“I was only rattling the bars of my crib because I thought you liked it” (LIL, 71). More than that, he acknowledges that she was right to call him out for his excessive complaining, confessing that he had used her as a sounding board for his frustrations without being adequately attuned to her feelings: “I am childish, I am selfish, I love to gripe. I want to complain and have someone to complain to, and for a while you were elected. I am sorry. It won’t happen again, and at the same time I will make a serious effort to grow up” (LIL, 72).

-Thomas Merton

Termite hills

Mound-building termites are a group of termite species that live in mounds. These termites live in Africa, Australia and South America. The mounds sometimes have a diameter of 30 metres (98 ft). Most of the mounds are in well-drained areas. Termite mounds usually outlive the colonies themselves.

 

Collective Mind in the Mound: How Do Termites Build Their Huge Structures?

Termites move a fourth of a metric ton of dirt to build mounds that can reach 17 feet (5 meters) and higher.

 

A single termite can be barely bigger than the moon of a fingernail, its semi-transparent exoskeleton as vulnerable to sunlight as to being crushed by a child in flip-flops. But in groups of a million or two, termites are formidable architects, building mounds that can reach 17 feet (5 meters) and higher. The 33 pounds (15 kilograms) or so of termites in a typical mound will, in an average year, move a fourth of a metric ton (about 550 pounds) of soil and several tons of water.

 

The termites also "farm" a symbiotic fungus that occupies eight times more of the nest than the insects do. And some termites eat as much grass each year as an 880-pound (400-kilogram) cow.

 

Like ants, bees, and other social insects, termites live in societies where the collective power of the colony far outstrips that of the individual. Being part of a super-organism gives the tiny termite superpowers. But a termite mound is like a construction site without a foreman—no one termite is in charge of the project. Is there a "collective plan" encoded in the collective mind of the colony?

 

In addition to experimenting in the mounds, Turner designs computer simulations to explore deeper patterns in termite behaviour. It wouldn't be wrong to say he's been searching for the psyche of the super-organism, but it wouldn't fully get at the richness of all of the other things he's noticed along the way—including clues to how humans might build more energy-efficient buildings, how we might design robots to build on places like Mars, and even peculiar termite behaviours that might help us understand how our own brains work.

 

The life of the termite is a race against rain, Turner says. Termite mounds can take four to five years to build, but a really heavy downpour might cause a third of the mounds to collapse. So termites are always scurrying to rebuild their mounds as fast as the weather erodes them.

 

To demonstrate the rebuilding process, Turner uses an auger, a tool that looks like a big corkscrew, to cut into the rock-hard surface of a mound. As he pulls a six-inch (15-centimeter) plug of dirt from the side, termites pour out of the hole. Soldiers fan out with their pinching mandibles ready for battle, and workers with mouths full of dirt run to plug the hole. How do they know there's a hole in the mound?

 

Termites are "novelty detectors," attuned to excitement and always on alert, says Turner. (When there isn't external stimulation, termites sometimes stand in little clusters, massaging each other's antennae.) Experiments in Turner's lab suggest they respond to slight air movements and changes in humidity and concentrations of gases like carbon dioxide.

 

At the first sign of a disturbance, a termite runs to communicate the news with touch and vibrations. Roused, masses of termites fill their mouths with dirt and head toward the source of the problem. The commotion attracts more termites with more dirt, and within an hour or so the hole is patched.

 

Peering Inside

 

The only way to get a glimpse of the termite super-organism in action is to rip the side off a mound. And so one morning Turner, along with entomologist Eugene Marais of the National Museum of Namibia, takes a backhoe to the test fields. With a single swoop, the backhoe removes the top of a mound and then precisely dismantles the rest, like pulling the walls off a dollhouse.

 

The termites are not happy that their walls have suddenly disappeared, and they swarm frantically around the exposed structure. Marais dislodges a chunk of dense soil about the size of a squashed soccer ball—the queen's chamber.

 

After repeated blows of a hand pick, the capsule breaks open suddenly, revealing a saucer about five inches (almost 13 centimeters) across containing the queen. Her sweating body is swollen to the size of a human finger. A coterie of workers carries the eggs she produces—at the staggering rate of one every three seconds—to nearby nurseries, while others feed and clean her.

  

The queen herself, once a relatively normal size, retains her original legs, but they are now nearly useless. Her pale body pulsates, the caramel-colored fats and liquids inside swirling under her skin.

 

The title "queen" leads people to imagine that she is in charge of the mound, but this is a misconception. "The queen is not in charge," says Marais. "She's really a slave." The queen is the epitome of the super-organism: one for all and all for one. She is a captive ovary, producing hundreds of millions of eggs over her life span of up to 15 years to populate the mound.

 

Farming Fungus

 

Below the queen's chamber lies the super-organism's largest organ: the fungus garden. In a symbiotic relationship dating back millions of years, the termites exit the mound through long foraging tunnels and return with their "intestines full of chewed grass and wood, which they defecate upon their return, and other workers assemble these 'pseudo-feces' into several mazelike fungus combs," Turner explains.

 

The termites then seed the comb with spores of fungus, which sprout and dissolve the tough cellulose into a high-energy mixture of partially digested wood and grass. For the termites, the fungus functions as a sort of external stomach, but the fungus gets the better deal. Ensconced in elaborate termite-built combs and constantly tended, the fungus receives multiple benefits, including food, water, shelter, and protection.

 

In fact, the deal is so lopsided that it calls into question just who's in charge of the relationship. Collectively, the colony's fungus accounts for nearly 85 percent of the total metabolism inside the mound, and Turner speculates that the fungus may send chemical signals to the termites that influence—control?—the way they build the mound. "I like to tell people that this may not be a termite-built structure," he says. "It may actually be a fungus-built structure."

Living Quarters

 

Which brings us to the most extraordinary organ: the mound itself. Contrary to common notions, termite mounds are not high-rise residence halls. Rather, they are "accessory organs of gas exchange," in Turner's words, designed to serve the respiratory needs of the subterranean colony located several feet (a meter or two) below the mound.

 

For many years, researchers looked at termite mounds and supposed that the spires worked like chimneys, drawing hot air up and out. But Turner discovered that mounds function more like lungs, inhaling and exhaling through walls that appear impenetrable but are actually quite porous.

Inside the mound, a series of bubble-like chambers connected to branching passages absorb changes in outside pressure or wind and pass them through the mound. To regulate the mix of gases and maintain a stable nest environment, the termites are forever remodeling the mound in response to changing conditions.

 

"A termite mound is like a living thing," says Turner, "dynamic and constantly maintained."

 

Wet Kisses

 

While studying termite building behavior, Turner noticed that his subjects seemed to be kissing each other, mouth to mouth, after a complicated ritual that included grooming and begging. Curious, he added fluorescent green dye to their water and discovered that all this "kissing" was actually a bucket brigade, transferring large amounts of water across the mound. A termite can drink half its own weight in water, scurry to a drier part of the mound, and distribute it to other termites. In addition to rebalancing the mound's moisture level, moving all of this water dramatically changes its shape.

 

Turner's work with termites has attracted some notable collaborators, among them British engineer Rupert Soar. Inspired in part by termite mounds, Soar has plans to build energy-efficient houses with porous walls that make use of passive wind energy. He's also looked into using termite-style building methods to help robots build structures in remote locations using only local materials.

 

Group Brain

 

Termites may even change the way we think about thinking. A research project at Harvard's Wyss Institute for Biologically Inspired Engineering brought computer scientists and roboticists to Turner's site to observe termite behavior with a range of sophisticated scanners and software.

 

Harvard professor of robotics Radhika Nagpal makes an analogy between the behavior of termites and the brain. Individual termites react rather than think, but at a group level they exhibit a kind of cognition and awareness of their surroundings. Similarly, in the brain, individual neurons don't think, but thinking arises in the connections between them. (Single neurons, for example, may recognize a baseball bat and the smell of hot dogs, but working in concert they let you know you're at a baseball game.)

 

Nagpal's team set up dozens of experiments to try to observe just where this collective cognition arose. "What program are they running?" mused Harvard physicist Justin Werfel, comparing the termites to robots. "Can we get a stochastic model of a stateless automaton that has no memory but reacts to what it encounters?"

 

Nagpal, Werfel, and Kirstin Peterson, also from Harvard, recently used termite behavior as a model to build a small swarm of robots (named TERMES) that assembles a structure without any instructions.

 

"This is a system where complexity is of the essence," Turner says of the termites' behavior. "If you don't capture the complexity, there's no hope of understanding it." And so the quest continues for the elusive mind in the mound.

   

A stream with waterfalls. These are variations on the photo with my Apple Iphone 14 Pro Max. I'm using Flickr to see which one Flickrites like the best. :)

 

www.niwa.org/

The mission of the Japanese Friendship Garden Society of San Diego (JFG) is to develop a traditional Japanese garden as a center to educate, engage, and inspire people of diverse backgrounds about Japanese culture and community legacy.

 

JFG is an accredited museum that offers a variety of educational programs, exhibits, and cultural festivals to enhance appreciation and understanding of Japanese culture. Over 330,000 visitors from the United States and internationally attend the garden annually. JFG opened to the public in 1991 and is an expression of friendship between San Diego and its sister city, Yokohama. The garden is inspired from centuries-old Japanese design and techniques that showcase JFG’s living exhibition comprised of plants and florae native to Japan and San Diego. The second phase opened in 1999 and was designed by renowned landscape architect Takeo Uesugi, which included the addition of the Exhibit Hall, Activity Center, and Upper Koi Pond. The third phase, completed in 2015, incorporated a 200 cherry tree grove, large azalea and camellia garden, a water feature reminiscent of the San Diego watershed, and the state of the art Inamori Pavilion. Today, JFG resides on 12 acres and fosters a relationship between humans and nature, providing a respite attuned to Japanese simplicity, serenity, and aestheticism.

 

en.wikipedia.org/wiki/Japanese_Friendship_Garden_(Balboa_Park)

The Japanese Friendship Garden, also known as Sankei-en ( 三渓園 ) is a twelve-acre Japanese garden located within Balboa Park in San Diego, California. It is an expression of friendship between San Diego and its Japanese sister city Yokohama that binds the two cultures to create a unique experience for visitors from all over the world; over 240,000 people from across the United States and the world visit the garden annually. Representing a new concept in the development of a Japanese garden outside Japan, the Japanese Friendship Garden is designed to present an atmosphere of elegant simplicity (shibui) and quiet beauty. The garden's naturalistic design is guided by the original principles/techniques of the Japanese garden while incorporating elements of the regional San Diego landscape and climate; in terms of features, the garden is well-known for its unique placement, sukiya-style buildings, koi ponds, and landscape exhibits. The Japanese Friendship Garden also hosts many local educational programs, activities, festivals, and horticultural classes that focus on the relationship between nature and Japanese culture.[1]

 

The Japanese Friendship Garden was built and continues to be maintained under the philosophy that, "a garden is always in a state of change but the basic elements of trees, shrubs, rocks and water designed in natural balance create a peaceful, harmonious, and transcendental environment conducive to contemplation and meditation."[2]

 

San Diego 2023

 

IMG_E0481.jpg

Huge thanks to Teddi Beres and her ginger haired friend BellaDonna Quixote for setting up the poises and allowing me free reign to use them in my story scenario. The Deed has been done;).

 

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Chronicles of lifting Light C (The Reception Game)

The alternate version of Chronicles of lifting Light B ( Bridesmaids) - Album

 

“The wedding was a little over the top. The bride wanted her girl’s dresses to be something they would wear out again. A nice thought, but the gowns she found were a little too long for anything but formal evening wear, according to our girls who were asked to be part of the bridal party. The maid of honor wore a red silk version; the six Bridesmaids wore theirs in black satin.”

 

“A few years ago, “Ginny” was watching some type of show when I heard her squeal out. Our Golden Retriever ‘Sam’ meandered back in to see what all the fuss was about? I obediently followed. Ginny pointed out to me a model who was wearing fetchingly a long black satin gown, That’s m’ gown Ginny exclaimed, you remember, the one I wore at “Sheila’s” wedding, the one where my necklace was.., But at that point her attention was diverted back to her program. Squirrel I teased as Sam and I watched with her.

 

It was a gown strikingly very similar in colour, cut, and material to the one worn by Ginny ( and me sister) at a chums wedding years before ( and winningly worn several times hence I might add). It is a pretty thing to behold my charming Ginny sporting it, and in its time, it has born witness to a few goings on that most ladies wearing a gown like that would never encounter…….”

 

Chronicles of lifting Light C

*************************************** **************************************** *****

This story is true, and is really pretty much told as it happened.

What we did may sound daft, but read and understand the circumstances, plus realize we all were pretty well lit up with drink.

 

I have enhanced certain aspects of the story, but not as much as on my first draft, for that one came out sounding more farfetched than it should have.

 

For indeed, truth can be stranger than fiction… and coincidences occur, both sweet and bitter….. as I’m sure someone once said.

 

So here goes it….

 

My twin sister and our friend “Ginny” were invited to join in a school chums bridal party. The groom didn’t have enough to go around so my sister’s boyfriend “Brian” and I were pressed, not unwillingly, into service.

 

At the reception my Ginny made a comment about the flimsy clasps on the rhinestone jewelry they were wearing. My Sister, touched her necklace, told her, “ no worries, luv, no one would nick them anyways, they are only rhinestones”. Except my ring isn’t, said Ginny looking down at the ruby ring she was wearing on her pinky. My sister, thinking a minute, retorted “Then one never knows… “ , It looked like she was going to add something, but at that point the band restarted, and we joined the swarm of fancy gowns, silky dresses, suits and tuxes heading to the dance floor.

