tailored lines, elegant appointments, a refined chassis and a whisper-quiet, 12-cylinder engine. All-new bodies introduced for 1935 offered true envelope styling with the body, hood, fenders and running boards incorporated into a smooth design. In addition, increased horsepower and improvements in suspension and steering, along with improved engine mounts, provided ease of operation and dramatically improved passenger comfort.

 

While the 1936 models were virtually unchanged, the Fifteenth Series of 1937 brought a comprehensive series of mechanical improvements. Most notably, the introduction of “Safe-T-Flex” independent front suspension, based on the sound design of the junior One-Twenty, debuted on the “Senior” Packard models. Other improvements included the adoption of hydraulic brakes, disc-type steel wheels and the elimination of the Bijur central chassis lubrication system.

 

While 1937 was a good year for Packard, just 1,300 Twelves were produced, all but ensuring their place among the rarest and most desired masterpieces of the Classic Era.

  

Credits

 

• Excerpts taken from RM Sotheby’s web site

 

• Placard display at America Packard Museum

  

On a personal note, Dayton, Ohio holds a special place in my heart. My Dad, a “professional” road driver for C/F (Consolidated Freightways) ran Chicago to Dayton for about ten years. As I remember he liked the “Dayton run”. Being one of the high seniority drivers at C/F, I recall he bid for the Dayton haul several years in a row. He favored not only the “run” but would speak well of the city. It impressed him as a clean and “well laid out” city.

 

I remember as a kid, a family vacation we took to Dayton - to the Wright Patterson Air Force base museum. I loved airplanes and it was a real thrill for me. My Mom - oh not so much but she enjoyed seeing Dayton and she enjoyed dining out in the evenings. I suppose you could say Mom just enjoyed going places as a family and seeing the C/F terminal where her husband traveled to and from so many times - in the hot blistering summers and the cold and many times, dangerous icy winters. Or maybe she was just scouting out the area where C/F put the drivers up for the night to see if there were any suspicious looking honky tonks in the area.

 

And Dayton has another significance for me. The headquarters of the corporation that I worked for the last five years of my career, Dayton-Superior Corporation is located in Dayton.

 

This past September when my wife and I traveled to Dayton for the Dayton Concours d’Elegance Carillon Park I never got to see the Dayton-Superior headquarters nor, of course was there anything remaining of the old Consolidate Freightways terminal as C/F had gone out of business years before. The day, a Sunday, September 17th, dawned as a beautiful day - in the low 80’s, partly sunny and no humidity. Although the Concours event turned out to be a bust, the day was saved when we left and drove over to the Packard Museum located on Ludlow Street, the south side of town . Even the area, the street conveyed a feeling of “days of yore” - devoid of all cars and people. The day at this museum I wish I could have kept sealed in a bottle and lived over and over. Probably not much fun for my wife but she never complained. Where did I find this girl? For me, however, the afternoon spent taking pictures inside the museum was like a kid being in a candy store. The staff was extremely accommodating, allowing me to use my tripod and basically giving me free run of the place. I loved the look and “feel” and even the smell of the place. The building is actually the original location of the Citizen’s Motorcar Company, a Packard dealership dating back to 1917.

 

Hope you enjoy (as much as I enjoyed taking this and many more pictures at this museum)…………..

17.july 2008 - 124/11/39

 

acknowledging your abundance

The House of Bruar is widely acknowledged as Scotland’s most prestigious independent store, and its regal stature at the gateway to the Highlands makes it clear to see why.

 

Situated on the A9, a short drive north of Pitlochry, The House of Bruar offers an extensive range of high quality products in both the Men’s and Ladies clothing halls. There is also a taste of luxury from gourmet produce, artisan treats and a fine selection of whisky and spirits in the Food Hall – which also homes the award winning in-store butchery and delicatessen.

 

Housing the largest collection of Cashmere in the UK, you will be spoilt for choice in the Knitwear hall – which carries a large variety of high quality natural fibres. The use of natural fibres extends further into their ample offerings of Tweed garments and accessories, reflecting the Scottish heritage within the brand.

 

The Country Living and Present Shop departments carry plenty of choice for decorating your home, or even the perfect gift. It’s the home of country style all under one roof. Take a stroll through the Art Gallery, where work is displayed from up and coming artists who have a firm interest in Scottish wildlife and scenery within their art.

 

Should you be looking for a spot of lunch during your visit, then don’t miss the Restaurant – which serves up a variety of meals including a full roast provided by the Butchery, delicious soups, sandwiches, enticing cakes and a selection of meals cooked to order. All of these can be enjoyed in the heated conservatory so you can take pleasure in sitting outdoors, whatever the weather.

 

The House of Bruar attracts visitors from all over to its captivating grounds and no trip to Scotland would be complete without a visit.

 

www.visitscotland.com/info/shopping/the-house-of-bruar-p2...

'In This Terrible Moment We Are All Victims Of An Environment That Refuses To Acknowledge The Soul' - by Damien Hirst, Museum Brandhorst

Gilbert Scott-Heron (April 1, 1949 – May 27, 2011) was an American soul and jazz poet, musician, and author, known primarily for his work as a spoken-word performer in the 1970s and 1980s. His collaborative efforts with musician Brian Jackson featured a musical fusion of jazz, blues, and soul, as well as lyrical content concerning social and political issues of the time, delivered in both rapping and melismatic vocal styles by Scott-Heron. His own term for himself was "bluesologist", which he defined as "a scientist who is concerned with the origin of the blues". His poem "The Revolution Will Not Be Televised", delivered over a jazz-soul beat, is considered a major influence on hip hop music.

 

His music, most notably on the albums Pieces of a Man and Winter in America in the early 1970s, influenced and foreshadowed later African-American music genres such as hip hop and neo soul. His recording work received much critical acclaim, especially for The Revolution Will Not Be Televised. AllMusic's John Bush called him "one of the most important progenitors of rap music", stating that "his aggressive, no-nonsense street poetry inspired a legion of intelligent rappers while his engaging songwriting skills placed him square in the R&B charts later in his career."

 

Scott-Heron remained active until his death, and in 2010 released his first new album in 16 years, entitled I'm New Here. A memoir he had been working on for years up to the time of his death, The Last Holiday, was published posthumously in January 2012. Scott-Heron received a posthumous Grammy Lifetime Achievement Award in 2012. He also is included in the exhibits at the National Museum of African American History and Culture (NMAAHC) that officially opened on September 24, 2016, on the National Mall, and in an NMAAHC publication, Dream a World Anew. In 2021, Scott-Heron was inducted into the Rock and Roll Hall of Fame, as a recipient of the Early Influence Award.

 

Gil Scott-Heron was born in Chicago, Illinois. His mother, Bobbie Scott, was an opera singer who performed with the Oratorio Society of New York. His father, Gil Heron, nicknamed "The Black Arrow," was a Jamaican footballer who in the 1950s became the first black man to play for Celtic Football Club in Glasgow, Scotland. Gil's parents separated in his early childhood and he was sent to live with his maternal grandmother, Lillie Scott, in Jackson, Tennessee. When Scott-Heron was 12 years old, his grandmother died and he returned to live with his mother in The Bronx in New York City. He enrolled at DeWitt Clinton High School, but later transferred to The Fieldston School, after impressing the head of the English department with some of his writings and earning a full scholarship. As one of five Black students at the prestigious school, Scott-Heron was faced with alienation and a significant socioeconomic gap. During his admissions interview at Fieldston, an administrator asked him: "'How would you feel if you see one of your classmates go by in a limousine while you're walking up the hill from the subway?' And [he] said, 'Same way as you. Y'all can't afford no limousine. How do you feel?'" This type of intractable boldness would become a hallmark of Scott-Heron's later recordings.

 

After completing his secondary education, Scott-Heron decided to attend Lincoln University in Pennsylvania because Langston Hughes (his most important literary influence) was an alumnus. It was here that Scott-Heron met Brian Jackson, with whom he formed the band Black & Blues. After about two years at Lincoln, Scott-Heron took a year off to write the novels The Vulture and The Nigger Factory. Scott-Heron was very heavily influenced by the Black Arts Movement (BAM). The Last Poets, a group associated with the Black Arts Movement, performed at Lincoln in 1969 and Abiodun Oyewole of that Harlem group said Scott-Heron asked him after the performance, "Listen, can I start a group like you guys?"[18] Scott-Heron returned to New York City, settling in Chelsea, Manhattan. The Vulture was published by the World Publishing Company in 1970 to positive reviews.

 

Although Scott-Heron never completed his undergraduate degree, he was admitted to the Writing Seminars at Johns Hopkins University, where he received an M.A. in creative writing in 1972. His master's thesis was titled Circle of Stone. Beginning in 1972, Scott-Heron taught literature and creative writing for several years as a full-time lecturer at University of the District of Columbia (then known as Federal City College) in Washington, D.C. while maintaining his music career.

 

Scott-Heron began his recording career with the LP Small Talk at 125th and Lenox in 1970. Bob Thiele of Flying Dutchman Records produced the album, and Scott-Heron was accompanied by Eddie Knowles and Charlie Saunders on conga and David Barnes on percussion and vocals. The album's 14 tracks dealt with themes such as the superficiality of television and mass consumerism, the hypocrisy of some would-be black revolutionaries, and white middle-class ignorance of the difficulties faced by inner-city residents. In the liner notes, Scott-Heron acknowledged as influences Richie Havens, John Coltrane, Otis Redding, Jose Feliciano, Billie Holiday, Langston Hughes, Malcolm X, Huey Newton, Nina Simone, and long-time collaborator Brian Jackson.

 

Scott-Heron's 1971 album Pieces of a Man used more conventional song structures than the loose, spoken-word feel of Small Talk. He was joined by Jackson, Johnny Pate as conductor, Ron Carter on bass and bass guitar, drummer Bernard "Pretty" Purdie, Burt Jones playing electric guitar, and Hubert Laws on flute and saxophone, with Thiele producing again. Scott-Heron's third album, Free Will, was released in 1972. Jackson, Purdie, Laws, Knowles, and Saunders all returned to play on Free Will and were joined by Jerry Jemmott playing bass, David Spinozza on guitar, and Horace Ott (arranger and conductor). Carter later said about Scott-Heron's voice: "He wasn't a great singer, but, with that voice, if he had whispered it would have been dynamic. It was a voice like you would have for Shakespeare."

 

In 1974, he recorded another collaboration with Brian Jackson, Winter in America, with Bob Adams on drums and Danny Bowens on bass. Winter in America has been regarded by many critics as the two musicians' most artistic effort. The following year, Scott-Heron and Jackson released Midnight Band: The First Minute of a New Day. In 1975, he released the single "Johannesburg", a rallying cry for the end of apartheid in South Africa. The song would be re-issued, in 12"-single form, together with "Waiting for the Axe to Fall" and "B-movie" in 1983.

 

A live album, It's Your World, followed in 1976 and a recording of spoken poetry, The Mind of Gil Scott-Heron, was released in 1978. Another success followed with the hit single "Angel Dust", which he recorded as a single with producer Malcolm Cecil. "Angel Dust" peaked at No. 15 on the R&B charts in 1978.

 

In 1979, Scott-Heron played at the No Nukes concerts at Madison Square Garden. The concerts were organized by Musicians United for Safe Energy to protest the use of nuclear energy following the Three Mile Island accident. Scott-Heron's song "We Almost Lost Detroit" was included in the No Nukes album of concert highlights. It alluded to a previous nuclear power plant accident and was also the title of a book by John G. Fuller. Scott-Heron was a frequent critic of President Ronald Reagan and his conservative policies.

 

Scott-Heron recorded and released four albums during the 1980s: 1980 and Real Eyes (1980), Reflections (1981) and Moving Target (1982). In February 1982, Ron Holloway joined the ensemble to play tenor saxophone. He toured extensively with Scott-Heron and contributed to his next album, Moving Target the same year. His tenor accompaniment is a prominent feature of the songs "Fast Lane" and "Black History/The World". Holloway continued with Scott-Heron until the summer of 1989, when he left to join Dizzy Gillespie. Several years later, Scott-Heron would make cameo appearances on two of Ron Holloway's CDs: Scorcher (1996) and Groove Update (1998), both on the Fantasy/Milestone label.

 

Scott-Heron was dropped by Arista Records in 1985 and quit recording, though he continued to tour. The same year he helped compose and sang "Let Me See Your I.D." on the Artists United Against Apartheid album Sun City, containing the famous line: "The first time I heard there was trouble in the Middle East, I thought they were talking about Pittsburgh." The song compares racial tensions in the U.S. with those in apartheid-era South Africa, implying that the U.S. was not too far ahead in race relations. In 1993, he signed to TVT Records and released Spirits, an album that included the seminal track "'Message to the Messengers". The first track on the album criticized the rap artists of the day. Scott-Heron is known in many circles as "the Godfather of rap" and is widely considered to be one of the genre's founding fathers. Given the political consciousness that lies at the foundation of his work, he can also be called a founder of political rap. "Message to the Messengers" was a plea for the new generation of rappers to speak for change rather than perpetuate the current social situation, and to be more articulate and artistic. Regarding hip hop music in the 1990s, he said in an interview:

 

They need to study music. I played in several bands before I began my career as a poet. There's a big difference between putting words over some music, and blending those same words into the music. There's not a lot of humor. They use a lot of slang and colloquialisms, and you don't really see inside the person. Instead, you just get a lot of posturing.

 

— Gil Scott-Heron

 

In 2001, Scott-Heron was sentenced to one to three years imprisonment in a New York State prison for possession of cocaine. While out of jail in 2002, he appeared on the Blazing Arrow album by Blackalicious. He was released on parole in 2003, the year BBC TV broadcast the documentary Gil Scott-Heron: The Revolution Will Not Be Televised—Scott-Heron was arrested for possession of a crack pipe during the editing of the film in October 2003 and received a six-month prison sentence.

 

On July 5, 2006, Scott-Heron was sentenced to two to four years in a New York State prison for violating a plea deal on a drug-possession charge by leaving a drug rehabilitation center. He claimed that he left because the clinic refused to supply him with HIV medication. This story led to the presumption that the artist was HIV positive, subsequently confirmed in a 2008 interview. Originally sentenced to serve until July 13, 2009, he was paroled on May 23, 2007.

 

After his release, Scott-Heron began performing live again, starting with a show at SOB's restaurant and nightclub in New York on September 13, 2007. On stage, he stated that he and his musicians were working on a new album and that he had resumed writing a book titled The Last Holiday, previously on long-term hiatus, about Stevie Wonder and his successful attempt to have the birthday of Martin Luther King Jr. declared a federally recognized holiday in the United States.

 

Malik Al Nasir dedicated a collection of poetry to Scott-Heron titled Ordinary Guy that contained a foreword by Jalal Mansur Nuriddin of The Last Poets. Scott-Heron recorded one of the poems in Nasir's book entitled Black & Blue in 2006.

 

In April 2009, on BBC Radio 4, poet Lemn Sissay presented a half-hour documentary on Gil Scott-Heron entitled Pieces of a Man, having interviewed Gil Scott-Heron in New York a month earlier. Pieces of a Man was the first UK announcement from Scott-Heron of his forthcoming album and return to form. In November 2009, the BBC's Newsnight interviewed Scott-Heron for a feature titled The Legendary Godfather of Rap Returns. In 2009, a new Gil Scott-Heron website, gilscottheron.net, was launched with a new track "Where Did the Night Go" made available as a free download from the site.

 

In 2010, Scott-Heron was booked to perform in Tel Aviv, Israel, but this attracted criticism from pro-Palestinian activists, who stated: "Your performance in Israel would be the equivalent to having performed in Sun City during South Africa's apartheid era... We hope that you will not play apartheid Israel". Scott-Heron responded by canceling the performance.

 

Scott-Heron released his album I'm New Here on independent label XL Recordings on February 9, 2010. Produced by XL label owner Richard Russell, I'm New Here was Scott-Heron's first studio album in 16 years. The pair started recording the album in 2007, with the majority of the record being recorded over the 12 months leading up to the release date with engineer Lawson White at Clinton Studios in New York. I'm New Here is 28 minutes long with 15 tracks; however, casual asides and observations collected during recording sessions are included as interludes.

 

The album attracted critical acclaim, with The Guardian's Jude Rogers declaring it one of the "best of the next decade", while some have called the record "reverent" and "intimate", due to Scott-Heron's half-sung, half-spoken delivery of his poetry. In a music review for public radio network NPR, Will Hermes stated: "Comeback records always worry me, especially when they're made by one of my heroes ... But I was haunted by this record ... He's made a record not without hope but which doesn't come with any easy or comforting answers. In that way, the man is clearly still committed to speaking the truth". Writing for music website Music OMH, Darren Lee provided a more mixed assessment of the album, describing it as rewarding and stunning, but he also states that the album's brevity prevents it "from being an unassailable masterpiece".

 

Scott-Heron described himself as a mere participant, in a 2010 interview with The New Yorker:

 

This is Richard's CD. My only knowledge when I got to the studio was how he seemed to have wanted this for a long time. You're in a position to have somebody do something that they really want to do, and it was not something that would hurt me or damage me—why not? All the dreams you show up in are not your own.

 

The remix version of the album, We're New Here, was released in 2011, featuring production by English musician Jamie xx, who reworked material from the original album. Like the original album, We're New Here received critical acclaim.

 

In April 2014, XL Recordings announced a third album from the I'm New Here sessions, titled Nothing New. The album consists of stripped-down piano and vocal recordings and was released in conjunction with Record Store Day on April 19, 2014.

 

Scott-Heron died on the afternoon of May 27, 2011, at St. Luke's Hospital, New York City, after becoming ill upon returning from a trip to Europe. Scott-Heron had confirmed previous press speculation about his health, when he disclosed in a 2008 New York Magazine interview that he had been HIV-positive for several years, and that he had been previously hospitalized for pneumonia.

 

He was survived by his firstborn daughter, Raquiyah "Nia" Kelly Heron, from his relationship with Pat Kelly; his son Rumal Rackley, from his relationship with Lurma Rackley; daughter Gia Scott-Heron, from his marriage to Brenda Sykes; and daughter Chegianna Newton, who was 13 years old at the time of her father's death. He is also survived by his sister Gayle; brother Denis Heron, who once managed Scott-Heron; his uncle, Roy Heron; and nephew Terrance Kelly, an actor and rapper who performs as Mr. Cheeks, and is a member of Lost Boyz.

 

Before his death, Scott-Heron had been in talks with Portuguese director Pedro Costa to participate in his film Horse Money as a screenwriter, composer and actor.

 

In response to Scott-Heron's death, Public Enemy's Chuck D stated "RIP GSH...and we do what we do and how we do because of you" on his Twitter account. His UK publisher, Jamie Byng, called him "one of the most inspiring people I've ever met". On hearing of the death, R&B singer Usher stated: "I just learned of the loss of a very important poet...R.I.P., Gil Scott-Heron. The revolution will be live!!". Richard Russell, who produced Scott-Heron's final studio album, called him a "father figure of sorts to me", while Eminem stated: "He influenced all of hip-hop". Lupe Fiasco wrote a poem about Scott-Heron that was published on his website.

 

Scott-Heron's memorial service was held at Riverside Church in New York City on June 2, 2011, where Kanye West performed "Lost in the World" and "Who Will Survive in America", two songs from West's album My Beautiful Dark Twisted Fantasy. The studio album version of West's "Who Will Survive in America" features a spoken-word excerpt by Scott-Heron. Scott-Heron is buried at Kensico Cemetery in Westchester County in New York.

 

Scott-Heron was honored posthumously in 2012 by the National Academy of Recording Arts and Sciences with a Grammy Lifetime Achievement Award. Charlotte Fox, member of the Washington, DC NARAS and president of Genesis Poets Music, nominated Scott-Heron for the award, while the letter of support came from Grammy award winner and Grammy Hall of Fame inductee Bill Withers.