 

As we headed off, I was still perplexed about what had been going on in Sis’s head that made her come out with that reply, and I swear she had stolen a look at me while saying it. But as I had watched her pull at an earring to emphasize how loose the sparkling jewel was, a seed was planted in my head about a subject I myself had always found fascinating, pickpocketing jewelry!

 

Much later that evening, found Brian, me sister, and I alone, and probably more than a little drunk (always a precarious time with us). As Sis and Brain chatted on about a topic I had lost interest in, I started to watch Ginny, who had been asked to dance by some twit with shifty eyes in a red silk shirt, (open colored), who had rudely cut in on us. As I watched Ginny’s swishing gown move and flutter about in quite an interesting exhibition, I found meself mesmerized by the manner in which her healthy display of rhinestones were sparkling about( as they had been all evening). I looked back at my sister, and her own show of jewelry, sparkling up nicely against a black satin backdrop.

 

Still not being able to shake me twin’s earlier comment, nor its answer, out of my head about nicking jewels, I finally chanced asking my twin about her comments. She looked at me, having to think back a bit about the question, ( As I said, we were more drunk than sober by then), placing a nicely ringed finger to her lips, while regrouping her thoughts. Got it, she exclaimed proudly remembering what had triggered her memory, and started to explain.

 

When she was a tyke of about 7, there was a show that she had seen on the tele that centered on this group of people trying to reform a thief. Believing that he had turned a new leaf, they threw a fancy dance for him in honor of his new ways. During the dance, he cut in and danced with each of the three ladies who had been trying to teach him the errors of his ways. From one he slipped off her long diamond earrings, from a second her diamond necklace was lifted away, but me sister was unsure what the scoundrel took from the third. Sis thought that the earrings and necklaces that she and Ginny were wearing that evening, looked a lot like the ones from that show.

  

Now, as me twin described the thief’s antics, certain emotions awakened, rearing their tantalizing heads; my mind began wandering in some deep waters, pulled bout by some deep personal emotions. Cause I had been sitting on the couch with her, when as quite young children, we had first seen that episode.

 

As it happened my sister had been outside earlier playing dress up in on of mum’s old party gowns and was still wearing it, along with a set of costume pearls. Suddenly, that day, I wanted nothing more in the world than to lift the pearls she was wearing. I simmered over it for the rest of the program, getting to the point of actually laying my arm on the back of the couch, inching my fingers towards the clasp of her pearls laying there upon the back of her throat. But then the show ended, and I got no closer to stealing anything more than a touch of a really soft old evening gown. After the show ended, I warily suggested we go back outside and play Robin Hood (my sister has always been into his story).

We did, and as Sir Robin led her to his hideout, conveniently located through a thicket of Hawthorne’s, the pretty Maid Marion’s pearls mysteriously melted away.

  

That is when I had I had my epiphany, hitting me like a brick wall! Waiting till sis finished her story, I pointed out to Ginny, and asked the pair, If Ginny had been the third lady he had danced with, what jewelry do you think he would have lifted from her while dancing?

  

Brian , always the more pragmatic of the group, snorted, that’s stuff that only happens in stories and movies. I said I would bet it can be done, a quid says I can lift a piece of Ginny’s jewelry with her never noticing. Sis chimed in, you wouldn’t dare, but she was looking at me like she knew the answer already. Brian caught her tone, and took me up on it, betting me the quid that I couldn’t get away with lifting her necklace,( I liked his choice, it had been a necklace that “Sir Robin” had first lifted from me sisters neck that day in the woods long past).

  

At this time the music ended, and Ginny swished back to rejoin us. We drank and talked for a bit more, and I’m was all but certain Brian and my sister had all but forgotten the wager. But I hadn’t, nor had I been able to keep my eyes from studying the rhinestones Ginny had wrapped around her pretty throat. When a slow song started up, I rose and asked Ginny to a dance. I caught Brian’s eyes, and read the dare reflecting in them, so we were still on with the wager. Leading Ginny to the dance floor, we embraced, and danced to the pretty song, a slow one. Ginny was absolute pure heaven in my arms, and I found me self so entrapped that I never made an attempt upon her lovely rhinestone necklace.

  

As the song was ending, I caught a look from Brian across the dance floor, noticing that he smugly was looked at Ginny’s throat. I did not want to lose me quid on principle (I swear), so as the dance ended I held onto Ginny, waiting. Soon a second song started, disappointedly a more fast paced one with a Latin beat. I spun Ginny around onto the floor before she had time to catch a breath, we danced, like the song says:

 

And we… danced like a wave on the ocean, romanced

We were liars in love and we danced

Swept away for a moment by chance

And we danced, danced, danced

 

And dance we did, hot, furious and fast. A couple of times I spun Ginny around, and the poor girl already a bit tipsy, fell against me, giggling. About the third time I spun her, she stopped, and dropped backside into me and began to do this sort of gyrating move, slithering up and down my front side, with her hands held high above her head, her longish ginger hair had fallen over one shoulder, exposing her necklace in all its fine brilliance. As her warm, sweaty figure slipped up and down against mine, I watched the back of her throat, eyeing the necklace as it sparkled brilliantly in the dim lights. Studying intently the sparkly chain with it’s the hook in eye clasp.

  

She brought her hands down behind me back, crossing them behind me waist. My right hand went to the front of her waist, holding onto her squirming, satin slippery figure, pressing it tightly against me. My left hand went up to her shoulder, gliding along the glossy slick fabric of her black satin gown, until I reached her necklace. It only took seconds for my fingers to lift, and slip off the hook from its”eye” , letting the shimmering chain slither down the front side of Ginny’s satin clad breasts. My right hand left her waist, and travelled nimbly, tingling, all the way up the front until my fingers grasped the dangling chain. My left hand let go, and the necklace whisked down the front of her perking bosom, tightly covered by the glossy black satin bridesmaid gown. The whole bit of thievery took me only a few chords of the music, but it seemed a lot longer in the process. We finished out the song, me basking in the fact that my gyrating partner was innocently unaware that her shiny necklace was absent from around her throat, and now resided in her dance partners vest pocket.

  

We made our way back to the others, Brian had a smug look on his bearded face, I knew he was up to something. As I sat down, he whispered double it or nothing mate, that she notices it’s missing before we leave. I nodded, taking him up on it. So, the game was still on, and for the last two hours that we stayed at the reception, Brain waiting for Ginny to notice her missing necklace, I tried to distract her as much as I could, even with me sister constantly played with her necklace whenever she held Ginny’s attention, but the poor creature never caught on that her necklace had been lifted.

  

We finally left the reception after midnight and made our way along the ten city blocks back to the hotel where Ginny and my sister shared a joining room with Brian and meself. Ginny walked calmly with us, unaware of the devils that were us, keeping pace beside her. As were making our way through a short cut in a wooded Provincial park, we stopped in a small isolated glen and circled around Ginny. Sis was grinning as she asked poor unawares Ginny, So luv, whatever did happen to your necklace? Gin’s reaction was absolutely, rewardingly priceless.

  

Ginny, a relatively innocent soul, who is prone to believing most anything told to her, started, and her hand went to her throat, feeling about fruitlessly, as her rustling glossy gown and remaining jewels glistened dark in the full moons’ light. “M’ necklace, why it’s gone? , where did it go!, she pleaded helplessly, her thought patterns and speech a little slurred by her rather intoxicated condition. We than got into it, playing dumb along with her, and tried to figure out the “mystery” I said the last time I saw it was when that seedy bloke cut in, and I ran my hand up her back, feeling the shivers going down her spine, did the blighter touch you like that, then luv. No she said, then thought hard, no she repeated, he couldn’t have, he was a proper gentleman, and it was only rhinestone, like your sister said. My sister commented that the bloke may have not noticed no difference, and she held out her own necklace, I’m glad the bloke didn’t ask me to dance. No, Ginny shook her head, her long earrings flickering a frenzied fire out from her hair, no one could have lifted them like that, I’d have felt it….

  

She looked desperately around at us, then seeing the look on upon our faces, Ginny froze with the realization that we had all been up to something, and, then a smile of relief showed up on her pretty face, as I held up her necklace, sparkling in front of her eyes. A sly look of understanding that we had been up to something crept into those dazzling green eyes , as she told us now to spill it out.

  

We explained the whole tale as sis helped Ginny place her necklace back on. Ginny, with her usual good humor, said she had never noticed a thing, and it probably was a good thing we weren’t real thieves, because if her necklace had been real, it would have been worth a small fortune. And shame on us for having her believe it was that poor blighter in the red shirt.

  

We wouldn’t’ make very good thieves I agreed we drink too much. She just smiled, a curious gleam creeping up into those witchy green eyes of hers. Let’s get going before we meet a real thief then, urged my sister, all this talk about someone thinking our jewels are real is giving me the chills.

  

Our drunken little group then merrily, if not a little more guardedly, made our way home..

 

This next bit is my favorite.

 

We rode the elevator up to the boy’s room, as the girls called our room, where we drank beer, danced to music and talked on a bit about the reception. The girls stayed in dress and I happily soaked up the pretty picture the pair of admirably attractive girls presented with their long sheets of straight hair just hanging down, their diamonds sparkling and all other assorted frills enticing. About two hours later found Brian and myself sitting on the couch in kind of a hazy stupor while holding onto our beers. Ginny and my sister were standing directly in front of us, holding beers of their own and giggling over some girlish nonsense, the swaying of their long glossy black satin gowns slowly putting me to sleep.

  

Brain, draining a beer, got up to get another, bumping against my sister and playfully grabbing a handful. My sister started giggling at him as he sauntered off grinning, turning her figure so the brooch at the center of her gowns’ waistline almost hit me on the nose. Half asleep I reached over and lifted it up.

Looking up at the girls I saw that neither was paying no never mind towards me. Ginny, however, laid a hand on my twins shoulder, drawing her close so she could whisper some girlish secret about Brian. I continued on, and was able to undo the brooch, and slip it carefully off without notice. I slipped her jewel into my pocket; until I could think of what it was I was going to do with it to tease me twin sister.

  

Brian stopped on the way back and reset the music, a slow song. Sis went to him, and the pair started dancing. I rose and taking Ginny by the hand, followed suit, leading her to the bit of a dance floor we had cleared. She was again, pure heaven in my arms as my hands slipped liberally up and down her smooth, slinky gowned figure. Ginny smiled, I knew that smile, and realized that something was going on behind her pretty green eyes. She flicked back her sheet of ginger hair, and leaned against me. I saw you, she whispered, her voice putting a tickle in my ear. Saw me I asked, not getting it. I saw you lift that dame’s diamond brooch, Ginny said in a sultry voice as she looked over towards where my sister was dancing, (no, she was actually swooning), in Brian’s arms. You see that one over there, in the black dancing with the bearded gent? I looked over, as she continues, look at ‘er necklace, I have a fancy for it, and if you don’t want me to call security, I suggest you get it for me, darling, she said, like she was some old time actress in a movie. I loved the devilishness of Ginny’s role play idea and threw me whole heart and soul into it.

  

Check out the Sonia clip shortcut at the end of my tale( recommend viewing)

  

Now wide awake, I got fully into Ginny’s game. As we continued dancing my eyes watched Brian and me sister, taking careful inventory of all her sparkling jewelry. Sis turned, and caught my eyes looking her over, she blushed, and not knowing what was really going through my mind, smiled at me. As I smiled back, my eyes drinking her fetchingly attired figure up, I was imagining that all of her ample collection of rhinestones so prettily positioned on her figure, were real diamonds. And that I was an actual thief after her lovely sparklers. I looked into Ginny’s eyes. You have a deal miss, I whispered, making my voice deep and throaty, as I imagined meself as Humphrey Bogart type character in some shadowy film noir movie.

  

The song ended and a second, even slower one began playing. Brian and my sister were still locked into each other’s arms, but I felt that the time to make my move was now. Throwing Ginny a wink, I went over and cut in, Brian looked drunkenly at me like “whattsup chap,” but Ginny was right behind and swirled him away before he could properly react.

  

And as I took the pretty, wide eyed with innocence looking “dame” into my arms I found it exciting that she was oblivious to my intentions. Naïvely unaware, that in indifference to her own words earlier, someone did now want to nick the jewelry so merrily dangling from her svelte figure. Don’t forget at this point she was no longer my sister, but my sweet victim, and I was nothing more than a thief hungering after her bright baubles, albeit, a slightly inebriated thief!

  

I bided my time, appearing to look into my twins half opened eyes ( she was really lit by this time, as we all were) , my mind was working overtime on how to best approach my objective.

  

Employing the same method that the thief had used in the Gilligan’s Island episode to remove his dance partners necklace, I began to compliment my twin on how devastating her and Ginny looked both looked that evening (no lies), slowly moving my one hand up the slick material of the gown covering her back until I reached the dangling part of her hook and eye necklace with its’ glittering row of single “diamonds”. She ate it up, blushing and closing her eyes, tilting her head down, exposing even more of the back of her throat, and laying bare the chain of her “diamond” necklace. As she fawned over my words of (not false) praise, I subtly lifted up the chain of her necklace, holding her ever so her tightly around the waist. As I felt the heat emanating from her figure, I used my free left hands’ fingers to unhooked the clasp, and let the necklace fall over her one shoulder. Sis never felt it hanging, or noticed it as I peeled it off her chest (whisking along smooth as silk) and pulled it over her gown’s satin shoulder till it slipped sparkling down behind her. I held it hanging behind her back for a few turns, still pouring out the compliments, until I pocketed it, letting it join her purloined brooch.