 

Scott-Heron's memoir, The Last Holiday, was published in January 2012. In her review for the Los Angeles Times, professor of English and journalism Lynell George wrote:

 

The Last Holiday is as much about his life as it is about context, the theater of late 20th century America — from Jim Crow to the Reagan '80s and from Beale Street to 57th Street. The narrative is not, however, a rise-and-fall retelling of Scott-Heron's life and career. It doesn't connect all the dots. It moves off-the-beat, at its own speed ... This approach to revelation lends the book an episodic quality, like oral storytelling does. It winds around, it repeats itself.

 

At the time of Scott-Heron's death, a will could not be found to determine the future of his estate. Additionally, Raquiyah Kelly-Heron filed papers in Manhattan, New York's Surrogate's Court in August 2013, claiming that Rumal Rackley was not Scott-Heron's son and should therefore be omitted from matters concerning the musician's estate. According to the Daily News website, Rackley, Kelly-Heron and two other sisters have been seeking a resolution to the issue of the management of Scott-Heron's estate, as Rackley stated in court papers that Scott-Heron prepared him to be the eventual administrator of the estate. Scott-Heron's 1994 album Spirits was dedicated to "my son Rumal and my daughters Nia and Gia", and in court papers Rackley added that Scott-Heron "introduced me [Rackley] from the stage as his son".

 

In 2011, Rackley filed a suit against sister Gia Scott-Heron and her mother, Scott-Heron's first wife, Brenda Sykes, as he believed they had unfairly attained US$250,000 of Scott-Heron's money. The case was later settled for an undisclosed sum in early 2013; but the relationship between Rackley and Scott-Heron's two adult daughters already had become strained in the months after Gil's death. In her submission to the Surrogate's Court, Kelly-Heron states that a DNA test completed by Rackley in 2011—using DNA from Scott-Heron's brother—revealed that they "do not share a common male lineage", while Rackley has refused to undertake another DNA test since that time. A hearing to address Kelly-Heron's filing was scheduled for late August 2013, but by March 2016 further information on the matter was not publicly available.[69] Rackley still serves as court-appointed administrator for the estate, and donated material to the Smithsonian's new National Museum of African American History and Culture for Scott-Heron to be included among the exhibits and displays when the museum opened in September 2016. In December 2018, the Surrogate Court ruled that Rumal Rackley and his half sisters are all legal heirs.

 

According to the Daily News website, Kelly-Heron and two other sisters have been seeking a resolution to the issue of the management of Scott-Heron's estate. The case was decided in December 2018 with a ruling issued in May 2019.

 

Scott-Heron's work has influenced writers, academics and musicians, from indie rockers to rappers. His work during the 1970s influenced and helped engender subsequent African-American music genres, such as hip hop and neo soul. He has been described by music writers as "the godfather of rap" and "the black Bob Dylan".

 

Chicago Tribune writer Greg Kot comments on Scott-Heron's collaborative work with Jackson:

 

Together they crafted jazz-influenced soul and funk that brought new depth and political consciousness to '70s music alongside Marvin Gaye and Stevie Wonder. In classic albums such as 'Winter in America' and 'From South Africa to South Carolina,' Scott-Heron took the news of the day and transformed it into social commentary, wicked satire, and proto-rap anthems. He updated his dispatches from the front lines of the inner city on tour, improvising lyrics with an improvisational daring that matched the jazz-soul swirl of the music".

 

Of Scott-Heron's influence on hip hop, Kot writes that he "presag[ed] hip-hop and infus[ed] soul and jazz with poetry, humor and pointed political commentary". Ben Sisario of The New York Times writes that "He [Scott-Heron] preferred to call himself a "bluesologist", drawing on the traditions of blues, jazz and Harlem renaissance poetics". Tris McCall of The Star-Ledger writes that "The arrangements on Gil Scott-Heron's early recordings were consistent with the conventions of jazz poetry – the movement that sought to bring the spontaneity of live performance to the reading of verse". A music writer later noted that "Scott-Heron's unique proto-rap style influenced a generation of hip-hop artists", while The Washington Post wrote that "Scott-Heron's work presaged not only conscious rap and poetry slams, but also acid jazz, particularly during his rewarding collaboration with composer-keyboardist-flutist Brian Jackson in the mid- and late '70s". The Observer's Sean O'Hagan discussed the significance of Scott-Heron's music with Brian Jackson, stating:

 

Together throughout the 1970s, Scott-Heron and Jackson made music that reflected the turbulence, uncertainty and increasing pessimism of the times, merging the soul and jazz traditions and drawing on an oral poetry tradition that reached back to the blues and forward to hip-hop. The music sounded by turns angry, defiant and regretful while Scott-Heron's lyrics possessed a satirical edge that set them apart from the militant soul of contemporaries such as Marvin Gaye and Curtis Mayfield.

 

Will Layman of PopMatters wrote about the significance of Scott-Heron's early musical work:

 

In the early 1970s, Gil Scott-Heron popped onto the scene as a soul poet with jazz leanings; not just another Bill Withers, but a political voice with a poet's skill. His spoken-voice work had punch and topicality. "The Revolution Will Not Be Televised" and "Johannesburg" were calls to action: Stokely Carmichael if he'd had the groove of Ray Charles. 'The Bottle' was a poignant story of the streets: Richard Wright as sung by a husky-voiced Marvin Gaye. To paraphrase Chuck D, Gil Scott-Heron's music was a kind of CNN for black neighborhoods, prefiguring hip-hop by several years. It grew from the Last Poets, but it also had the funky swing of Horace Silver or Herbie Hancock—or Otis Redding. Pieces of a Man and Winter in America (collaborations with Brian Jackson) were classics beyond category".

 

Scott-Heron's influence over hip hop is primarily exemplified by his definitive single "The Revolution Will Not Be Televised", sentiments from which have been explored by various rappers, including Aesop Rock, Talib Kweli and Common. In addition to his vocal style, Scott-Heron's indirect contributions to rap music extend to his and co-producer Jackson's compositions, which have been sampled by various hip-hop artists. "We Almost Lost Detroit" was sampled by Brand Nubian member Grand Puba ("Keep On"), Native Tongues duo Black Star ("Brown Skin Lady"), and MF Doom ("Camphor"). Additionally, Scott-Heron's 1980 song "A Legend in His Own Mind" was sampled on Mos Def's "Mr. Nigga", the opening lyrics from his 1978 recording "Angel Dust" were appropriated by rapper RBX on the 1996 song "Blunt Time" by Dr. Dre, and CeCe Peniston's 2000 song "My Boo" samples Scott-Heron's 1974 recording "The Bottle".

 

In addition to the Scott-Heron excerpt used in "Who Will Survive in America", Kanye West sampled Scott-Heron and Jackson's "Home is Where the Hatred Is" and "We Almost Lost Detroit" for the songs "My Way Home" and "The People", respectively, both of which are collaborative efforts with Common. Scott-Heron, in turn, acknowledged West's contributions, sampling the latter's 2007 single "Flashing Lights" on his final album, 2010's I'm New Here.

 

Scott-Heron admitted ambivalence regarding his association with rap, remarking in 2010 in an interview for the Daily Swarm: "I don't know if I can take the blame for [rap music]".[81] As New York Times writer Sisario explained, he preferred the moniker of "bluesologist". Referring to reviews of his last album and references to him as the "godfather of rap", Scott-Heron said: "It's something that's aimed at the kids ... I have kids, so I listen to it. But I would not say it's aimed at me. I listen to the jazz station." In 2013, Chattanooga rapper Isaiah Rashad recorded an unofficial mixtape called Pieces of a Kid, which was greatly influenced by Heron's debut album Pieces of a Man.

 

Following Scott-Heron's funeral in 2011, a tribute from publisher, record company owner, poet, and music producer Malik Al Nasir was published on The Guardian's website, titled "Gil Scott-Heron saved my life".

 

In the 2018 film First Man, Scott-Heron is a minor character and is played by soul singer Leon Bridges.

 

He is one of eight significant people shown in mosaic at the 167th Street renovated subway station on the Grand Concourse in the Bronx that reopened in 2019.

One style sometimes acknowledges another. There is a place of reference at the beginning that sometimes is not the conclusion, rather it reveals a pathway with significant moments upon the journey. This figure laid out on the skyline goes through all the variations of the atmospheric conditions each year wearing snow and lush green growth with light and shadow from the Sun and from clouds. The diversity of each day and night bring about variations.

 

© PHH Sykes 2023

phhsykes@gmail.com

 

First, I want to acknowledge JDevaun. I completely understand if you cannot positively comment on a photo of Fenway Park and especially cannot make it a favorite.

 

Second, I want to explain the title. The key to understanding the title is solving a riddle. You have to say the answer outloud to understand it. Ok, respell the word "weigh", leaving out the "F". Get it?

 

Taken from the Prudential Center Skywalk in Boston. (A great vantage point for tilt-shifts)

 

Seemed timely since we went to see the Red Sox play last night. Despite being from Los Angeles, our younger son is a huge Red Sox and Celtics fan. Getting to see his face as he visited the Geren Monstah and cheer unabashedly for his team were highlights for me.

 

Happy Miniature Sunday.

Happy 4th of July

Whoever acknowledges me before others, I will also acknowledge before my Father in heaven.

Matthew 10:32

acknowledge lightly

this enigmatic gesture...

the unknowable

can seem at first familiar

 

AN-124-100

The Antonov-124-100 is the world’s largest civil cargo aircraft, and an acknowledged leader of the air cargo market for the transportation of oversized and super-heavy shipments. The combination of exceptional characteristics such as its cargo compartment size, flight range and uplift capability without using special loading equipment allows the An-124 to carry super-heavy and oversized cargo up to 120 tonnes across the greatest range.

The aircraft’s pressurized cargo cabin, with its total volume of 1050 m³, guarantees unprecedented opportunities for the transportation of different types of cargo, including non-standard and oversized pieces or shipments demanding special transportation conditions.

Multi-leg landing gears equipped with 24 wheels allow to operate the aircraft on unpaved runways as well as to change the angle of the fuselage to simplify loading operations.

The Antonov-124-100 has two loading entrances, at the nose and tail of the aircraft, both equipped with expanding loading ramps. For loading of non-standard cargo the cabin is equipped with two electric winches of 3 tonnes traction each and 4 electric hoists of common carrying capacity up to 30 tonnes.

Volga-Dnepr operates a fleet of 12 Antonov-124-100 aircraft. (info source: Volga-Dnepr Homepage)

I couldn’t let any series of photos of live in Australia go without acknowledging the important and iconic role of the Country Women’s Association of Australia or as it is commonly known, the CWA.

 

It was formed in Queensland and NSW in 1922, thereafter spreading to other states. It is still the largest women’s association in Australia with 44000 members in 1855 branches.

 

It was formed with the aim to “Improve the conditions of country women and children and to try to make better for women and their families, especially those women living in rural and remote Australia”. It is self funded, non partisan and non sectarian.

 

The associations usually run out of a hall facility in each town in which they have a presence and also often operate hostels for women. They are fantastic supporters of their local communities and form a fantastic network for women in Australia’s often remote and far flung communities.

 

This photo is of the small unassuming hall and hostel in rural Kilcoy which is north east of Brisbane about an hour and a quarter away depending on traffic. The various branches face the same sort of challenges to continue operations as those that impact small and remote rural communities throughout of very large country.

 

They make great food I have to admit, real country style feasts.....and every hall and kitchen probably has a large set of iconic white crockery and the all important white enamel metal jugs with blue trim for serving Fruit Cup cordial! And they are always there to help with sustenance and support, whether there is a local emergency or in my distant experience, a train load of railway enthusiasts lands in some small town for a meal and all the local shops are closed. If you give them notice of course!

 

So thanks for all you have done ladies, fellow Aussies no matter where you come from and long may you continue your work.

 

Thanks to Wikipedia for some potted history, where much more can be learnt.

Lens: Jupiter 8 50mm f/2 (~85mm equiv.)

One style sometimes acknowledges another. There is a place of reference at the beginning that sometimes is not the conclusion, rather it reveals a pathway with significant moments upon the journey. This figure laid out on the skyline goes through all the variations of the atmospheric conditions each year wearing snow and lush green growth with light and shadow from the Sun and from clouds. The diversity of each day and night bring about variations.

 

© PHH Sykes 2023

phhsykes@gmail.com

 

With a well known painting by Thomas Eakins. Thomas Cowperthwait Eakins was an American realist painter, photographer, sculptor, and fine arts educator. He is widely acknowledged to be one of the most important artists in American C 19 art.Max Schmitt in a single skull 1871 painting by Thomas Eakins in the permanent collection of the Metropolitan Museum of Art. New York City.

08.11.19. It's good to see First continuing to acknowledge their roots in South Yorkshire, with the bus in Rotherham Corporation colours recently getting a new coat of paint, as shown here. Never the brightest of liveries, it was no doubt evolved to withstand levels of industrial pollution fortunately no longer seen in this part of the world, yet it still exudes municipal pride. With Rotherham garage closed '1431' is now based at Olive Grove in Sheffield, although usually allocated to duties appropriate to its image. On this occasion however it has strayed onto Sheffield city service 98 (Hillsborough to Totley Brook) and was photographed as passengers board in Pinstone Street.

Acknowledging my photostream has been viewed over 15,000 times in just over 16 months I am posting possibly my favourite photo. Taken in Rwanda earlier this year.

The images in my stream have now been viewed over 100,000 times- that amazes me- thanks to everyone who has viewed.

 

and

hi there everyone, i just need to explain the lighting. Its natural. The gorilla is wild, like all mountain gorillas. I was about 7 metres away from him, he's lying on his back and the sun just caught his face. All ive done is rotate the picture. There's no tricks, no lighting rigs (flash is prohibited in Virunga National Park), what you see is what I saw through the camera. For those of you who have seen the rest of the gorilla shots this magnificent creature is James' dad.

Acknowledge your wings and fly!

 

This is my last entry for this year.

I wish you all a happy and healthy new year!

 

Winged Elephant wet-folded from a 50 x 50 cm square of double-colored "Elefantenhaut"-paper (two papers where glued together with MC to achieve the double-colored effect).

 

Design by me.

  

I do not allow the commercial use of my artwork without my approval!

Originally uploaded Nov 08, bumped Jul 10 to acknowledge its publication in Tom Ang's latest book, The Complete Photographer.

_ _ _ _ _

 

You'll love the detail on the concrete when viewed large

 

This shot very nearly didn't happen: it was Halloween, our last night away, and access to the site was only possible having used a car park of the sort frequented by those with voyeuristic sexual tendencies. It was cold enough for a hat and gloves. Luckily, since I died for my art, I'm not easily put off...

 

After a couple of high ISO test shots for the composition and the light inside, I noticed the likelihood of a plane trail creeping into the frame but didn't have time to test.

 

As the next plane approached I opened the shutter and figured I was spot on to catch its trail. It was dark enough that the plane's wing strobes were lighting up the area with each flash.

 

So I disappeared inside to paint the green (gelled LED lantern) and then lit the outside with the same lantern ungelled.

 

After a five minute exposure (would have been longer but a nearby house had a Halloween party and I was worried about their security floodlight interfering with my shot) I closed the shutter and packed up my gear whilst the on-board noise reduction did its thing. I walked back to the car (no action) and drove home.

 

It wasn't until the next morning I checked the shot and saw a second plane trail arcing right through the frame. Didn't realise I'd been inside that long.

 

Night, no moon, five minutes, ISO100, f/4. Oh yeah, straight out of camera too.

 

I've just dug a bit further on flickr and, according to Bernard Matthews (!), this is a Type 24 pillbox.

President Barack Obama acknowledges applause before he delivers the State of the Union address in the House Chamber at the U.S. Capitol in Washington, D.C., Jan. 20, 2015. (Official White House Photo by Pete Souza)

 

This official White House photograph is being made available only for publication by news organizations and/or for personal use printing by the subject(s) of the photograph. The photograph may not be manipulated in any way and may not be used in commercial or political materials, advertisements, emails, products, promotions that in any way suggests approval or endorsement of the President, the First Family, or the White House.

Italien / Toskana - Pitigliano

 

Pitigliano is a town in the province of Grosseto, located about 80 kilometres (50 mi) south-east of the city of Grosseto, Tuscany, Italy.

 

The quaint old town is known as the little Jerusalem, for the historical presence of a Jewish community that has always been well integrated into the social context and that has its own synagogue.

 

History

 

Pitigliano and its area were inhabited in Etruscan times but the first extant written mention of it dates only to 1061. In the early 13th century it belonged to the Aldobrandeschi family and by the middle of the century it had become the capital of the surrounding county.

 

In 1293 the county passed to the Orsini family, signalling the start of 150 years of on-again/off-again wars with Siena, at the end of which, in 1455, a compromise of sorts was reached: Siena acknowledged the status of county to Pitigliano, which in exchange placed herself under the sovereignty of Siena.

 

From then onwards the history of Pitigliano resorbs into the gradually wider ambit first of the Grand Duchy of Tuscany (1562) then of the united Kingdom of Italy.

 

Population

 

Synagogue and Jewish community

 

For several hundred years Pitigliano was a frontier town between the Grand Duchy of Tuscany and, to the south, the Papal States. For this reason, the town was home to a flourishing and long-lived Jewish community, mostly made up by people fleeing from Rome during the Counterreformation persecutions. Jews of the town used one of the caves for their ritual Passover matzoh bakery, the "forno delle azzime" described in detail in Edda Servi Machlin's "Classic Cuisine of the Italian Jews." After the promulgation of racial laws under Nazi influence, all the Jews of the town reportedly escaped capture with the help of their Christian neighbors. Although there are almost no Jews left in town, not enough to provide a minyan, the synagogue (1598, with furnishings of the 17th and 18th centuries) is still officiated from time to time. It was restored in 1995.

 

Main sights

 

Etruscan remains

 

Pitigliano is home to a series of artificial cuts into the tufa rock to varying depths ranging from less than 1 metre (3.3 ft) to over 10 metres (33 ft). At the bottom of these cuts (Italian: tagliate) are carved channels, apparently for water, although some take the form of steps. The purpose of the cuts is not known: the three main theories are that they were roads, quarries, or water conveyance schemes; they radiate outward from the base of the butte of Pitigliano, down to the rivers then back to the top of the plateau that surrounds the town. A few very brief Etruscan inscriptions are said to have been found on the walls of the cuts, but are ill documented.

 

Medieval and Renaissance structures

 

The Cathedral of Santi Pietro e Paolo, Pitigliano.

The church of Santa Maria.

The Orsini Fortress, which achieved its present state in 1545 but represents a reworking of the earlier medieval fortress

the town's walls and gates, the best preserved of which is the Porta Sovana.

remains of a tall and very visible aqueduct at the very top of the butte.

 

Tempietto

 

The Tempietto ("Small temple") is a small cave, probably of natural origin but considerably reworked by human hands, lying a few hundred meters outside the central district, yet far above the Lente valley. Its purpose and builders remain unknown. Locally it is referred to as a "paleochristian tempietto", but this has never been confirmed; it must date to Late Antiquity or the early Middle Ages, although it may replace an Etruscan or Roman arcosolium.

 

(Wikipedia)

 

Pitigliano ist eine italienische Gemeinde mit 3732 Einwohnern (Stand 31. Dezember 2019) im Südosten der Provinz Grosseto in der Toskana, zwischen steil eingeschnittenen Tälern gelegen mit einem mittelalterlichen Stadtkern.

 

Die Gemeinde ist Mitglied der Vereinigung I borghi più belli d’Italia (Die schönsten Orte Italiens).