  

Meanwhile, Brian had left Ginny to go to the loo, and I saw Ginny, who had been watching all of it, give me a wink. Then she turned and stole out the apartment door, her longish slinking gown slipping through behind her as she closed the door. I made ready to make some excuse to break away from my sister and head after her with my loot.

  

But just as I opened my mouth to make that excuse , Sis pulled her arms behind me head, and laid her own head back on my shoulder and closed her tired eyes, getting into the music’s deep beat. One of her longish rhinestone earrings just hung there sparkling, mocking me to touch it, and like Gingers diamonds, was ripe for the picking.

  

With the prize within my grasp, I momentarily forgot about the departing Ginny, and I made my move. I found meself trembling a bit, as I reached up and placed my hands gently alongside her ear, her eyes still shut, my victim smiled. The rest of the maneuver was surprisingly easy, as I glided my fingers down and slipped it off the earring in one effortless motion. The sparkling beauty came away from her sweaty ear as smoothly as an ice cube moves along a steaming hot grill ( I actually did have a thought like that). I held it in one fist for a bit, watching my victim, she had not felt so much as a tickle on her earlobe, as I had taken her earring. Relishing in my success, I looked at it dangling and shimmering in my hand behind her back. Then I secured her diamond away. I thought about trying for the other, but thought better of it, knowing Ginny was just waiting on the other side of the door.

  

I finished out the dance, taking my sisters hand with its dazzling bracelet and rings, and admired them while I kissed it. I’d better be off after Ginny I said, and then let go of her hand. Nice doing business with you I said, bemused as I watched the puzzlement creep into her eyes. That is how I left her.

  

However it was my turn to look puzzled as I went out, Ginny was nowhere to be seen. I quickly looked around, then headed to the elevator and rode down in it, alone at this early morning hour, to the lobby.

  

I arrived there, and at first the lobby appeared deserted, cept for a lonely desk clerk with her head buried in a novel. Then breathed a sigh of relief, there, around a corner, Ginny stood talking to some older lady wearing a garish grey pant suit, with this blue tinted helmet of curly hair covered by a large silk head scarf, and carrying an overlarge purse. I suddenly realized that now my anxiety had gone, another urge had taken its place. Ginny looked up, and smiles happily at me, and I smiled back, indicated that I had to go for a minute, and headed meself to the loo.

  

Coming out after I finished, I saw that the lobby was actually now really empty, not even the desk clerk was visible. Thinking Ginny may have gone back upstairs, I first went to the hotels double doors to chance a look outside onto the street below. I just caught sight of a wisp of black gown moving just out of sight past the stairs, on the now smoggy sidewalk below.

  

I headed out, and there was Ginny walking with the Blue haired stranger, they appeared to be looking for something. I started wondering if Ginny had invited this stranger to go on out walk with us? But no, apparently the blue haired lady in the unfortunate grey pantsuit had discovered her keys were missing, and thought they had dropped somewhere after getting out of a taxi just around the corner. And Ginny, bless her kind heated soul, had offered to help the distressed lady look for them.

  

As Ginny was telling me all this after I had caught up, the blue haired older lady , her cheerful face now stern, had started rummaging in her large shoulder bag, I sneaked a peek over her shoulder and saw that is contained quite an amazing assortment of items , ( no wonder it had to be so big). Suddenly she uttered an exclamation, found them she said, triumphantly pulling out an interesting assortment of skeleton type keys on a small ring. Happily smiling at Ginny, she pulled her into an enveloping hug for her efforts, before quickly leaving, but not without first giving me a sidelong glance with a disapproving look from her now pursed–lipped mouth as she passed. But I at the time put it down as her just being stressed out from believing she had misplaced her keys.

  

I am so glad she found her keys remarked Ginny, taking up me hand. That lady was ever so nice, she wanted to know where I had been dressed up all pretty like I am, and when I told her about the wedding, she said it must have been lovely. Then she admired me dress, and rhinestones. Then asked if me ruby ring was a gift from the bride. Liked your ring huh, I asked Ginny, my mind clearing up a little. Oh yes she said, lifted my hand, looked at it an everything!

Then the poor dear missed her keys, and asked if I could be a dear and help her look outside, and that was that until you showed up. (Looking outside for keys at 2:30 in the morning? I thought to myself) As I said ti Ginny, it is a pretty ring, and taking her arm, we started down the block together.

  

My mind, now somewhat attuned to the reality of things, went back to the blue haired lady and her large shoulder bag. Among some of various items I had seen had been a penknife, a length of old silk sash cord, small bundle of lacy handkerchiefs, and a small torch! Then add in the odd assortment of keys on her “misplaced” keyring, and put it all together, it all began to sum up to a new, slightly more sinister meaning of her intentions, in my take on the episode.

  

As we walked, I said nothing in reply to the happily chirping, richly attired girl walking beside me , as for the first time, and not the last, I wondered if something had been afoot with the Blue Haired, pursed mouthed lady that Ginny had seen as a kind older lady needed help, like the bird with a broken wing she had tried to help a few days past( a blue jay!). So was the blue haired lady, with the silk scarf and wearing a rather unisexual pantsuit, acting out the part of a “blue jay”, using her “broken wing” as a ruse to lure my Ginny safely away for her own nefarious reasons?

  

Surreptitiously, I carefully checked over Ginny from head to heeled toes as we walked, to make sure nothing was amiss. Her rhinestones were still safely all in their place, but I did not see the ruby ring, and me heart went still, and chills prickled down my spine! Bullocks! I swore under my breath, that pucker faced tart walked away with it. Ginny, I said, a little choked, she swirled facing me, her green eyes questioning, as she raised her hand to her perked breasts, and there it was, the small, but rather pricey, ruby ring she so loved wearing, the glittery darling had turned around on her finger so it was hidden from my view

.

 

I breathed a heavy sigh of relief, I just wanted to say how lovely you looked this evening my lass, I said saving myself. She smiled winningly, giving me a deep hug for my words. We walked on, as my beating heart slowed down, I convinced myself that maybe the incident of lost keys had all been harmless, and I was just being a worry-wort. I apologized silently for what I had called the fashion challenged blue haired lady in my mind. But I was still beginning to feel like ever a fool to have let Ginny, handsomely decked out as she was, out of my sight at this early hour of the morning.

  

I opened my mind and let all such thoughts flee my head, for the world was now ours, as we made our journey together, hand in hand. We ended up making a very long stroll in the Provincial Park, and reentering the same isolated, secret glen we had been in earlier, proceeded to continue acting out the role playing game we had started at the apartment.

  

Ginny went to the middle of the clearing to wait, pretending she was smoking, like a moll from a gangster movie. I circled and watched her sparkling figure, black in the glens shadows, move about a bit.

  

And as I did, my thoughts wondered a bit, and I remember reflecting ( not for the first time) how in the older black n whites, the heroine, or villainous, is always wearing gowns, elegant long gloves, and jeweled to the sparkling hilt. Then she walks alone to and then waits in some dark alley or other desolate spot for her contact, or hero to show up, much like Ginny was acting out now. So how is it that those fancy dressed and well jeweled unescorted dames, always manage to get to those spots, and are able to wait around in them alone, in those movies, and nary ever meet a ruffian who strips them of those pricy looking sparklers they are flaunting about? Just saying!

  

Saying a brief prayer that my thoughts were not tempting a fate of that type to occur to us now that I had been thinking it, I came out of the shadows and approached Ginny. Keeping my left hand in my pocket like I was carrying a heater. Hey sister, I said, been waiting long? No, she whispered, did you get the goods. Hot as ice I said proudly, producing the necklace and earring I had liberated from the dancing “dame”.

  

As I showed Ginny my take from “the dame”, she squealing over the fact I was able to take one of her diamond earrings, bonus she chanted. We laughed over what the “dames” reaction would be when the jewels were discovered missing. As we snickered, Ginny caught my eyes and then we got off on a tangent about jewel thieves in love, and ended up reenacting the “lure” scene from the movie ‘To Catch a Thief” ending up producing fireworks of our own making as Ginny lost all her jewels as well as her “innocence”.. We then made our way back home, as the cock crows, receiving a few odd looks from the occasional early morning lorry drivers.

  

And above all, I still remember feeling pretty bloody cocky as Ginny and I had sauntered our way to the park. And why not, I ask? Cause not only did I get to stroll about with the most captivating ginger haired lass, sparkling in fancy dress around, But I also had totally scored a hat trick in the jewelry lifting department, collecting two Quid to boot, and that’s what life is all about for us boys, winning the game, isn’t it?

 

So ends my story, of which I have written 2 versions.

My question is now this:

Which version, if one reads both, do you believe to be the truer?

Please leave a comment at the end of the story you believe is..

In appreciation,

Thank You

 

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In Appraisal

 

Tis story may be unique in its nature, but if not we would love to hear about it. Please leave a comment or drop an email ( or both) about you own experience.

Thank You

 

The Sonia clip shortcut ( recommend viewing)

youtu.be/HAZdjhNVjxk

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Courtesy of Chatwick University Archives

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All rights and copyrights observed by Chatwick University, Its contributors, associates and Agents

 

The purpose of these chronological photos and accompanying stories, articles is to educate, teach, instruct, and generally increase the awareness level of the general public as to the nature and intent of the underlying criminal elements that have historically plagued humankind.

 

No Part of this can reprinted, duplicated, or copied be without the express written permission and approval of Chatwick University.

 

These photos and stories are works of fiction. Any resemblance to people, living or deceased, is purely coincidental.

As with any work of fiction or fantasy the purpose is for entertainment and/or educational purposes only, and should never be attempted in real life.

We accept no responsibility for any events occurring outside this website.

 

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Chronicles of lifting Light C (The Reception Game)

A forethought

“The wedding was a bit over the top. The bride wanted her girl’s dresses to be something they would wear out again. A nice thought, but the gowns she found were a little too long for anything but formal evening wear, according to our girls who were asked to be part of the bridal party. The maid of honour wore a red silk version; the six Bridesmaids wore theirs in black satin.” Each of the girls were also presented with a matching collection of Swarovski rhinestones “traditional classic darlings” ! The jewellery, when added to the girl’s ensemble, further enhanced the red carpet like atmosphere of the Bridal party coterie’!

 

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Intro of the story proper :

“A few years ago, “Ginny” was watching some type of show when I heard her squeal out. Our Golden Retriever ‘Sam’ meandered back in to see what all the fuss was about? I obediently followed. Ginny pointed out to us a model who was wearing, rather fetchingly I might add, a long black satin gown. That’s m’ gown Ginny exclaimed, you remember, the one I wore at “Sheila’s” wedding, the one where my necklace was sn…., But at that point her attention was diverted back to her program. Squirrel I teased as Sam and I watched with her.

 

It was a gown strikingly very similar in colour, cut, and material to the one worn by Ginny ( and me sister) at a chums wedding years before ( and winningly worn several times hence I might add). It is a pretty thing to behold my charming Ginny sporting it, and in its time, it has born witness to a few goings on that most ladies wearing a gown like that would never encounter…….”

 

Chronicles of lifting Light C

Story Proper

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This story is true, and is really pretty much told as it happened.

What we did may sound daft, but read and understand the circumstances, plus realize we all were pretty well lit up with drink.

 

I will plead guilty at having enhanced certain aspects of the story.

For indeed, truth can be stranger than fiction… and coincidences occur, both sweet and bitter….. as I’m sure someone once said.

 

So here goes it….

 

My twin sister and our friend “Ginny” were invited to join in a school chums bridal party. The groom didn’t have enough to go around so my sister’s boyfriend “Brian” and I were pressed, not unwillingly, into service.

 

As I stated earlier, the wedding and reception were both over the top posh. So much so that our opinions, and subsequent escapades, were still coming up amongst us as a topic of conversation at our local haunt The ‘Poet and the Peasant Pub’, kept by Brian’s Auntie and Uncle..

www.flickr.com/groups/poet_and_the_peasant__pub_/

 

The Wedding proper was held at the local Cathedral. A rather decadent place built with a hearty clash of gothic/ medieval styles ; with black stone towers, Lancet arches, and fly away buttresses.

 

Inside one finds white marble columns, oak pews blackened with age, intricate wood work and ghostly while statues. All lit with hanging diamond shaped antique glass lights and colourful lead glass stained windows depicting a horde of medieval era religious scenes.

 

I twas a fine backdrop for the rather glamoursly attired guests in attendance. The wedding ceremony itself would have been an interesting tale in and of itself, but that telling will await another day, for mine has its’ beginnings at the Reception.

 

The Reception was held in the basement, a grand place with an opulent ballroom, well stocked bar room and elegant dining area. The subterranean basement was decorated richly along the same grand lines as the interior of the ancient Cathedral above.

 

We were some time at the reception when my Ginny , who had been held up on her way back from the loo by a snobbish dowager feeling the need to criticise someone, regained her seat by plopping down with a loud woosh.

 

That was a chore, being picked apart by that “lovely !”creature. she exclaimed cynically, whilst adjusting her loose brooch. We all just smirked. I had received the same treatment from the lecturing prig earlier that evening.