 

Geografie

 

Der Tuffstein dieser Gegend ist auf die vulkanische Vergangenheit dieses Teils der Toskana zurückzuführen. Etwa 20 km von Pitigliano entfernt liegt der Bolsena-See, eine Caldera von etwa 14 km Durchmesser. Sie ist das Ergebnis enormer vulkanischer Explosionen, die sich vor etwa 300.000 Jahren ereignet haben. Der Monte Amiata, ein 1738 m hoher erloschener Vulkan, ist von Pitigliano aus zu sehen, im Winter ist er ein beliebtes Skigebiet. Pitigliano selbst liegt an den Flüssen Lente und Meleta.

 

Einziger Ortsteil (Frazione) ist Casone (524 m, ca. 130 Einwohner).

 

Zu den Nachbargemeinden gehören Farnese (VT), Ischia di Castro (VT), Latera (VT), Manciano, Sorano und Valentano (VT).

 

Geschichte

 

Die Stadt liegt im ursprünglich etruskischen Stammland und ist auf einen ca. 300 m hoch gelegenen Tuffsteinfelsen gebaut. Der Tuff ist auch das hier übliche Baumaterial, das in Ziegelform aus dem Fels geschnitten wird. Pitigliano ist von den tiefen Schluchten der Bäche Lente und Meleta umflossen, die sich im Lauf der Zeit in das Plateau geschnitten haben. Zusätzlich zu den natürlichen Canyons finden sich rund um die Stadt viele sogenannte „Vie Cave“, Wegsysteme der Etrusker, die in den Tuffstein gegraben wurden. Diese Etruskerstraßen sind zum Teil mit ausgeklügelten Entwässerungssystemen versehen.

 

Die erste schriftliche Erwähnung der Stadt stammt aus dem Jahr 1061. Im frühen 13. Jahrhundert gehörte die Stadt zum Besitz der Aldobrandeschi und wurde zum Hauptort der Umgebung. 1293 ging sie dann an die Orsini, Anfang des 17. Jahrhunderts an die Medici, welche sie 1604 in das Großherzogtum Toskana eingliederten. Im Zuge des Risorgimento im 19. Jahrhundert wurde sie Teil des Königreichs Italien.

 

Die Geschichte der Stadt ist stärker als an anderen Orten der Maremma von Juden mitgeprägt, die im 16. Jahrhundert in Pitigliano Zuflucht vor Verfolgung und Vertreibung fanden. Ein Verein kümmert sich um das jüdische Erbe der Stadt, so dass die Synagoge und das jüdische Viertel einer seit 1500 bestehenden sephardischen Gemeinde („Klein-Jerusalem“, Piccola Gerusalemme) in der Altstadt heute restauriert und wieder zu besichtigen sind.

 

Sehenswürdigkeiten

 

Die Kathedrale „Santi Pietro e Paolo“ geht auf das Mittelalter zurück. Im 16. Jahrhundert und danach wurde sie stark verändert und hat heute eine spätbarocke Fassade. Enthält zwei Werke von Pietro Aldi. Der Campanile, im Kern ein zum Kirchturm umgebauter mittelalterlicher Geschlechterturm, überragt weithin sichtbar die Stadt.

 

Die Kirche San Rocco ist die älteste Kirche der Stadt und wurde schon 1274 urkundlich erwähnt. An der äußeren Nordwand befindet sich ein Steinrelief aus dem 12. Jahrhundert.

 

Der Palazzo Orsini wurde am einzigen natürlichen Zugang zur Stadt als Verteidigungsanlage errichtet und wurde über mehrere Jahrhunderte immer wieder erweitert. In der Burg befindet sich heute der Bischofssitz, ein Museum religiöser Kunst sowie das städtische archäologische Museum.

 

Der beeindruckende Aquädukt wurde in der Mitte des 16. Jahrhunderts begonnen, aber erst im 17. Jahrhundert unter den Medici vollendet.

 

Im Bereich des ehemaligen jüdischen Viertels sind die Synagoge, sowie die Überreste einer Mikwe, einer koscheren Schlachterei und Bäckerei zu besichtigen.

 

Rund um Pitigliano finden sich eine große Anzahl von Grabstätten der Etrusker, deren bekannteste die „Tomba Ildebranda“ ist. Sie ist fälschlich benannt nach dem berühmten Ildebrando von Sovana, der im 11. Jahrhundert als Papst Gregor VII. in die Kirchengeschichte einging. Die Ausgrabungsstätte ist öffentlich zugänglich.

Nahe Pititgliano befinden sich Via Cave.

 

Ein weiteres bedeutendes Zeugnis der etruskischen Kultur in der Umgebung der Stadt sind die Reste der Siedlung „Poggio Buco“ zwischen Pitigliano und Manciano, wo sich auch ein Museum befindet, das sich mit der Geschichte der Gegend befasst.

 

(Wikipedia)

This is to acknowledge my deep debt of gratitude to all my contacts, friends and well wishers who have seen my photos and appreciated them. I thank each and everyone here on Flickr who took out the time to like my work.

 

20 Million views on Flickr is a big deal for me as this has been achieved without relying on private body parts. Most high number views are generally of that nature.

 

Here is hoping for your continued support. My thanks to all - the viewers, the Flickr platform and you.

I grew up thinking that it is a truth universally acknowledged that #JohnSingerSargent was a big ole homo, right? 💁 I mean, the man “was notorious in Paris and Venice, positively scandalous. He was a frenzied bugger,” according to one of his early sitters. However, his sexuality is vehemently resisted; it spoils this idea of him as a noble defender of upper-class privilege. I had hopes that @metmuseum's summer show Sargent: Portraits of Artists the and Friends ("Friends!") would be more progressive, but it was dishearteningly conservative. Dozens of portraits of young men and even some early queer personalities, and not a single word. Apparently, I heard, the Met was powerless against pushback from their British co-organizers and high society lenders. 🙍 However, just the other day, I noticed a humble exhibition of Sargent’s sketches from the Met's own collection, discreetly lining a side wall. Huh, so quickly after the big Sargent show; that's weird. What were they of? Oh, just drawing upon drawing of casual male nudes. 😈 I've never loved the Met's Drawings Department more. Vive la résistance. 👊 #iwanttobelieve #gayart #queer #nycart #artmuseum #artgallery #exhibition #gallery #museum #artnerd #arthistory #instaart #art #nyc #artwork #artsy #galleryart #masterpiece #creative #artoftheday #art #culture #arte #ArtWatchers #sargent #metmuseum #drawing #gayartist #queerhistory

Acknowledged as one of the world's premier aerobatic display teams, the Red Arrows are renowned throughout the world as ambassadors for both the Royal Air Force and the UK. So expect plenty of flair and precision-flying when the team takes to the skies above RAF Fairford to demonstrate their breath-taking close-formation flying. The team formed at RAF Fairford in 1965 and flew Folland Gnat jet trainers until 1980 when they transferred to the BAE Hawk T1.

awakening

acknowledging

al/gimp/pixlr

abstract

A small milestone, but I am happy to acknowledge it! Thank you all for your support, it's appreciated!! --Ms Reality59

Tasmanian Archive and Heritage Office: NS3245-1-270

 

Images from the TAHO collection that are part of The Commons have ‘no known copyright restrictions’, which means TAHO is unaware of any current copyright restrictions on these works. This can be because the term of copyright for these works may have expired or that the copyright was held and waived by TAHO. The material may be freely used provided TAHO is acknowledged; however TAHO does not endorse any inappropriate or derogatory use.

Meamwhile Meanwhile the Venice Biennale 2019 is going on , here intervention from 23 august 2019 . Mors

 

www.emergencyrooms.org/

 

www.colonel.dk/

 

www.copenhagenbiennale.org/

 

www.emergencyrooms.org/biennalist.html

 

www.emergencyrooms.org/formats.html

  

more here about the Biennale :

 

Ralph Rugoff has declared: «May You Live in Interesting Times will no doubt include artworks that reflect upon precarious aspects of existence today, including different threats to key traditions, institutions and relationships of the “post-war order.” But let us acknowledge at the outset that art does not exercise its forces in the domain of politics. Art cannot stem the rise of nationalist movements and authoritarian governments in different parts of the world, for instance, nor can it alleviate the tragic fate of displaced peoples across the globe (whose numbers now represent almost one percent of the world’s entire population).»

 

ALBANIA

Maybe the cosmos is not so extraordinary

Commissioner: Ministry of Culture Republic of Albania. Curator: Alicia Knock.

Exhibitor: Driant Zeneli.

 

ALGERIA***

Time to shine bright

Commissioner/Curator: Hellal Mahmoud Zoubir, National Council of Arts and Letters Ministry of Culture. Exhibitors: Rachida Azdaou, Hamza Bounoua, Amina Zoubir, Mourad Krinah, Oussama Tabti.

Venue: Fondamenta S. Giuseppe, 925

 

ANDORRA

The Future is Now / El futur és ara

Commissioner: Eva Martínez, “Zoe”. Curators: Ivan Sansa, Paolo De Grandis.

Exhibitor: Philippe Shangti.

Venue: Istituto Santa Maria della Pietà, Castello 3701

 

ANTIGUA & BARBUDA

Find Yourself: Carnival and Resistance

Commissioner: Daryll Matthew, Minister of Sports, Culture, National Festivals and the Arts. Curator: Barbara Paca with Nina Khrushcheva. Exhibitors: Timothy Payne, Sir Gerald Price, Joseph Seton, and Frank Walter; Intangible Cultural, Heritage Artisans and Mas Troup.

Venue: Centro Culturale Don Orione Artigianelli, Dorsoduro 919

 

ARGENTINA

El nombre de un país / The name of a country

Commissioner: Sergio Alberto Baur Ambasciatore. Curator: Florencia Battiti. Exhibitor: Mariana Telleria.

Venue: Arsenale

 

ARMENIA (Republic of)

Revolutionary Sensorium

Commissioner: Nazenie Garibian, Deputy Minister. Curator: Susanna Gyulamiryan.

Exhibitors: "ArtlabYerevan" Artistic Group (Gagik Charchyan, Hovhannes Margaryan, Arthur Petrosyan, Vardan Jaloyan) and Narine Arakelian.

Venue: Palazzo Zenobio – Collegio Armeno Moorat-Raphael, Dorsoduro 2596

 

AUSTRALIA

ASSEMBLY

Commissioner: Australia Council for the Arts. Curator: Juliana Engberg. Exhibitor: Angelica Mesiti.

Venue: Giardini

 

AUSTRIA

Discordo Ergo Sum

Commissioner: Arts and Culture Division of the Federal Chancellery of Austria.

Curator: Felicitas Thun-Hohenstein. Exhibitor: Renate Bertlmann.

Venue: Giardini

 

AZERBAIJAN (Republic of )

Virtual Reality

Commissioner: Mammad Ahmadzada, Ambassador of the Republic of Azerbaijan.

Curators: Gianni Mercurio, Emin Mammadov. Exhibitors: Zeigam Azizov, Orkhan Mammadov, Zarnishan Yusifova, Kanan Aliyev, Ulviyya Aliyeva.

Venue: Palazzo Lezze, Campo S. Stefano, San Marco 2949

 

BANGLADESH (People’s Republic of)

Thirst

Commissioner: Liaquat Ali Lucky. Curators: Mokhlesur Rahman, Viviana Vannucci.

Exhibitors: Bishwajit Goswami, Dilara Begum Jolly, Heidi Fosli, Nafis Ahmed Gazi, Franco Marrocco, Domenico Pellegrino, Preema Nazia Andaleeb, Ra Kajol, Uttam Kumar karmaker.

Venue: Palazzo Zenobio – Collegio Armeno Moorat-Raphael, Dorsoduro 2596

 

BELARUS (Republic of)

Exit / Uscita

Commissioner: Siarhey Kryshtapovich. Curator: Olga Rybchinskaya. Exhibitor: Konstantin Selikhanov.

Venue: Spazio Liquido, Sestiere Castello 103, Salizada Streta

 

BELGIUM

Mondo Cane

Commissioner: Fédération Wallonie-Bruxelles. Curator: Anne-Claire Schmitz.

Exhibitor: Jos de Gruyter & Harald Thys.

Venue: Giardini

 

BOSNIA and HERZEGOVINA

ZENICA-TRILOGY

Commissioner: Senka Ibrišimbegović, Ars Aevi Museum for Contemporary Art Sarajevo.

Curators: Anja Bogojević, Amila Puzić, Claudia Zini. Exhibitor: Danica Dakić.

Venue: Palazzo Francesco Molon Ca’ Bernardo, San Polo 2184/A

 

BRAZIL

Swinguerra

Commissioner: José Olympio da Veiga Pereira, Fundação Bienal de São Paulo.

Curator: Gabriel Pérez-Barreiro. Exhibitor: Bárbara Wagner & Benjamin de Burca.

Venue: Giardini

 

BULGARIA

How We Live

Commissioner: Iaroslava Boubnova, National Gallery in Sofia. Curator: Vera Mlechevska.

Exhibitors: Rada Boukova , Lazar Lyutakov.

Venue: Palazzo Giustinian Lolin, San Marco 2893

 

CANADA

ISUMA

Commissioner: National Gallery of Canada. Curators: Asinnajaq, Catherine Crowston, Josée Drouin-Brisebois, Barbara Fischer, Candice Hopkins. Exhibitors: Isuma (Zacharias Kunuk, Norman Cohn, Paul Apak, Pauloosie Qulitalik).

Venue: Giardini

 

CHILE

Altered Views

Commissioner: Varinia Brodsky, Ministry of Cultures, Arts and Heritage.

Curator: Agustín Pérez. Rubio. Exhibitor: Voluspa Jarpa.

Venue: Arsenale

 

CHINA (People’s Republic of)

Re-睿

Commissioner: China Arts and Entertainment Group Ltd. (CAEG).

Curator: Wu Hongliang. Exhibitors: Chen Qi, Fei Jun, He Xiangyu, Geng Xue.

Venue: Arsenale

 

CROATIA

Traces of Disappearing (In Three Acts)

Commissioner: Ministry of Culture of the Republic of Croatia. Curator: Katerina Gregos.

Exhibitor: Igor Grubić.

Venue: Calle Corner, Santa Croce 2258

 

CUBA

Entorno aleccionador (A Cautionary Environment)

Commissioner: Norma Rodríguez Derivet, Consejo Nacional de Artes Plásticas.

Curator: Margarita Sanchez Prieto. Exhibitors: Alejandro Campins, Alex Hérnandez, Ariamna Contino and Eugenio Tibaldi. Venue: Isola di San Servolo

 

CYPRUS (Republic of)

Christoforos Savva: Untimely, Again

Commissioner: Louli Michaelidou. Curator: Jacopo Crivelli Visconti. Exhibitor: Christoforos Savva.

Venue: Associazione Culturale Spiazzi, Castello 3865

 

CZECH (Republic) and SLOVAK (Republic)

Stanislav Kolíbal. Former Uncertain Indicated

Commissioner: Adam Budak, National Gallery Prague. Curator: Dieter Bogner.

Exhibitor: Stanislav Kolibal.

Venue: Giardini

 

DOMINICAN (Republic) *

Naturaleza y biodiversidad en la República Dominicana

Commissioner: Eduardo Selman, Minister of Culture. Curators: Marianne de Tolentino, Simone Pieralice, Giovanni Verza. Exhibitors: Dario Oleaga, Ezequiel Taveras, Hulda Guzmán, Julio Valdez, Miguel Ramirez, Rita Bertrecchi, Nicola Pica, Marraffa & Casciotti.

Venue: Palazzo Albrizzi Capello, Cannaregio 4118 – Sala della Pace

 

EGYPT

khnum across times witness

Commissioner: Ministry of Culture. Curator: Ahmed Chiha.

Exhibitors: Islam Abdullah, Ahmed Chiha, Ahmed Abdel Karim.

Venue: Giardini

 

ESTONIA

Birth V

Commissioner: Maria Arusoo, Centre of Contemporary Arts of Estonia. Curators: Andrew Berardini, Irene Campolmi, Sarah Lucas, Tamara Luuk. Exhibitor: Kris Lemsalu.

Venue: c/o Legno & Legno, Giudecca 211

 

FINLAND (Alvar Aalto Pavilion)

A Greater Miracle of Perception

Commissioner: Raija Koli, Director Frame Contemporary Art Finland.

Curators: Giovanna Esposito Yussif, Bonaventure Soh Bejeng Ndikung, Christopher Wessels. Exhibitors: Miracle Workers Collective (Maryan Abdulkarim, Khadar Ahmed, Hassan Blasim, Giovanna Esposito Yussif, Sonya Lindfors, Bonaventure Soh Bejeng Ndikung, Outi Pieski, Leena Pukki, Lorenzo Sandoval, Martta Tuomaala, Christopher L. Thomas, Christopher Wessels, Suvi West).

Venue: Giardini

 

FRANCE

Deep see blue surrounding you / Vois ce bleu profond te fondre

Commissioner: Institut français with the Ministry for Europe and Foreign Affairs and the Ministry of Culture. Curator: Martha Kirszenbaum. Exhibitor: Laure Prouvost.

Venue: Giardini

 

GEORGIA

REARMIRRORVIEW, Simulation is Simulation, is Simulation, is Simulation

Commissioner: Ana Riaboshenko. Curator: Margot Norton. Exhibitor: Anna K.E.

Venue: Arsenale

 

GERMANY

Commissioner: ifa (Institut für Auslandsbeziehungen) on behalf of the Federal Foreign Office, Germany. Curator: Franciska Zólyom. Exhibitor: Natascha Süder Happelmann.

Venue: Giardini

 

GHANA ***

Ghana Freedom

Commissioner: Ministry of Tourism, Arts and Culture. Curator: Nana Oforiatta Ayim.

Exhibitors: Felicia Abban, John Akomfrah, El Anatsui, Lynette Yiadom Boakye, Ibrahim Mahama, Selasi Awusi Sosu.

Venue: Arsenale

 

GREAT BRITAIN

Cathy Wilkes

Commissioner: Emma Dexter. Curator: Zoe Whitley. Exhibitor: Cathy Wilkes.

Venue: Giardini

 

GREECE

Mr Stigl

Commissioner: Syrago Tsiara (Deputy Director of the Contemporary Art Museum - Metropolitan Organization of Museums of Visual Arts of Thessaloniki - MOMus).

Curator: Katerina Tselou. Exhibitors: Panos Charalambous, Eva Stefani, Zafos Xagoraris.

Venue: Giardini

 

GRENADA

Epic Memory

Commissioner: Susan Mains. Curator: Daniele Radini Tedeschi.

Exhibitors: Amy Cannestra, Billy Gerard Frank, Dave Lewis, Shervone Neckles, Franco Rota Candiani, Roberto Miniati, CRS avant-garde.

Venue: Palazzo Albrizzi-Capello (first floor), Cannaregio 4118

 

GUATEMALA

Interesting State

Commissioner: Elder de Jesús Súchite Vargas, Minister of Culture and Sports of Guatemala. Curator: Stefania Pieralice. Exhibitors: Elsie Wunderlich, Marco Manzo.

Venue: Palazzo Albrizzi-Capello (first floor), Cannaregio 4118

 

HAITI

THE SPECTACLE OF TRAGEDY

Commissioner: Ministry of Culture and Communication.

Curator: Giscard Bouchotte. Exhibitor: Jean Ulrick Désert.

Venue: Circolo Ufficiali Marina, Calle Seconda de la Fava, Castello 2168

 

HUNGARY

Imaginary Cameras

Commissioner: Julia Fabényi, Museo Ludwig – Museo d’arte contemporanea, Budapest.

Curator: Zsuzsanna Szegedy-Maszák. Exhibitor: Tamás Waliczky.

Venue: Giardini

 

ICELAND

Chromo Sapiens – Hrafnhildur Arnardóttir / Shoplifter

Commissioner: Eiríkur Þorláksson, Icelandic Ministry of Education, Science and Culture.

Curator: Birta Gudjónsdóttir. Exhibitor: Hrafnhildur Arnardóttir / Shoplifter.