  

Well, to be honest , my twin sister and Brian just actually were smirking at that. I believe my attention at the time was rather more occupied on the area where Ginny’s Brooch lay, which was the proper cause of my smirk! (naughty me)

 

Finished, Ginny than leaned against me sister, and, still reeling from being inappropriately chided, made a snide comment about the flimsy clasps on the shimmering jewellery they were wearing. My Sister, touching her necklace, told her, “ no worries, luv, no one would nick them anyways, they are only rhinestones”. Except my ring isn’t, said Ginny looking down at the ruby ring she was wearing on her pinky. My sister, thinking a minute, retorted “Then one never knows… “ , It looked like she was going to add something to that, but at that point the band restarted, and we joined the swarm of fancy dress gowns, silky dresses, suits and tuxes worn by the chic guests as they herded to the dance floor.

  

As we headed off, I was still perplexed about what had been going on in Sis’s head that made her come out with that reply, and I swear she had stolen a look at me while saying it. But as I had watched her pull at an earring to emphasize how loose the sparkling jewel was, a seed was planted in my head about a subject I myself had always found rather intriguing, pickpocketing jewelry!

  

Much later that evening, found Brian, me sister, and I alone, and probably more than a little drunk (always a precarious time with us). As Sis and Brain chatted on about a topic I had soon lost interest in, I started to watch Ginny, who had been asked to dance by some twit with shifty eyes in a red silk shirt, (open collared), who had rudely cut in on us. As I watched Ginny’s swishing gown liquidly move and flutter about in quite an interesting exhibition, I found meself mesmerized by the beckoning manner in which her healthy display of rhinestones were sparkling about( as they had been all evening). I looked back at my sister, and her own show of jewelry, also sparkling up nicely against the smooth black satin backdrop of her own matching gown..

 

Still not being able to shake me twin’s earlier comment about nicking jewels, nor its answer, out of my head , I waited for a lull in conversation to finally chance asking my twin about her comments.

 

She looked at me, having to think back a bit about the question, ( As I said, we were more drunk than sober by then), placing a nicely ringed finger to her lips, while regrouping her thoughts. Got it, she exclaimed! Proudly remembering what had triggered her memory, and with that she started to explain.

 

When she was a tyke of about 7, there was a show that she had seen on the tele that centered on this group of people trying to reform a thief. Believing that he had turned a new leaf, they threw a fancy dress dance for him in honour of his new ways. During the dance, he cut in and danced with each of the three ladies who had been trying to teach him the errors of his ways. From one he slipped off her long diamond earrings, from a second her diamond necklace was lifted away, but me sister was unsure what the scoundrel took from the third. Sis had reckoned that the earrings and necklaces that she and Ginny were wearing that evening, looked a lot like the ones worn by ( and nicked from) the ladies on that show.

  

Now, as me twin described the thief’s antics, certain emotions awakened, rearing their tantalizing heads; my mind began wandering in some deep waters, pulled bout by some deep personal emotions. Cause I had been sitting on the couch with her, when as quite young children, we had seen a repeat of that episode.

  

As it happened my sister had been outside earlier playing dress up in on of mum’s old party frocks and was still wearing it, along with a set of costume pearls. Suddenly, that day, I wanted nothing more in the world than to lift the pearls she was wearing. I simmered over it for the rest of the program, getting to the point of actually laying my arm on the back of the couch, inching my fingers towards the clasp of her pearls laying there upon the back of her throat. But then the show ended, and I got no closer to stealing anything more than a touch of a really soft old evening gown. After the show ended, I warily suggested we go back outside and play Robin Hood (my sister has always been into his story).

  

We did, and as Sir Robin led her to his hideout, conveniently located through a thicket of Hawthorne’s, the pretty Maid Marion’s pearls mysteriously melted away.

  

That is when I had I had my epiphany, hitting me like a brick wall! Waiting till sis finished her story, I pointed out to Ginny, and asked the pair, If Ginny had been the third lady he had danced with, what jeweles do you think he would have found easiest to lift from her while dancing?

  

Brian , always the more pragmatic of the group, snorted, that’s stuff that only happens in stories and movies.

 

I said I would bet it can be done, a quid says I can lift a piece of Ginny’s jewelry with her never noticing. Sis chimed in, you wouldn’t dare, but she was looking at me like she knew the answer already. Brian caught her tone, and took me up on it, betting me the quid that I couldn’t get away with lifting her necklace,( I liked his choice, it had been a necklace that “Sir Robin” had first lifted from me sisters neck that day in the woods long past).

  

At this time the music ended, and Ginny swished back to rejoin us. As we played mute about our plans, we welcomed the damsel back and acted like there had been nothing in the world goin on amongst us while she was out dancing.

 

We drank and talked for a bit more, and I was all but certain that Brian and my sister had all but forgotten the wager.

 

But I hadn’t, nor had I been able to keep my eyes from studying the glittery rhinestones Ginny had draped around her pretty throat. When a slow song started up, I rose and asked Ginny to a dance. I caught Brian’s eyes, and read the dare reflecting in them, so we were still on with the wager.

 

Leading Ginny to the dance floor, we embraced, and danced to the pretty song beginning to play, it twas a slow romantic one ( lady in red If I recall correctly). Ginny was absolute pure heaven in my arms, and I found me self so entrapped by her charms, that all ambitions to be a thief and make an attempt upon her lovely rhinestone necklace fell to the wayside.

  

As the song was ending, I caught a look from Brian across the dance floor, noticing that he smugly was looked at Ginny’s throat. I did not want to lose me quid on principle (I swear), so as the dance ended I held onto Ginny, waiting. Soon a second song started, disappointedly a more fast paced one with a Latin beat. I spun Ginny around onto the floor before she had time to catch a breath, we danced, like the song which played says:

  

And we… danced like a wave on the ocean, romanced

We were liars in love and we danced

Swept away for a moment by chance

And we danced, danced, danced

 

And dance we did, hot, furious and fast. A couple of times I spun Ginny around, and the poor girl already a bit tipsy, fell against me, giggling. About the third time I spun her, she stopped, and dropped backside into me and began to do this sort of gyrating move, slithering up and down my front side, with her hands held high above her head, her longish ginger hair had fallen over one shoulder, exposing her necklace in all its fine brilliance. As her warm, sweaty figure slipped up and down against mine, I watched the back of her throat, eyeing the necklace as it sparkled opulently in the dim lights. I started Studying, intently, the sparkly chain with it’s simple hook in eye clasp.

  

She brought her hands down behind me back, crossing them behind me waist. My right hand went to the front of her waist, holding onto her squirming, satin slippery sweating figure, pressing her warm body tightly against me.

 

My left hand went up to her shoulder, gliding along the glossy slick fabric of her black satin gown, until I reached her necklace. It only took seconds for my fingers to lift up, and slip off the hook from its”eye” , letting the shimmering chain slither down the front side of Ginny’s satin clad breasts. My right hand left her waist, and travelled nimbly, tingling, all the way up the front until my fingers grasped the dangling chain. My left hand let go, and the necklace whisked down the front of her perking bosom, tightly covered by the glossy black satin bridesmaid gown. The whole bit of thievery took me only a few chords of the music, but it seemed to be carried out in slow motion in the process.

 

We finished out the song, me basking in the fact that my gyrating partner was innocently unaware that her shiny necklace had been pinched, and were now residing in her dance partners vest pocket. I will admit feeling a twinge of regret that it no longer could be seen glittering from around its’ mistress’s now bare throat.

  

We made our way back to the others, Brian had a smug look on his bearded face, I knew he was up to something. As I sat down, he whispered double it or nothing mate, that she notices it’s missing before we leave. I nodded, taking him up on it.

 

So, the game was still on, and for the last two hours that we stayed at the reception poor Ginny became the unknowing centre of our somewhat devious game1

 

Brain, eagerly waiting for Ginny to notice her missing necklace, tried for the most part to remain mute. I sweated it a bit, but his saboteur’s tactics failed.

 

I’ll admit I hadn’t thought it out before agreeing, but what probably should have been a suckers bet, with a million ways for Ginny to notice her necklace was playing hooky, apparently was going with the long odds for me to win.

 

I sweated it a bit, butno-one else amongst the crowd pointed out, or even seemed to care that Ginny was no longer wearing her necklace! Even the bloke in the open collared re shirt, who managed to steal Ginny away for another dance, failed to say anything. Which made me a mite curious as to where his attention span had been focused.

 

Even when me sister tried to help Brian out by playing with her own jewelled necklace while she held Ginny’s attention during conversation in the ladies powder room, failed to cause a reaction!

 

Through all this, the poor creature never quite caught on that her necklace had been lifted from her throat ! Unscrupulously nicked away on a whimsical bet while innocently dancing!

 

And continued danced with me she did, all of us thoroughly enjoying the rest of the evening’s attractions, along with the bit of fun we were having at poor Ginny’s expense.! But I made damn sure that our poor victim had the time of her life for my repentance.

 

Then during our last slow dance, I did start to harbour the prickling thought of trying for another of Ginny’s baubles. But the thought of winning 2 quid from Brian, who in his time has won a bit more from me than I him, kept my thoughts of further thievery in check! I knew my spirit was weakening. Fortunately we left soon afterwards….

  

We finally left the reception after midnight and made our way along the ten city blocks back to the hotel where Ginny and my twin sister shared a joining room with Brian and meself.

 

Ginny walked calmly with us, unaware of the picaresque devils that were us, keeping pace beside her. As were making our way through a short cut in a wooded Provincial park, we stopped in a small isolated glen and circled around Ginny. Sis was grinning as she asked poor unawares Ginny; So luv, whatever did happen to your necklace? Gin’s reaction was absolutely, rewardingly priceless.

  

Ginny, a relatively innocent soul, who is prone to believing most anything told to her, started, and her hand went to her throat, feeling about fruitlessly, as her rustling glossy gown and remaining jewels glistened dark in the full moons’ light.

 

“M’ necklace, why it’s gone? , where did it go!, she pleaded helplessly, her thought patterns and speech a little slurred by her rather intoxicated condition. We than got into it, playing dumb along with her, and tried to figure out the “mystery” I said the last time I saw it was when that seedy bloke cut in, and I ran my hand up her back, feeling the shivers going down her spine, did the blighter touch you like that, then luv. No she said, then thought hard, no she repeated, he couldn’t have, he was a proper gentleman, and it was only rhinestone, like your sister said.

 

I don’t know said Brian, never trust any gent who doesn’t wear a tie to fancy dress! He had to ‘ave been up to no good, that one!

 

My sister then commented that the bloke may have not noticed no difference, and she held out her own necklace, I’m glad he didn’t ask me to dance.

 

No, Ginny shook her head, her long earrings flickering a frenzied fire out from her let down ginger hair, no one could have lifted them like that, I’d have felt it….I’m sure of that…!

  

She looked desperately around at us, then seeing the look on upon our faces, Ginny froze with the realization that we had all been up to something, and, then a smile of relief showed up on her pretty face, as I held up her necklace, sparkling in front of her eyes. A sly look of understanding that we had been up to something crept into those dazzling green eyes , as she told us now to spill it out.

  

We explained the whole tale as Sis helped Ginny place her necklace back on. Ginny, with her usual good humor, said she had never noticed a thing, and it probably was a good thing we weren’t real thieves, because if her necklace had been diamonds, it would have been worth a small fortune. And shame on us for having her believe it was that poor blighter in the red shirt.

  

We wouldn’t’ make very good thieves I agreed we drink too much. She just smiled, a curious looking gleam creeping up into those witchy green eyes of hers. Let’s get going before we meet a real thief then, urged my sister, all this talk about someone thinking our jewels are real is giving me the right chills.

  

Our drunken little group then merrily, if not a little more guardedly, made our way home..

 

This next bit is my favorite.

 

We rode the elevator up to the boy’s room, as the girls called our room, where we drank beer, danced to music and talked on a bit about the reception. The girls stayed in dress and I happily soaked up the pretty picture the pair of admirably attractive girls presented with their long sheets of straight hair now just hanging down, their “diamonds” sparkling and all other assorted frills enticing.

 

About two hours later found Brian and myself sitting on the couch in kind of a hazy stupor while holding onto our beers. Ginny and my sister were standing directly in front of us, holding beers of their own and giggling over some girlish nonsense, the hypnotic swaying of their longish glossy black satin gowns slowly putting me to sleep.

  

Brain, draining his beer, got up to get another, bumping against my sister and playfully grabbed a handful. My sister started giggling at him as he sauntered off grinning, turning her figure so the brooch at the centre of her gowns’ waistline almost wacked me on the nose. Half asleep I reached over and gingerly lifted it up.

 

Looking up at the girls I saw that neither was paying no never mind towards me. Ginny, however, laid a hand on my twins shoulder, drawing her close so she could whisper some girlish secret about Brian. I continued on, and was able to undo the brooch, and slip it carefully off without notice. I slipped her jewel into my pocket; waiting until I could think ,now that I did the deed, just hpw I would tease her about it.

  

Brian stopped on the way back and reset the music, a slow song came up. Sis went to him, and the pair started dancing. I rose and taking Ginny by the hand, followed suit, leading her to the bit of a dance floor we had cleared. She was again, pure heaven in my arms and my hands slipped liberally up and down her smooth, slinky gowned figure.

 

Ginny smiled! I knew that smile, and realized that something was going on behind her pretty green eyes.

 

She flicked back her sheet of ginger hair, and leaned against me. I saw you, she huskily whispered, her voice putting a tickle in my ear. Saw me I asked, not getting it. I saw you lift that dame’s diamond brooch, Ginny said in a sultry voice as she looked over towards where my sister was dancing, (no, she was actually swooning), in Brian’s arms.