Venue: Spazio Punch, Giudecca 800

 

INDIA

Our time for a future caring

Commissioner: Adwaita Gadanayak National Gallery of Modern Art.

Curator: Roobina Karode, Director & Chief Curator, Kiran Nadar Museum of Art. Exhibitors: Atul Dodiya, Ashim Purkayastha, GR Iranna, Jitish Kallat, Nandalal Bose, Rummana Hussain, Shakuntala Kulkarni.

Venue: Arsenale

 

INDONESIA

Lost Verses

Commissioner: Ricky Pesik & Diana Nazir, Indonesian Agency for Creative Economy.

Curator: Asmudjo Jono Irianto. Exhibitors: Handiwirman Saputra and Syagini Ratna Wulan.

Venue: Arsenale

 

IRAN (Islamic Republic of)

of being and singing

Commissioner: Hadi Mozafari, General Manager of Visual Arts Administration of Islamic Republic of Iran. Curator: Ali Bakhtiari.

Exhibitors: Reza Lavassani, Samira Alikhanzadeh, Ali Meer Azimi.

Venue: Fondaco Marcello, San Marco 3415

 

IRAQ

Fatherland

Commissioner: Fondazione Ruya. Curators: Tamara Chalabi, Paolo Colombo.

Exhibitor: Serwan Baran.

Venue: Ca’ del Duca, Corte del Duca Sforza, San Marco 3052

 

IRELAND

The Shrinking Universe

Commissioner: Culture Ireland. Curator: Mary Cremin. Exhibitor: Eva Rothschild.

Venue: Arsenale

 

ISRAEL

Field Hospital X

Commissioner: Michael Gov, Arad Turgeman. Curator: Avi Lubin. Exhibitor: Aya Ben Ron.

Venue: Giardini

 

ITALY

Commissioner: Federica Galloni, Direttore Generale Arte e Architettura Contemporanee e Periferie Urbane, Ministero dei Beni e delle Attività Culturali. Curator: Milovan Farronato.

Exhibitors: Enrico David, Liliana Moro, Chiara Fumai.

Venue: Padiglione Italia, Tese delle Vergini, Arsenale

 

IVORY COAST

The Open Shadows of Memory

Commissioner: Henri Nkoumo. Curator: Massimo Scaringella. Exhibitors: Ernest Dükü, Ananias Leki Dago, Valérie Oka, Tong Yanrunan.

Venue: Castello Gallery, Castello 1636/A

 

JAPAN

Cosmo-Eggs

Commissioner: The Japan Foundation. Curator: Hiroyuki Hattori. Exhibitors: Motoyuki Shitamichi, Taro Yasuno, Toshiaki Ishikura, Fuminori Nousaku.

Venue: Giardini

 

KIRIBATI

Pacific Time - Time Flies

Commissioner: Pelea Tehumu, Ministry of Internal Affairs. Curators: Kautu Tabaka, Nina Tepes. Exhibitors: Kaeka Michael Betero, Daniela Danica Tepes, Kairaken Betio Group; Teroloang Borouea, Neneia Takoikoi, Tineta Timirau, Teeti Aaloa, Kenneth Ioane, Kaumai Kaoma, Runita Rabwaa, Obeta Taia, Tiribo Kobaua, Tamuera Tebebe, Rairauea Rue, Teuea Kabunare, Tokintekai Ekentetake, Katanuti Francis, Mikaere Tebwebwe, Terita Itinikarawa, Kaeua Kobaua, Raatu Tiuteke, Kaeriti Baanga, Ioanna Francis, Temarewe Banaan, Aanamaria Toom, Einako Temewi, Nimei Itinikarawa, Teniteiti Mikaere, Aanibo Bwatanita, Arin Tikiraua.

Venue: European Cultural Centre, Palazzo Mora, Strada Nuova 3659

 

KOREA (Republic of)

History Has Failed Us, but No Matter

Commissioner: Arts Council Korea. Curator: Hyunjin Kim. Exhibitors: Hwayeon Nam, siren eun young jung, Jane Jin Kaisen.

Venue: Giardini

 

KOSOVO (Republic of)

Family Album

Commissioner: Arta Agani. Curator: Vincent Honore. Exhibitor: Alban Muja.

Venue: Arsenale

 

LATVIA

Saules Suns

Commissioner: Dace Vilsone. Curators: Valentinas Klimašauskas, Inga Lāce.

Exhibitor: Daiga Grantiņa.

Venue: Arsenale

 

LITHUANIA

Sun & Sea (Marina)

Commissioner: Rasa Antanavičıūte. Curator: Lucia Pietroiusti.

Exhibitors: Lina Lapelyte, Vaiva Grainyte and Rugile Barzdziukaite.

Venue: Magazzino No. 42, Marina Militare, Arsenale di Venezia, Fondamenta Case Nuove 2738c

 

LUXEMBOURG (Grand Duchy of)

Written by Water

Commissioner: Ministry of Culture of Luxembourg.

Curator: Kevin Muhlen. Exhibitor: Marco Godinho.

Venue: Arsenale

 

NORTH MACEDONIA (Republic of )

Subversion to Red

Commissioner: Mira Gakina. Curator: Jovanka Popova. Exhibitor: Nada Prlja.

Venue: Palazzo Rota Ivancich, Castello 4421

 

MADAGASCAR ***

I have forgotten the night

Commissioner: Ministry of Communication and Culture of the Republic of Madagascar. Curators: Rina Ralay Ranaivo, Emmanuel Daydé.

Exhibitor: Joël Andrianomearisoa.

Venue: Arsenale

 

MALAYSIA ***

Holding Up a Mirror

Commissioner: Professor Dato’ Dr. Mohamed Najib Dawa, Director General of Balai Seni Negara (National Art Gallery of Malaysia), Ministry of Tourism, Arts and Culture of Malaysia. Curator: Lim Wei-Ling. Exhibitors: Anurendra Jegadeva, H.H.Lim, Ivan Lam, Zulkifli Yusoff.

Venue: Palazzo Malipiero, San Marco 3198

 

MALTA

Maleth / Haven / Port - Heterotopias of Evocation

Commissioner: Arts Council Malta. Curator: Hesperia Iliadou Suppiej. Exhibitors: Vince Briffa, Klitsa Antoniou, Trevor Borg.

Venue: Arsenale

 

MEXICO

Actos de Dios / Acts of God

Commissioner: Gabriela Gil Verenzuela. Curator: Magalí Arriola. Exhibitor: Pablo Vargas Lugo.

Venue: Arsenale

 

MONGOLIA

A Temporality

Commissioner: The Ministry of Education, Culture, Science and Sports of Mongolia.

Curator: Gantuya Badamgarav. Exhibitor: Jantsankhorol Erdenebayar with the participation of traditional Mongolian throat singers and Carsten Nicolai (Alva Noto).

Venue: Bruchium Fermentum, Calle del Forno, Castello 2093-2090

 

MONTENEGRO

Odiseja / An Odyssey

Commissioner: Nenad Šoškić. Curator: Petrica Duletić. Exhibitor: Vesko Gagović.

Venue: Palazzo Malipiero (piano terra), San Marco 3078-3079/A, Ramo Malipiero

 

MOZAMBIQUE (Republic of)

The Past, the Present and The in Between

Commissioner: Domingos do Rosário Artur. Curator: Lidija K. Khachatourian.

Exhibitors: Gonçalo Mabunda, Mauro Pinto, Filipe Branquinho.

Venue: Palazzo Mora, Strada Nova, 3659

 

NETHERLANDS (The)

The Measurement of Presence

Commissioner: Mondriaan Fund. Curator: Benno Tempel. Exhibitors: Iris Kensmil, Remy Jungerman. Venue: Giardini

 

NEW ZEALAND

Post hoc

Commissioner: Dame Jenny Gibbs. Curators: Zara Stanhope and Chris Sharp.

Exhibitor: Dane Mitchell.

Venue: Palazzina Canonica, Riva Sette Martiri

 

NORDIC COUNTRIES (FINLAND - NORWAY - SWEDEN)

Weather Report: Forecasting Future

Commissioner: Leevi Haapala / Museum of Contemporary Art Kiasma / Finnish National Gallery, Katya García-Antón / Office for Contemporary Art Norway (OCA), Ann-Sofi Noring / Moderna Museet. Curators: Leevi Haapala, Piia Oksanen. Exhibitors: Ane Graff, Ingela Ihrman, nabbteeri.

Venue: Giardini

 

PAKISTAN ***

Manora Field Notes

Commissioner: Syed Jamal Shah, Pakistan National Council of the Arts, PNCA.

Curator: Zahra Khan. Exhibitor: Naiza Khan.

Venue: Tanarte, Castello 2109/A and Spazio Tana, Castello 2110-2111

 

PERU

“Indios Antropófagos”. A butterfly Garden in the (Urban) Jungle

Commissioner: Armando Andrade de Lucio. Curator: Gustavo Buntinx. Exhibitors: Christian Bendayán, Otto Michael (1859-1934), Manuel Rodríguez Lira (1874-1933), Segundo Candiño Rodríguez, Anonymous popular artificer.

Venue: Arsenale

 

PHILIPPINES

Island Weather

Commissioner: National Commission for Culture and the Arts (NCCA) / Virgilio S. Almario.

Curator: Tessa Maria T. Guazon. Exhibitor: Mark O. Justiniani.

Venue: Arsenale

 

POLAND

Flight

Commissioner: Hanna Wroblewska. Curators: Łukasz Mojsak, Łukasz Ronduda.

Exhibitor: Roman Stańczak.

Venue: Giardini

 

PORTUGAL

a seam, a surface, a hinge or a knot

Commissioner: Directorate-General for the Arts. Curator: João Ribas. Exhibitor: Leonor Antunes.

Venue: Fondazione Ugo e Olga Levi Onlus, Palazzo Giustinian Lolin, San Marco 2893

 

ROMANIA

Unfinished Conversations on the Weight of Absence

Commissioner: Attila Kim. Curator: Cristian Nae. Exhibitor: Belu-Simion Făinaru, Dan Mihălțianu, Miklós Onucsán.