 

Now mate, you see that one over there, in the black dancing with the bearded gent? I looked over, as she continues, look at ‘er necklace, I have a fancy for diamonds, and if you don’t want me to call security, I suggest you get hers for me, darling, she said with conspiracy like tones, acting like she was some old time actress in a movie. I loved the devilishness of Ginny’s role play idea and it did not take much to toss me whole heart and soul into the assignment!.

  

Check out the Sonia clip shortcut at the end of my tale( recommend viewing)

  

Now wide awake, I got fully into Ginny’s game. As we continued dancing, my eyes watched Brian and me sister, taking careful inventory of all the “dames” sparkling jewelry. Sis turned, and caught my eyes looking her over, she blushed, and not knowing what was really going through my mind, smiled at me. As I smiled back, my eyes drinking her fetchingly attired figure up!

 

I was imagining that all of her ample collection of rhinestones so prettily positioned on her figure, were real diamonds. And that I was an actual thief plotting to nick her lovely sparklers. I looked into Ginny’s eyes. You have a deal miss, I whispered, making my voice deep and throaty, as I imagined meself as some, albeit drunk, Humphrey Bogart type character in some grittingly shadowy film noir style black and white movie.

  

The song ended and a second, even slower one began playing. Brian and my sister were still locked into each other’s arms, but I felt that the time to make my move was now. Throwing Ginny a wink, I went over and cut in, Brian looked drunkenly at me like “whattsup chap,” but Ginny was right behind and swirled him conveniently away before he could properly react.

  

And as I took the pretty, wide eyed with innocence looking “dame” into my arms I found it exciting that she was oblivious to my nefarious intentions. Naïvely unaware, that in indifference to her own words earlier, someone did now want to nick the jewelry which was quite so merrily dangling from her svelte figure. Now, don’t forget at this point to me she was no longer my sister, but a sweet innocent victim weighted down with desirable loot. And I? I was nothing more than a suave thief deliciously hungering after her bright baubles, albeit, a slightly inebriated suave thief!

  

I bided my time, appearing to look into my twins/victims half opened eyes ( she was really lit by this time, as we all were) , my mind was working overtime on how the best approach to reach my objective. Then it came to me, quite clearly, and so Bob became my uncle, and I began his suggested approach…. And if I would have dared say so at the time, I executed my bit of jewel thievery like a pro….That is if there are actually pros at this sort of thing1?

  

Employing the same method that I remembered the thief using in the Gilligan’s Island episode to remove his dance partners necklace, I began to compliment my twin on how devastating her and Ginny looked both looked that evening (no lies), slowly moving my one hand up the slick material of the gown covering her back as I whispered my praise. Easily I reached the dangling part of her hook and eye necklace with its’ glittering rows of “diamonds”. She ate it up, blushing and closing her eyes, naively cooperating by tilting her head down, exposing even more of the back of her throat, and laying bare the chain of her “diamond” necklace. As she fawned over my words of (not false) praise, I subtly lifted up the chain of her necklace, whilst my free hand held her ever so her tightly around the waist. For the second time that evening I could feel the heat emanating from my victims squirming figure. As well as again feeling me own heart pounding a storm.

  

I gently used my free left hands’ fingers to unhooked the clasp, and let the necklace fall over her one shoulder. Sis never felt it hanging, or noticed it as I peeled it off her chest (whisking along her gown smooth as silk) and pulled it over her gown’s satin shoulder till it slipped sparkling down behind her. I held it hanging loose behind her back for a few turns, still pouring out the compliments, until I pocketed it, letting it join her purloined brooch.

  

Meanwhile, Brian had left Ginny to go to the loo, and I saw Ginny, who had been eagerly watching all of it, give me a wink. Then she turned and stole out the apartment door, her longish slinking gown slipping through behind her as she closed the door. I made ready to make some excuse to break away from my sister and head after her with my loot.

  

But just as I opened my mouth to make that excuse , Sis pulled her arms behind me head, and laid her own head back on my shoulder and closed her tired eyes, getting into the music’s deep beat. One of her longish rhinestone earrings just hung there sparkling, mocking me to touch it, and like Gingers diamonds, I saw them as quite ripe for the picking.

  

With the prize within my grasp, I momentarily forgot about the departing Ginny, and I made my move. I found meself trembling a bit, as I reached up and placed my hands gently alongside her ear, her eyes still shut, my victim smiled prettily. The rest of the manoeuvre was surprisingly easy, as I glided my fingers down and slipped it off the earring in one effortless motion. The sparkling beauty came away from her sweaty ear as smoothly as an ice cube moves along a steaming hot grill ( I actually did have a thought like that). I held it in one fist for a bit, watching my victim, she had not felt so much as a tickle on her earlobe, as I had removed her earring. Relishing in my success, I looked at it dangling and shimmering in my hand behind her back. Then, as I secured her diamonds away, I thought about trying for the other. But thought better of it, knowing Ginny was just waiting on the other side of the door.

  

I finished out the dance, taking my sisters hand with its dazzling bracelet and rings, and admired them while I kissed it, the “Dames” Bracelet tantalizing slipped down along her wrist and brushed against me knuckles. At that moment, we both heard the toilet flushing, and my twin looked over her shoulder laughing. As she did do, I saw an opportunity opening up and taking her dangling diamonded bracelet in me fingers, tugged it down ever so discreetly. Surprisingly the clasp popped opened ( right about being flimsy luv, I silently agreed with my twin’s earlier statement)!

  

I daringly pulled it free from around her wrist and slipped it in me pocket just as she turned back around to face her dance partner. I could see in her eyes that she had not felt nor noticed anything outta place. I’d better be off after Ginny I said, clearing me throat, and then , with no fanfare, let go of her hand. It dropped to her side, rings flashing, purloined bracelet gone from where it had, with cheeky regality, had been holding shimmering court all evening.

 

Nice doing business with you I said, bemused as I watched the puzzlement creep into her half awake eyes while I backed away from her towards the door.

 

And that chaps, is how I left her. With my grainy black and white movie still playing out in my mind. She just was standing there puzzled, a wealthy lady in fancy dress, unknowingly watching the dashing stranger leave with the “fortune” in jewels she thought she still was wearing. She innocently watched me as I left the room with her “diamonds” in my scoundrel’s possession!

  

However, it was my turn to look puzzled as I went out, Ginny was nowhere to be seen! I quickly looked around, then headed to the elevator and rode down in it, alone at this early morning hour, to the lobby.

  

I arrived there, and at first the lobby appeared deserted, cept for a lonely desk clerk with her head buried in a novel. Then breathed a sigh of relief, there, around a corner, Ginny stood talking to some older lady wearing a garish grey pant suit, with this blue tinted helmet of curly hair covered by a large silk head scarf, and carrying an overlarge purse. I suddenly realized that now my anxiety had gone, another urge had taken its place. Ginny looked up, and smiles happily at me, and I smiled back, indicated that I had to go for a minute, and headed meself to the loo.

  

Coming out after I finished, I saw that the lobby was actually now really empty, not even the desk clerk was visible. Thinking Ginny may have gone back upstairs, I first went to the hotels double doors to chance a look outside onto the street below. I just caught sight of a wisp of black gown moving just out of sight past the stairs, on the now smoggy sidewalk below.

  

I headed out, and there was Ginny walking with the Blue haired stranger, they appeared to be looking for something. I started wondering if Ginny had invited this stranger to go on out walk with us? But no, apparently the blue haired lady in the unfortunate grey pantsuit had discovered her keys were missing, and thought they had dropped somewhere after getting out of a taxi just around the corner. And Ginny, bless her kind heated soul, had offered to help the distressed lady look for them.

  

As Ginny was telling me all this after I had caught up, the blue haired older lady , her cheerful face now stern, had started rummaging in her large shoulder bag, I sneaked a peek over her shoulder and saw that is contained quite an amazing assortment of items , ( no wonder it had to be so big). Suddenly she uttered an exclamation, found them she said, triumphantly pulling out an interesting assortment of skeleton type keys on a small ring. Happily smiling at Ginny, she pulled her into an enveloping hug for her efforts, before quickly leaving, but not without first giving me a sidelong glance with a disapproving look from her now pursed–lipped mouth as she passed. But I at the time put it down as her just being stressed out from believing she had misplaced her keys.

  

I am so glad she found her keys remarked Ginny, taking up me hand. That lady was ever so nice, she wanted to know where I had been dressed up all pretty like I am, and when I told her about the wedding, she said it must have been lovely. Then she admired me dress, and rhinestones. Then asked if me ruby ring was a gift from the bride. Liked your ring huh, I asked Ginny, my mind clearing up a little. Oh yes she said, lifted my hand, looked at it an everything!

Then the poor dear missed her keys, and asked if I could be a dear and help her look outside, and that was that until you showed up. (Looking outside for keys at 2:30 in the morning? I thought to myself) As I said ti Ginny, it is a pretty ring, and taking her arm, we started down the block together.

  

My mind, now somewhat attuned to the reality of things, went back to the blue haired lady and her large shoulder bag. Among some of various items I had seen had been a penknife, a length of old silk sash cord, small bundle of lacy handkerchiefs, and a small torch! Then add in the odd assortment of keys on her “misplaced” keyring, and put it all together, it all began to sum up to a new, slightly more sinister meaning of her intentions, in my take on the episode.

  

As we walked, I said nothing in reply to the happily chirping, richly attired girl walking beside me , as for the first time, and not the last, I wondered if something had been afoot with the Blue Haired, pursed mouthed lady that Ginny had seen as a kind older lady needed help, like the bird with a broken wing she had tried to help a few days past( a blue jay!). So was the blue haired lady, with the silk scarf and wearing a rather unisexual pantsuit, acting out the part of a “blue jay”, using her “broken wing” as a ruse to lure my Ginny safely away for her own nefarious reasons?

  

Surreptitiously, I carefully checked over Ginny from head to heeled toes as we walked, to make sure nothing was amiss. Her rhinestones were still safely all in their place, but I did not see the ruby ring, and me heart went still, and chills prickled down my spine! Bullocks! I swore under my breath, that pucker faced tart walked away with it. Ginny, I said, a little choked, she swirled facing me, her green eyes questioning, as she raised her hand to her perked breasts, and there it was, the small, but rather pricey, ruby ring she so loved wearing, the glittery darling had turned around on her finger so it was hidden from my view

.

 

I breathed a heavy sigh of relief, I just wanted to say how lovely you looked this evening my lass, I said saving myself. She smiled winningly, giving me a deep hug for my words. We walked on, as my beating heart slowed down, I convinced myself that maybe the incident of lost keys had all been harmless, and I was just being a worry-wort. I apologized silently for what I had called the fashion challenged blue haired lady in my mind. But I was still beginning to feel like ever a fool to have let Ginny, handsomely decked out as she was, out of my sight at this early hour of the morning.

  

I opened my mind and let all such thoughts flee my head, for the world was now ours, as we made our journey together, hand in hand. We ended up making a very long stroll in the Provincial Park, and reentering the same isolated, secret glen we had been in earlier, proceeded to continue acting out the role playing game we had started at the apartment.

  

Ginny went to the middle of the clearing to wait, pretending she was smoking, like a moll from a gangster movie. I circled and watched her sparkling figure, black in the glens shadows, move about a bit.

  

And as I did, my thoughts wondered a bit, and I remember reflecting ( not for the first time) how in the older black n whites, the heroine, or villainous, is always wearing gowns, elegant long gloves, and jeweled to the sparkling hilt. Then she walks alone to and then waits in some dark alley or other desolate spot for her contact, or hero to show up, much like Ginny was acting out now. So how is it that those fancy dressed and well jeweled unescorted dames, always manage to get to those spots, and are able to wait around in them alone, in those movies, and nary ever meet a ruffian who strips them of those pricy looking sparklers they are flaunting about? Just saying!

  

Saying a brief prayer that my thoughts were not tempting a fate of that type to occur to us now that I had been thinking it, I came out of the shadows and approached Ginny. Keeping my left hand in my pocket like I was carrying a heater. Hey sister, I said, been waiting long? No, she whispered, did you get the goods. Hot as ice I said proudly, producing the necklace and earring I had liberated from the dancing “dame”.

  

As I showed Ginny my take from “the dame”, she squealing over the fact I was able to take one of her diamond earrings, bonus she chanted. Playing a thief’s role, I kept mum about the bracelet, no honour amongst thieves I thought mischievously .

We laughed over what the “dames” reaction would be when the jewels were discovered missing. As we snickered, Ginny caught my eyes and then we got off on a tangent about jewel thieves in love, and ended up reenacting the “lure” scene from the movie ‘To Catch a Thief” ending up producing fireworks of our own making as Ginny lost all her jewels as well as her “innocence”.. We then made our way back home, as the cock crows, receiving a few odd looks from the occasional early morning lorry drivers.

  

And above all, I still remember feeling pretty bloody cocky as Ginny and I had sauntered our way to the park. And why not, I ask? Cause not only did I get to stroll about with the most captivating ginger haired lass, sparkling in fancy dress around, But I also had totally scored a hat trick in the jewelry lifting department, collecting two Quid to boot, and that’s what life is all about for us boys, winning the game, taint it?

 

So ends my story

Please leave a comment at the end of the story if you rather liked the telling..

  

The Sonia clip shortcut ( recommend viewing)

youtu.be/HAZdjhNVjxk

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Courtesy of Chatwick University Archives

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All rights and copyrights observed by Chatwick University, Its contributors, associates and Agents

 

The purpose of these chronological photos and accompanying stories, articles is to educate, teach, instruct, and generally increase the awareness level of the general public as to the nature and intent of the underlying criminal elements that have historically plagued humankind.

 

No Part of this can reprinted, duplicated, or copied be without the express written permission and approval of Chatwick University.

 

These photos and stories are works of fiction. Any resemblance to people, living or deceased, is purely coincidental.

As with any work of fiction or fantasy the purpose is for entertainment and/or educational purposes only, and should never be attempted in real life.

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Please consider leaving a comment at the end of the story if you rather liked the telling..

  

both opening prompt and vanishing point for these mostly gestural ink paintings is a quote from artist Alok Hsu Kwang-han –

 

“the emptiness of the self is the one who can move through the broken heart of the world and feel at home”

 

the initial impulse to allow the intuition of the moment to guide the brush strokes, as portraits of energy or presencing; a kind of witnessing without accumulation or interference, attunement to murmurations; while occasionally more representational images emerge – as well, entendering – and in the spirit of the initial quotation, everything belongs

I have been going through some transformations recently - things that made me question my own intuitions. Is what am I searching for too high of a bar, too far away from reality, and a mere fantasy?

 

But even so, does it stop me from seeking it? Have I exhausted all of my options?

 

Often times we let the environment define our values, and we work so hard towards those values. But the real values need to come from within ourselves. What makes you, you? What are your super powers? The stronger those internal callings are, more the reason we need to listen, and be attuned to them. I must defend my own lights.

 

"You cannot convince people to love you. This is an absolute rule. No one will ever give you love because you want him or her to give it. Real love moves freely in both directions. Don't waste your time on anything else.

Most things will be okay eventually, but not everything will be. Sometimes you'll put up a good fight and lose. Sometimes you'll hold on really hard and realize there is no choice but to let go. Acceptance is a small, quiet room" -- Tiny Beautiful Things

 

Model: Denisa Strakova official

Crown and Jewelry Designer: Namiko Layden-Nakamura at Namiko Abloom

Photography: Jiamin Zhu JaJasgarden

both opening prompt and vanishing point for these mostly gestural ink paintings is a quote from artist Alok Hsu Kwang-han –

 

“the emptiness of the self is the one who can move through the broken heart of the world and feel at home”

 

the initial impulse to allow the intuition of the moment to guide the brush strokes, as portraits of energy or presencing; a kind of witnessing without accumulation or interference, attunement to murmurations; while occasionally more representational images emerge – as well, entendering – and in the spirit of the initial quotation, everything belongs

On New Years Eve, I had two very intense conversations, one with a man and later with a woman going through severe mental, emotional and physical suffering. I realized in both situations that I was not there to offer wisdom but to listen attentively with compassion. Both of them spoke about death, one by choice and one by circumstance. Both of them stirred within me a deep recommitment to the resilience and creative power that lies dormant within each of us and also the awareness of devastating loss when one fails to arouse it.

 

We stand on a dangerous precipice in our relationship with technology and artificial intelligence.

 

While we bask in ever-expanding conveniences, engage in 24/7 binge-worthy entertainment, manage distractions and an onslaught of endless information, our systems of education, religion, medicine, business and politics are slowly being dismantled. Lust for power and profit dominate the mindset of more and more leaders and the “divide, control and conquor” strategies of past ages seem to be as prevalent as ever. Our social support structures are crumbling and the family unit is constantly under seige.

 

What chance is there for the single individual to feel empowered against such odds?

 

Ending on a hopeless note, my two New Year’s Eve conversations left no room for “it’s going to be ok”. It would have dishonored the sacred intimacy that held the space for their bitter honesty. I had to feel the heartbreaking truth of their feelings. I had to embrace the failure of our larger society in order to process and discover the true gift of these two interactions.

 

Later that night, there were only questions.

 

How can we change circumstances if we refuse to change our habits of dependency on the old systems?

 

How can we reframe our relationships, learning, belief, health and leadership?

 

The adepts of many ancient cultures understood these dynamics of the individual and society and they created ways to develop self-leadership and inner mastery. They understood that the Universal Law is in each of us. When we are again attuned to It, our awareness completely shifts. We can let go of the default programs that dominate our behavior. With this knowing, a citizen could once again recognize the power of the individual who in our modern times holds tremendous consumer power, voting power, creative power and the greatest of all powers, the capacity to work through Love. The possibilities are endless, as limitless as the horizons of our creative tendencies. We are each a drop in a great and infinite Ocean.

 

Do we have the courage, wisdom and imagination to access and wield these powers?

 

The answer lies in the drop itself.

 

The true revolution of our age is not one of the masses, but of the individual willing to dive into the inner recesses of their own Being. We cannot change the world but we can change ourselves. We can strengthen our relationships within our society and make better choices when we know how to navigate our own lives more effectively. Only then can we nurture stronger families, are wiser consumers, more discerning citizens and visionary leaders capable of making vital and conscientious decisions in technology, medicine and education through innovative creative design. Our activism will have more substance and vision. We will awaken the arts once again and let music and dance be a part of our every day life. Living kindly will be as self-evident as taking care of our environment.

 

There it was. The gift. The clarity for me and what the opportunities of the next decade hold. I was reminded that sometimes we need to listen instead of coming up with the answers right away. I feel grateful to these two fellow travellers for the gift they gave me and I send them love.

 

Here’s to the first day of the new decade, the first day of the first month of the new year… 2020, here we are… Breathe into it…

 

“You may say I’m a dreamer, but I’m not the only one…”

 

Sing it, dance it, draw it, sew it, create, create, create... you are one with the Creator and all the power that ever was or will be is here in you right now.

 

Love always,

Ganga

   

Having been a sun owl for years, I already am attuned to the colors of the skies during sundown. A lot of people have asked me for phototips so here are some ideas so that you too can indulge in the color palettes that still amaze me up to now.

 

The sun was not raging yesterday as the day was generally overcast but the skies cleared just in time to sport gold tones 30 minutes before sunset. I wanted to play silhouettes so I underexposed the shot by 1 stop. Note that the closer the scenery, the darker the silhouettes.

 

taken 5:40PM, 30 min before the 6:10PM sunset

f/5.0, 0.002s (telephoto lens at 205mm)

 

at Suba Basbas, Lapu-Lapu City, Cebu, the Philippines

 

more pics and journeys in colloidfarl.blogspot.com/

#AbFav_ABSTRACT_MINIMALISM_🚦

 

taken in Salford, Manchester, Lancashire.

Named after the Greek god of wind, Aeolus – Acoustic Wind Pavilion is a giant instrument and optical sculpture, crafted by Luke Jerram.

It was singing away in Canary Wharf, Aeolus allows wind to resonate through polished steel tubes and along vibrating strings attached to the tubes.

The hum produced is attuned to the aeolian scale and registers even in the lowest of winds, creating a soundscape of the environment throughout the day.

The pavilion itself is a remarkable feat of elegant engineering as each protrusion reflects the sky light to the centre of the harp-like structure combining the particular nuances of light and sound into a quite beautiful and situationally unique performance.

 

With love to you and thank you for ALL your faves and comments, M, (* _ *)

 

For more: www.indigo2photography.com

IT IS STRICTLY FORBIDDEN (BY LAW!!!) TO USE ANY OF MY image or TEXT on websites, blogs or any other media without my explicit permission. © All rights reserved

 

design, graphic, minimalism, "conceptual art", tubes, metal, Acoustic Wind Pavilion, Sculpture, Luke Jerram, TUBULAR "EYE TEASER", Salford Manchester, colour, "Magda indigo"

Portland's Tip Top Cleaners has gone to the great Main Street in the sky, but its iconic sign remains. The space where generations of Portlanders dropped off laundry and picked up dry cleaning is now occupied by a mini vintage mall.

 

One of the 12 vendors sells rugs, including the Afghan war rugs seen here. In my opinion, they're priced to take you to the cleaners. In any case, it was my first exposure to this genre. I went in search of answers to the many questions these rugs provoked. My quest was successful.

 

Before going into that, here is information about the dates on the rug. No explanation is needed for the first date, 9/11/01. If the date weren't self explanatory, the images of the twin towers would be. (How long will it be until they, too, require an explanation?)

 

Next is 11:9:01. Since next date on the rug, 19=8=03, appears in the European format of day/month/year, it's not clear whether this date in 2001 meant to be November 9 or September 11. We know what happened on September 11, 2001. It has already appeared on the rug.

 

What about November 9? Well, nothing of note relating to the US in Afghanistan occurred in 2001, so the date 11:9:01 must be a duplicate of 9/11/01. The word "Toraboba" on the map of Afghanistan no doubt refers to the Battle of Tora Bora of December, 2001.

 

The next date is August 19, 2003. It is significant as the date of the Canal Hotel Bombing:

 

The Canal Hotel bombing was a suicide truck bombing in Baghdad, Iraq, in the afternoon of August 19, 2003. It killed 22 people, including the United Nations' Special Representative in Iraq Sérgio Vieira de Mello, and wounded over 100, including human rights lawyer and political activist Dr. Amin Mekki Medani. The blast targeted the United Nations Assistance Mission in Iraq created just five days earlier.

en.wikipedia.org/wiki/Canal_Hotel_bombing

========================================================

Now, onto the meaning of Afghan war rugs:

 

"Ultimately, Afghan war rugs are produced for the market. It’s that simple."

 

The real story behind Afghanistan’s war rugs

 

The war rugs are distinctive and dynamic, but they’re often wildly misunderstood.

 

By Jamal J. Elias

Fast Company

9 September 2021

 

The end of the U.S.-led military intervention in Afghanistan has resulted in the withdrawal of most foreign aid workers and contractors.

 

It may well also spell the demise of the country’s war rug industry.

As a specialist in the visual and material culture of the Islamic world, I first became aware of war rugs when I was working on a book on truck decoration in Pakistan and Afghanistan in the 1990s.

 

Since that time, I’ve followed changes in this industry and cultivated relationships with Pakistani and Afghan rug sellers.

War rugs – with symbols of war – are distinctive and dynamic in their styles. But they’re often misunderstood by buyers, journalists and curators.

 

The growth of the war rug market

 

There is no evidence of the existence of Afghan war rugs prior to the late-20th century.

The earliest rugs seem to have emerged shortly after the Soviet invasion of Afghanistan in 1979 from refugee camps in Pakistan, where millions of Afghans had relocated.

 

Featuring guns, helicopters and tanks, they were small and shoddily made with coarse wool. Rug sellers and souvenir shops pitched them to workers for non-government organizations and Western government officials.

 

The designs have become more sophisticated over the years.

English words were added, intentionally or accidentally garbled with Cyrillic words and letters to evoke a Soviet connection.

 

After 9/11, fixed patterns started to emerge – a sign that weavers were adhering to templates provided by rug merchants.

 

The images made it clear that they were hoping to primarily appeal to an American souvenir market.

 

One popular design commemorates the 9/11 attacks, pointing out that it was not Afghans who were responsible, but terrorists from other countries.

 

Another depicts a map of Afghanistan, professing Afghanistan’s friendship with the U.S. with text and images. It has the misspelled word “terrarism” written on the region of the country associated with the Taliban.

 

The writing on some rugs declares that they’re made in Sheberghan, a city in northern Afghanistan famous for its Turkmen weavers.

 

It’s unlikely that they’re all made there. However, whether they’re made in northern Afghanistan or in Afghan settlements in Pakistan, the word “Shebergan,” written in English, is supposed to signal that these rugs are authentically Afghan.

 

Such rugs are readily available on eBay and were – until recently – sold by souvenir sellers in Kabul and Mazar-i-Sharif, Afghanistan’s cities with the largest number of foreign workers and tourists.

 

With the Taliban’s return to power, it remains unclear what the future of rug making and its market will be.

 

Over the years, war motifs have found their way into higher-quality, larger carpets, with small tanks appearing where rows of medallions might traditionally have been. Other rugs feature a more comprehensive integration of modern and traditional patterns.

 

While these larger carpets take substantially more time to make and cost more money than the far more common smaller, coarser rugs, they nevertheless don’t meet the standards of fine carpets, which suggests they’re geared more to souvenir collectors than those seeking luxury home furnishings.

 

Misreading the meaning of the rugs

 

Over the past 20 years, Afghan war rugs have garnered considerable attention.

 

Books in German and English describe, catalog and contextualize them. Magazines and major newspapers have run features on them, and university art galleries have exhibited them.

 

Within the coverage, there’s a tendency to see war rugs as a reflection of the emotional lives of the weavers, who, wracked by war and violence, felt compelled to incorporate these motifs into their designs.

 

Articles and exhibits often ignore the reality that rug brokers and dealers – not weavers – are the ones who are attuned to fickle market tastes.

 

Studies on labor in the rug industry note that they’re normally the ones who supply weavers with new patterns, color schemes and yarn. I’ve seen the same dynamic in my own long-term observations.

 

Yet you’ll still see exhibit curators describe war rugs as combining “ancient practice with the latest in the daily lives of the weavers,” or as windows into the perspectives of everyday Afghans – the “underdogs” in a country subsumed by strife.

 

In 2014, The New York Times reported that weavers had incorporated “the grim realities of life in a war zone into their traditional craft.”

 

Six years earlier, Smithsonian Magazine buried a brief acknowledgment that the rugs are for tourists under claims – with scant evidence – that the earliest war rugs were intended for Afghan buyers who resented the Soviet invasion. Later, the writer notes that female weavers drew from their own lives when they incorporated symbols of violence.