Venues: Giardini and New Gallery of the Romanian Institute for Culture and Humanistic Research (Campo Santa Fosca, Palazzo Correr, Cannaregio 2214)

 

RUSSIA

Lc 15:11-32

Commissioner: Semyon Mikhailovsky. Curator: Mikhail Piotrovsky. Exhibitors: Alexander Sokurov, Alexander Shishkin-Hokusai.

Venue: Giardini

 

SAN MARINO (Republic of)

Friendship Project International

Commissioner: Vito Giuseppe Testaj. Curator: Vincenzo Sanfo. Exhibitors: Gisella Battistini, Martina Conti, Gabriele Gambuti, Giovanna Fra, Thea Tini, Chen Chengwei, Li Geng, Dario Ortiz, Tang Shuangning, Jens W. Beyrich, Xing Junqin, Xu de Qi, Sebastián.

Venue: Palazzo Bollani, Castello 3647; Complesso dell’Ospedaletto, Castello 6691

 

SAUDI ARABIA

After Illusion بعد توهم

Commissioner: Misk Art Insitute. Curator: Eiman Elgibreen. Exhibitor: Zahrah Al Ghamdi.

Venue: Arsenale

 

SERBIA

Regaining Memory Loss

Commissioner: Vladislav Scepanovic. Curator: Nicoletta Lambertucci. Exhibitor: Djordje Ozbolt.

Venue: Giardini

 

SEYCHELLES (Republic of)

Drift

Commissioner: Galen Bresson. Curator: Martin Kennedy.

Exhibitors: George Camille and Daniel Dodin.

Venue: Palazzo Mora, Strada Nova, 3659

 

SINGAPORE

Music For Everyone: Variations on a Theme

Commissioner: Rosa Daniel, Chief Executive Officer, National Arts Council (NAC).

Curator: Michelle Ho. Exhibitor: Song-Ming Ang.

Venue: Arsenale

 

SLOVENIA (Republic of)

Here we go again... SYSTEM 317

A situation of the resolution series

Commissioner: Zdenka Badovinac, Director Moderna galerija / Museum of Modern Art, Ljubljana. Curator: Igor Španjol. Exhibitor: Marko Peljhan.

Venue: Arsenale

 

SOUTH AFRICA (Republic of)

The stronger we become

Commissioner: Titi Nxumalo, Console Generale. Curators: Nkule Mabaso, Nomusa Makhubu. Exhibitors: Dineo Seshee Bopape, Tracey Rose, Mawande Ka Zenzile.

Venue: Arsenale

 

SPAIN

Perforated by Itziar Okariz and Sergio Prego

Commissioner: AECID Agencia Espanola de Cooperacion Internacional Para El Desarrollo. Ministerio de Asuntos Exteriores, Union Europea y Cooperacion. Curator: Peio Aguirre.

Exhibitors: Itziar Okariz, Sergio Prego.

Venue: Giardini

 

SWITZERLAND

Moving Backwards

Commissioner: Swiss Arts Council Pro-Helvetia: Marianne Burki, Sandi Paucic, Rachele Giudici Legittimo. Curator: Charlotte Laubard. Exhibitors: Pauline Boudry/Renate Lorenz.

Venue: Giardini

 

SYRIAN ARAB (Republic)

Syrian Civilization is still alive

Commissioner/Curator: Emad Kashout. Exhibitors: Abdalah Abouassali, Giacomo Braglia, Ibrahim Al Hamid, Chen Huasha, Saed Salloum, Xie Tian, Saad Yagan, Primo Vanadia, Giuseppe Biasio.

Venue: Isola di San Servolo; Chiesetta della Misericordia, Campo dell'Abbazia, Cannaregio

 

THAILAND

The Revolving World

Commissioner: Vimolluck Chuchat, Office of Contemporary Art and Culture, Ministry of Culture, Thailand. Curator: Tawatchai Somkong. Exhibitors: Somsak Chowtadapong, Panya Vijinthanasarn, Krit Ngamsom.

Venue: In Paradiso 1260, Castello

 

TURKEY

We, Elsewhere

Commissioner: IKSV. Curator: Zeynep Öz. Exhibitor: İnci Eviner.

Venue: Arsenale

 

UKRAINE

The Shadow of Dream cast upon Giardini della Biennale

Commissioner: Svitlana Fomenko, First Deputy Minister of Culture. Curators: Open group (Yurii Biley, Pavlo Kovach, Stanislav Turina, Anton Varga). Exhibitors: all artists of Ukraine.

Venue: Arsenale

 

UNITED ARAB EMIRATES

Nujoom Alghanem: Passage

Commissioner: Salama bint Hamdan Al Nahyan Foundation.

Curators: Sam Bardaouil and Till Fellrath. Exhibitor: Nujoom Alghanem.

Venue: Arsenale

 

UNITED STATES OF AMERICA

Martin Puryear: Liberty

Commissioner/Curator: Brooke Kamin Rapaport. Exhibitor: Martin Puryear.

Venue: Giardini

 

URUGUAY

“La casa empática”

Commissioner: Alejandro Denes. Curators: David Armengol, Patricia Bentancur.

Exhibitor: Yamandú Canosa.

Venue: Giardini

 

VENEZUELA (Bolivarian Republic of)

Metaphore of three windows

Venezuela: identity in time and space

Commissioner/Curator: Oscar Sottillo Meneses. Exhibitors: Natalie Rocha Capiello, Ricardo García, Gabriel López, Nelson Rangelosky.

Venue: Giardini

 

ZIMBABWE (Republic of)

Soko Risina Musoro (The Tale without a Head)

Commissioner: Doreen Sibanda, National Gallery of Zimbabwe. Curator: Raphael Chikukwa. Exhibitors: Georgina Maxim, Neville Starling , Cosmas Shiridzinomwa, Kudzanai Violet Hwami.

Venue: Istituto Provinciale per L’infanzia “Santa Maria Della Pietà”. Calle della Pietà Castello n. 3701 (ground floor)

 

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invited artist :

Lawrence Abu Hamdan (Jordan / Beirut)

Njideka Akunyili Crosby (Nigeria / USA),Halil Altındere (Turkey),Michael Armitage (Kenya / UK),Korakrit Arunanondchai (Thailand / USA),Alex Gvojic (USA),Ed Atkins (UK / Germany / Denmark),Tarek Atoui (Lebanon / France),

Darren Bader (USA),Nairy Baghramian (Iran / Germany,

Neïl Beloufa (France),Alexandra Bircken (Germany),Carol Bove (Switzerland / USA,

Christoph Büchel (Switzerland / Iceland,

Ludovica Carbotta (Italy / Barcelona),Antoine Catala (France / USA),Ian Cheng (USA),George Condo (USA

Alex Da Corte (USA),Jesse Darling (UK / Germany),Stan Douglas (Canada),Jimmie Durham (USA / Germany),Nicole Eisenman (France / USA,

Haris Epaminonda (Cyprus / Germany),Lara Favaretto (Italy),Cyprien Gaillard (France / Germany), Gill (India),Dominique Gonzalez-Foerster (France),Shilpa Gupta (India),Soham Gupta (India),Martine Gutierrez (USA),Rula Halawani (Palestine),Anthea Hamilton (UK),Jeppe Hein (Denmark / Germany),Anthony Hernandez (USA),Ryoji Ikeda (Japan / France),Arthur Jafa (USA),Cameron Jamie (USA / France / Germany),Kahlil Joseph (USA),Zhanna Kadyrova (Ukraine),Suki Seokyeong Kang (South Korea),Mari Katayama (Japan),Lee Bul (South Korea),Liu Wei (China),Maria Loboda (Poland / Germany),Andreas Lolis (Albania / Greece),Christian Marclay (USA / London),Teresa Margolles (Mexico / Spain),Julie Mehretu (Ethiopia / USA),Ad Minoliti (Argentina),Jean-Luc Moulène (France),Zanele Muholi (South Africa),Jill Mulleady (Uruguay / USA),Ulrike Müller (Austria / USA),Nabuqi (China),Otobong Nkanga (Nigeria / Belgium),Khyentse Norbu (Bhutan / India),Frida Orupabo (Norway),Jon Rafman (Canada).Gabriel Rico (Mexico),Handiwirman Saputra (Indonesia),Tomás Saraceno (Argentina / Germany),Augustas Serapinas (Lithuania),Avery Singer (USA),Slavs and Tatars (Germany),Michael E. Smith (USA),Hito Steyerl (Germany),Tavares Strachan (Bahamas / USA),Sun Yuan and Peng Yu (China),Henry Taylor (USA),Rosemarie Trockel (Germany),Kaari Upson (USA),Andra Ursuţa (Romania),Danh Vō (Vietnam / Mexico),Kemang Wa Lehulere (South Africa),Apichatpong Weerasethakul (Thailand) and Tsuyoshi Hisakado (Japan),Margaret Wertheim and Christine Wertheim (Australia / USA) ,Anicka Yi (South Korea/ USA),Yin Xiuzhen (China),Yu Ji (China / Austria)

  

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other Biennale :(Biennials ) :Venice Biennial , Documenta Havana Biennial,Istanbul Biennial ( Istanbuli),Biennale de Lyon ,Dak'Art Berlin Biennial,Mercosul Visual Arts Biennial ,Bienal do Mercosul Porto Alegre.,Berlin Biennial ,Echigo-Tsumari Triennial .Yokohama Triennial Aichi Triennale,manifesta ,Copenhagen Biennale,Aichi Triennale

Yokohama Triennial,Echigo-Tsumari Triennial.Sharjah Biennial ,Biennale of Sydney, Liverpool , São Paulo Biennial ; Athens Biennale , Bienal do Mercosul ,Göteborg International Biennial for Contemporary Art

  

وینس Venetsiya

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Thierry Geoffroy / Colonel

The British paralympic runner Richard Whitehead acknowledging the crowds as he passes Crossharbour station, about 17 miles into the 2014 London Marathon. Whitehead came to prominence with his remarkable finish in the 200m at the London 2012 Paralympics