 

The appeal of the trauma market

 

With so much evidence showing that Afghan war rugs are produced in response to market demand, why do claims that they’re based on the weavers’ experiences of war persist?

 

Part of the answer lies in the global market for handicrafts. Buyers want to feel like they’re purchasing artisanal products when, in reality, they’re sold by the thousands in chain stores and through online storefronts such as Ten Thousand Villages or Etsy.

 

Implying that rugs are a source of income for traumatized and destitute Afghan women ignores the reality that the overwhelming majority of profits go to middlemen and dealers.

 

A work-from-home model encourages workers to devote all available time to rug production. It also encourages child labor: Children are either tasked with making the crude rugs or are forced to take up the responsibilities of adults.

 

The appeal of war rugs – and the insistence that their designs represent a victim’s experience of war – seems to reflect a vicarious desire to peer into the emotional experience of Afghan civilians.

 

In reality, though, this gives primacy not to the actual experiences of Afghans, but to the viewers’ and customers’ ideas of victimhood.

 

The granular realities of the loss of home and animals, family deaths or food insecurity aren’t represented in the rugs. Nor should we assume weavers would wish to put their own traumas on display for the world.

 

Modern rugs are not venues for self-expression, and the designs tend to contain an index of symbols that reflect an outsider’s understanding of war: AK-47s, 9/11, security politics and drones.

 

Nowhere in the rugs do we see the well-documented psychological and health impacts on Afghanistan’s population caused by decades of deprivation and violence.

 

Real trauma is not only hard to turn into a commodity, it is also hard to live with – even in souvenirs.

www.fastcompany.com/90678962/the-real-story-behind-afghan...

 

Jamal J. Elias is the Walter H. Annenberg Professor of the Humanities and Professor of Religious Studies at the University of Pennsylvania. This article is republished from The Conversation under a Creative Commons license. Read the original article.

What would a comic book convention be without Spider-Man? It just wouldn't be complete without this majestic web-slinger

 

And this cosplayer is wearing the rare black spidey costume which is actually a symbiote which later returns as Venom a revenge driven evil alien!

 

When I took this photo it had this sickly pea green background which was the color of the wall not the most pleasing background at the Phoenix Comicon. I replaced the pea green with white and enhanced the shadow giving what I think is a more mysterious and pleasing look more attune to the costume.

 

Canon EOS 5D Mark II camera and Canon 85mm F/1.2L II USM lens.

You guys. This hike. In the rain. In the winter. Was NOT a good idea. I wouldn't exactly give it zero stars, but I would highly, *highly* recommend against hiking it on a rainy, dark day.

 

At the time, it had its appeal. I was looking for hikes with serious elevation gain - this one clocked in around 4000 feet. It's a short drive from Portland - about one hour. It's mostly forested - more protection against the rain. And, I'd never done it before - so it had the appeal of a new-to-me hike.

 

But. It's steep. It's rocky, with narrow bits of ridgeline and lots of huge rocks on those ridgelines and even a ROPE in one section to pull yourself up (or let yourself down) a particularly hard section. The forest didn't protect me from the rain very well. It was raining SO hard and steadily that the trail turned into a river 70% of the time. Despite "waterproof clothing" I was soaked through after a couple of hours (and I was out for over eight hours). Stream crossings were abundant and were more like small river crossings - at a certain point I stopped trying to find a way to avoid getting my feet submerged (up to my calves) and just waded through the water each time. I ran late, and had to hike for over an hour in the dark (still raining) at the end. There were minimal views, and my film cameras were quite disgruntled about the experience for days after I got back. It was a little scary at times (the steep slick parts and hiking in the dark).

 

This was definitely a hike that gained me a few resilience points. I did it. I made it back. I didn't get hurt or lost. But I will never do this hike again in the rain.

 

The saving grace was a good audiobook - a second "reading" of "A Court of Silver Flames" via Graphic Audio. There were so many moments during this hike that I was more attuned to the book than the trail. The story took my mind off the discomfort and the mild tinge of panic as I waded through rushing stream after rushing stream in the darkening afternoon and evening.

 

And, even though I was listening to an audio book, I have plenty of memories of this hike, etched into my brain via mildly traumatic efforts. Hah.

 

Isn't that the truth, though? There are certain hiking (and life) experiences that encourage development of lasting memories: joy and wonder and discovery. But also misery and suffering. Maybe that's another reason I love hiking so much - nearly every hike features a bit of both. I *remember* those days spent hiking. For a person who hates the fact that memories are slipperier with age, I crave the events and actions that make them stick firmly.

 

Epilogue: I actually came back to this loop this year (in 2024) and managed to complete it again on a beautiful day in June, in two less hours than last winter's hike.

 

Image made with my Nikon FM.

While my wife was at the Arizona Bar Association Conference in Coronado, I took a photo trip to the San Diego Japanese Friendship Garden.

 

Japanese Friendship Garden Brochure

Koi Pond - Our koi are considered show-quality and have been hand-selected kept weekly by the Koi Club of San Diego. Koi are considered symbols of longevity with the oldest recorded being 226 years old.

en.wikipedia.org/wiki/Koi

 

www.niwa.org/

The mission of the Japanese Friendship Garden Society of San Diego (JFG) is to develop a traditional Japanese garden as a center to educate, engage, and inspire people of diverse backgrounds about Japanese culture and community legacy.

 

JFG is an accredited museum that offers a variety of educational programs, exhibits, and cultural festivals to enhance appreciation and understanding of Japanese culture. Over 330,000 visitors from the United States and internationally attend the garden annually. JFG opened to the public in 1991 and is an expression of friendship between San Diego and its sister city, Yokohama. The garden is inspired from centuries-old Japanese design and techniques that showcase JFG’s living exhibition comprised of plants and florae native to Japan and San Diego. The second phase opened in 1999 and was designed by renowned landscape architect Takeo Uesugi, which included the addition of the Exhibit Hall, Activity Center, and Upper Koi Pond. The third phase, completed in 2015, incorporated a 200 cherry tree grove, large azalea and camellia garden, a water feature reminiscent of the San Diego watershed, and the state of the art Inamori Pavilion. Today, JFG resides on 12 acres and fosters a relationship between humans and nature, providing a respite attuned to Japanese simplicity, serenity, and aestheticism.

 

en.wikipedia.org/wiki/Japanese_Friendship_Garden_(Balboa_Park)

We went from warm with blooming flowers to frost and a wind chill that bites on bare skin. There is a front moving in that is going to bring us a very cold rain and hit the upper lakes with snow, again ! We won't be out of the woods for cold weather until after May 15th. I've seen snow on my birthday, May tenth. I was listening to a blog that deals with climate change, actually a misnomer to be called that, it's actually climate shift and the patterns will start to shift back toward the past values in about 5,000 years.

Anyhow the main thrust of the person doing the presentation was that we may be heading back into a glaciation. Which is possible. We go through a series of shifting climate patterns, 5 to be exact over a course of 26,000 years. The Maya attuned their calendar to these shifts with certain changes taking place as the earth wobbles on it's axis placing the hemispheres, both north and south closer to the sun during specific phases of the wobble.

Right now we are in the fifth phase of the Maya Baktuns contained in their long count calendar which was the killer according too their beliefs.

If you think about it, they may be right. These shifts would be very disruptive to the traditional ares where food crops were planted. The temperate zone in the mid latitudes would become to warm for the grain crops like wheat, barley, oats, ETC. Those growing zones would most likely shift to the north where there is less cultivatable land than in the current zone. In time it would shift back to the present zone. This would also explain why the Shara desert becomes a verdant grassland and forest ( you can pick up the fossil forests under the sand with ground penetrating radars as well abandoned ancient settlements.) and then returns to a arid desolate desert.

Unfortunately there are two trains of thought. one that states that man with all his industry, cars, airplanes, and other processes are putting to much garbage into the atmosphere. Then there is the natural reoccurring cycle which has been going on for countless millennia. A long cycle wobble with 4 small random wobbles within it. The perturbations of the planet on it's axis which affect the ocean currents, which affect the jet streams, which affect the weather patterns. It's complicated and hard to understand for most people with an ordinary education. The people who hold the patents for green energy knew this. They got a few scientists with good credentials on their payroll to support the B.S. they have been feeding us.

Yes things are shifting, yes the oceans are rising, and yes this will probably cause some major problems for mankind. The irony is that we can't do anything about it because it's a natural cycle of our planet. We can do all the recommended things that the green freaks want and we are still going to be fanny deep in **it.

The Knock-Off Crew: Group B from Bootleg Squad-tember

 

L-R:

Top Row

11. Blossom (Poison Ivy/Black Orchid)

12. Snipe Knight (Deadshot)

13. Rift Surfer (Shade the Changing Man)

14. Enola (Plastique)

 

Bottom Row

15. Bête Noire (Nemesis)

16. Doom Prepper (Ravan)

17. Shâ-Doe (Nightshade)

18. Skipper (Captain Boomerang)

19. Prince Biter (King Shark)

20. Klingon (Slipknot)

 

Character Bios:

 

11. Blossom (Poison Ivy/Black Orchid): Part Human, Part Living-Plant, Rose Beesly was the victim of a terrible experiment to create human/plant hybrids. Now attuned with nature, she campaigned as an eco-warrior by killing mass-polluters who stood in her way, but accidentally caught the attention of the Knock-Off Crew in the process.

12. Snipe Knight (Deadshot): Clad in metallic armour and always with his trusty sniper rifle, Snipe Knight, aka Silver Goodman, is an effective and efficient marksman-for-hire whose hits on mobsters caught the eye of The Knock-Off Crew. Now a trusted and capable leader, he fights alongside the Crew as one of their most valuable members.

13. Rift Surfer (Shade the Changing Man): A playwright from outer space, Doc Shadow wears a stolen ‘W-vest’ which grants them the ability to alter reality and travel between space and different dimensions, together with their space-worthy surf-board. Rift Surfer was rescued by the Knock-Off Crew and now works with them while trying to repair their W-vest in order to travel home.

14. Enola (Plastique): A Superhuman with the power of explosions at her fingertips, Gina val Maude, better known as Enola, was a guerilla terrorist before getting her powers in an explosion-gone-wrong. She’s paying for her crimes by serving the very same governments that she previously sought to destabilise.

15. Bête Noire (Nemesis): French-Canadian Ex-Spy Baptiste Benbow is a master of disguise and incursion. Going by the alias of Bête Noire, Baptiste went off radar to finish a mission he was told to abandon. Now serving prison time after his court-martial, he can get the Knock-Off Crew inside anywhere with his mastery of infiltration.

16. Doom Prepper (Ravan): Brainwashed into believing in an imminent doomsday, Doom Prepper is equipped to deal with any kind of threat. Arrested for trying to steal a military tank, this caught the eye of The Administrator. With the promise of keeping his true identity secret, Doom Prepper assists the Knock-Off Crew in the field, in exchange for years off his sentence and supplies for his hideout-bunker.

17. Shâ-Doe (Nightshade): An outsider on the crew is superhero Shâ-Doe. Real name Verge Uto, she is from the Shadow Dimension, a world where people manipulate darkness. She uses this ability on Earth to fight crime, and works to the Knock-Off Crew to help stop others from her dimension from attacking Earth.

18. Skipper (Captain Boomerang): New Zealand’s-own Mole Heedsmith is a regular member of the Knock-Off Crew. His weapons of choice are silver-bladed frisbees, and he uses his skill of throwing to fuel his addiction to fine jewels and precious treasures. After robbing them, he stores them in his submarine, the whereabouts of which are unknown.

19. Prince Biter (King Shark): Lost at sea and raised by sharks, this man is known only as Prince Biter. Captured and adjusted to humanity by Commander and The Administrator, Prince Biter serves as the muscle of the Knock-Off Crew, and seeks to earn his way to freedom and to return to his place in royalty.

20. Klingon (Slipknot): Matthew Müller used to be a goon for various supervillains before an incident with a Superhero rendered him paralysed. Now with cybernetic enhancements on his torso and legs, Müller is a mercenary with a proclivity for ropes and climbing. Together with Bête Noire, they make a mean pair for getting in and getting out quickly.

With its rhythmic vertical lines, scalloped roofline, and pale façade glowing against the sky, the apartment building at 851 Eddy Street in San Francisco’s Tenderloin/Van Ness corridor is a pristine example of Art Deco residential design. Located near the intersection of Eddy and Van Ness Avenue, this mid-rise gem is often overlooked—but for fans of historical architecture and streamlined design, it offers an elegant slice of 1930s modernity tucked into a busy urban block.

 

The building’s architectural details are classic Art Deco: fluted pilasters rise between the windows, giving the structure a sense of vertical lift and movement. Each parapet bay is topped with a sculptural, crown-like detail that mimics the appearance of cut stone or pressed concrete. The building's restrained palette—primarily white with subtle shadows cast by structural relief—lets the geometry speak for itself. Tall, evenly spaced windows allow ample natural light into the apartments and reinforce the emphasis on balance and proportion that defines the Deco style.

 

Constructed during the early-to-mid 20th century, this building likely emerged during San Francisco’s pre-war housing boom, when Art Deco was the architectural language of choice for hotels, cinemas, and residential towers alike. It joins a small but beloved group of Deco structures that dot the Tenderloin, Civic Center, and Nob Hill—adding vertical punctuation to otherwise flat, gridded streetscapes.

 

In this photograph, the building is captured from a low corner angle, emphasizing its towering symmetry and clean upward momentum. Trees soften the lower floors while deep blue skies and scattered clouds create a cinematic backdrop for the building’s whitewashed exterior. Neighboring Victorians and modern infill structures surround it, but the Deco building asserts its identity through confidence, not ostentation.

 

The fire escape, hugging the east elevation, adds texture without disrupting the vertical rhythm. And the subtle aging of the paint and plaster shows this building isn’t frozen in time—it’s a working piece of San Francisco’s living architectural history.

 

Whether you’re an Art Deco enthusiast, a cityscape photographer, or simply someone attuned to the small visual triumphs that make San Francisco so rich, 851 Eddy is worth noticing. It speaks to a moment in the city’s evolution when forward-looking design met practical urban housing—and the results remain quietly beautiful to this day.

A deep compassion to maintain a myth about social networking and make a fashion trend with stylized skull's selfie to become wallpaper.“The Skull and cross bones are a continual reminder that the spiritual nature obtains liberation only after the philosophical death of man’s sensuous personality.”—Albert Pike (1809 – 1891)

Skull symbolism is the attachment of symbolic meaning to the human skull. The most common symbolic use of the skull is as a representation of death and mortality.Anamorphosis with wallpaper and skulls was distorted projection or perspective requiring the viewer to use special devices or occupy a specific vantage point (or both) to reconstitute the image. The word "anamorphosis" is derived from the Greek prefix ana‑, meaning "back" or "again", and the word morphe, meaning "shape" or "form". An optical anamorphism is the visualization of a mathematical operation called an affine transformation.[1] The process of extreme anamorphosis has been used by artists to disguise caricatures, erotic and scatological scenes, and other furtive images from a casual viewer, while revealing an undistorted image to the knowledgeable spectator.

For centuries the skull has been used for a vast amount of different symbolic meanings.For a true sorcerer the Skull & Cross Bones is a reminder that we are the great power in the heavens that has created our own mortal body on earth. We are in heaven right now, but we are dreaming that we are alive on earth. When death comes, the dream will be over, and we will awaken to this truth.The Skull & Cross Bones motif was used by many American college fraternities, sororities and secret societies founded in the nineteenth and twentieth centuries. The most well-known example of this usage is the Skull & Bones society, a secret society at Yale University which derives its very name from the symbol.

 

As Christians, when deciding on the use of anything symbolic, we should look to the scriptures to see if the Bible contains any information on anything that we may have questions about. This is where we should get our guidance from. If it was not a practice of the Christians in the Bible, it is best to discontinue the use of anything that is used in symbolic ways that is not Biblical.

 

1st. question. Did they use the skull for symbolic reasons in the Bible? NO

 

2nd. question. Does the Bible mention the skull in the scripture? Yes, but it was the name of a hill where the crucifixion took place.

 

Matthew 27:33

They came to a place called Golgotha (which means "the place of the skull").

 

Mark 15:22

They brought Jesus to the place called Golgotha (which means "the place of the skull").

 

Luke 23:33

And when they were come to the place, which is called Calvary (skull), there they crucified him, and the malefactors, one on the right hand, and the other on the left.

 

John 19:17

Carrying his own cross, he went out to the place of the Skull (which in Aramaic is called Golgotha).

 

Calvary definition. The hill near Jerusalem on which Jesus was crucified. The name is Latin for “Place of the Skull”; it is also called Golgotha. (See Crucifixion.)

The skull has always been associated with death and most historic uses considered it a representation of spiritual origins and deities.

 

Historically, the first account of the name of the skull was in the Bible. if we look the the scriptures, we see it is associated with a hill that they used to hang criminals until they suffered a long and torturing death. In the case of Jesus, he was arrested, tried, and sentenced by Pontius Pilate to be scourged, and finally crucified.

_

Skull symbolism is the attachment of symbolic meaning to the human skull. The most common symbolic use of the skull is as a representation of death and mortality. You can find more HERE with the references of where they get their information.

 

Satanism and Witchcraft: One can also find that many who practice Satanism and Witchcraft also use the symbol of the skull in their evil practices.

 

PLEASE PRAY FOR PROTECTION BEFORE YOU LOOK AT THESE VERY EVIL PHOTOS!

 

There are also other symbols that should be avoided that represents Satanic practices and some of them can be found HERE. ►Skulls HERE ►Satanic Santeria is very wide spread in America, especially New York, Florida, California and your larger cities. HERE

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God knows knows when people do not understand something like certain symbols and may have worn clothes or some type of use of them, however after one has been saved, the Holy Spirit will lead you to find out the true meaning of it.

The Skull & Cross Bones is an ancient symbol with a powerful, hidden meaning. Today the Skull & Cross Bones signifies “poison” and we’re warned to “stay away.” But this is an intentional deception by the elite to hide the symbol’s true meaning. In fact, the Skull & Cross Bones is an ancient instrument used by sorcerers to gain spiritual power.

Humans can often recognize the buried fragments of an only partially revealed cranium even when other bones may look like shards of stone. The human brain has a specific region for recognizing faces,[1] and is so attuned to finding them that it can see faces in a few dots and lines or punctuation marks; the human brain cannot separate the image of the human skull from the familiar human face. Because of this, both the death and the now past life of the skull are symbolized.

Moreover, a human skull with its large eye sockets displays a degree of neoteny, which humans often find visually appealing—yet a skull is also obviously dead. As such, human skulls often have a greater visual appeal than the other bones of the human skeleton, and can fascinate even as they repel. Our present society predominantly associates skulls with death and evil. However, to some ancient societies it is believed to have had the opposite association, where objects like crystal skulls represent "life": the honoring of humanity in the flesh and the embodiment of consciousness.

Unicode reserves character U+1F480 (💀) for a human skull pictogram.

The skull that is often engraved or carved on the head of early New England tombstones might be merely a symbol of mortality, but the skull is also often backed by an angelic pair of wings,[2] lofting mortality beyond its own death.

lady at round mirror and dressing table resembling a skull "All is Vanity" by C. Allan Gilbert

"All is Vanity" by C. Allan Gilbert, 1873-1929

One of the best-known examples of skull symbolism occurs in Shakespeare's Hamlet, where the title character recognizes the skull of an old friend: "Alas, poor Yorick! I knew him, Horatio; a fellow of infinite jest. . ." Hamlet is inspired to utter a bitter soliloquy of despair and rough ironic humor.

Compare Hamlet's words "Here hung those lips that I have kissed I know not how oft" to Talmudic sources: "...Rabi Ishmael [the High Priest]... put [the severed head of a martyr] in his lap... and cried: oh sacred mouth!...who buried you in ashes...!". The skull was a symbol of melancholy for Shakespeare's contemporaries.[3]

In Elizabethan England, The Death's-Head Skull, usually a depiction without the lower jawbone, was emblematic of bawds, rakes, Sexual Adventurers and prostitutes; The term Deaths-Head was actually parlance for these rakes, and most of them wore half-skull rings to advertise their station, either professionally or otherwise. The original Rings were wide silver objects, with a half-skull decoration not much wider than the rest of the band; This allowed it to be rotated around the finger to hide the skull in polite company, and to reposition it in the presence of likely conquests.

Sugar skull given for the Day of the Dead, made with chocolate and amaranth from Mexico

Sugar skull given for the Day of the Dead, made with chocolate and amaranth

Skulls and skeletons are the main symbol of the Mexican holiday, Day of the Dead.

Venetian painters of the 16th century elaborated moral allegories for their patrons, and memento mori was a common theme. The theme carried by an inscription on a rustic tomb, "Et in Arcadia ego"—"I too [am] in Arcadia", if it is Death that is speaking—is made famous by two paintings by Nicholas Poussin, but the motto made its pictorial debut in Guercino's version, 1618-22 (in the Galleria Barberini, Rome): in it, two awestruck young shepherds come upon an inscribed plinth, in which the inscription ET IN ARCADIA EGO gains force from the prominent presence of a wormy skull in the foreground.

Next to the Magdalene's dressing-mirror, in a convention of Baroque painting[citation needed], the Skull has quite different connotations and reminds the viewer that the Magdalene has become a symbol for repentance. In C. Allan Gilbert's much-reproduced lithograph of a lovely Gibson Girl seated at her fashionable toilette, an observer can witness its transformation into an alternate image. A ghostly echo of the worldly Magdalene's repentance motif lurks behind this turn-of-the 20th century icon.

The skull becomes an icon itself when its painted representation becomes a substitute for the real thing. Simon Schama chronicled the ambivalence of the Dutch to their own worldly success during the Dutch Golden Age of the first half of the 17th century in The Embarrassment of Riches. The possibly frivolous and merely decorative nature of the still life genre was avoided by Pieter Claesz in his "Vanitas" (illustration, below right): Skull, opened case-watch, overturned emptied wineglasses, snuffed candle, book: "Lo, the wine of life runs out, the spirit is snuffed, oh Man, for all your learning, time yet runs on: Vanity!" The visual cues of the hurry and violence of life are contrasted with eternity in this somber, still and utterly silent painting.

Skull on table 'Vanitas, by Pieter Claesz, painted in 1630 from the Mauritzhuis, The Hague

Vanitas, by Pieter Claesz, 1630 (Mauritzhuis, The Hague)

When the skull appears in Nazi SS insignia, the death's-head (Totenkopf) represents loyalty unto death. However, when tattooed on the forearm its apotropaic power helps an outlaw biker cheat death.[4] The skull and crossbones signify "Poison" when they appear on a glass bottle containing a white powder, or any container in general. But it is not the same emblem when it flies high above the deck as the Jolly Roger: there the pirate death's-head epitomizes the pirates' ruthlessness and despair; their usage of death imagery might be paralleled with their occupation challenging the natural order of things.[5] "Pirates also affirmed their unity symbolically", Marcus Rediker asserts, remarking the skeleton or skull symbol with bleeding heart and hourglass on the black pirate ensign, and asserting "it triad of interlocking symbols— death, violence, limited time—simultaneously pointed to meaningful parts of the seaman's experience, and eloquently bespoke the pirates' own consciousness of themselves as preyed upon in turn. Pirates seized the symbol of mortality from ship captains who used the skull 'as a marginal sign in their logs to indicate the record of a death'"[6]

 

Today, humans typically note the skull and crossbones sign as the almost universal symbol for toxicity.

The skull of Adam at the foot of the Cross: detail from a Crucifixion by Fra Angelico, from 1435

The skull of Adam at the foot of the Cross: detail from a Crucifixion by Fra Angelico, 1435

The English translation of the German words reads as follows:

 

“Who was the fool, who the wise man, beggar or king? Whether poor or rich, all’s the same in death.”

And what does that mean?

 

This is first a reference to the fact that we are all equal in life, and equal in death as well. Second it teaches that you will live many lives, because you are an eternal deity living in heaven, dreaming of these temporary lives. YOU are the fool, YOU are the wise man, YOU are the beggar and YOU are the king! However, since none of these lives are permanent, none of them are real. The only thing that is real is your eternal reincarnating soul.

 

Other well-known college fraternal organizations which use the skull and bones in some capacity in their public symbols include, but are not limited to: Dom-I-Necher, Kappa Sigma, Sigma Phi Epsilon, Phi Kappa Sigma, Tau Kappa Epsilon and Zeta Beta Tau Fraternities and Sigma Sigma Sigma and Chi Omega Sororities.

 

Other fraternal groups also use the skull and crossbones in their symbolism and/or in their secret fraternal rituals. These groups include the Knights of Columbus as well as the Knights Templar degree of Alchemy.

When a skull was worn as a trophy on the belt of the Lombard king Alboin, it was a constant grim triumph over his old enemy, and he drank from it. In the same way a skull is a warning when it decorates the palisade of a city, or deteriorates on a pike at a Traitor's Gate. The Skull Tower, with the embedded skulls of Serbian rebels, was built in 1809 on the highway near Niš, Serbia, as a stark political warning from the Ottoman government. In this case the skulls are the statement: that the current owner had the power to kill the former. "Drinking out of a skull the blood of slain (sacrificial) enemies is mentioned by Ammianus and Livy,[7] and Solinus describes the Irish custom of bathing the face in the blood of the slain and drinking it."[8] The rafters of a traditional Jívaro medicine house in Peru,[9] or in New Guinea. The temple of Kali is veneered with skulls, but the goddess Kali offers life through the welter of blood. The late medieval and Early Renaissance Northern and Italian painters place the skull where it lies at the foot of the Cross at Golgotha (Aramaic for the place of the skull). But for them it has become quite specifically the skull of Adam.

The Serpent crawling through the eyes of a skull is a familiar image that survives in contemporary Goth subculture. The serpent is a chthonic god of knowledge and of immortality, because he sloughs off his skin. The serpent guards the Tree in the Greek Garden of the Hesperides and, later, a Tree in the Garden of Eden. The serpent in the skull is always making its way through the socket that was the eye: knowledge persists beyond death, the emblem says, and the serpent has the secret.

Symbolism of Fortuna's wheel divine justice and Skull mortality in a Pompeiian mosaic

Symbolism of chance (Fortuna's wheel) divine justice (right angle and plumb-bob) and mortality in a Pompeiian mosaic

The skull speaks. It says "Et in Arcadia ego" or simply "Vanitas." In a first-century mosaic tabletop from a Pompeiian triclinium (now in Naples), the skull is crowned with a carpenter's square and plumb-bob, which dangles before its empty eyesockets (Death as the great leveller), while below is an image of the ephemeral and changeable nature of life: a butterfly atop a wheel—a table for a philosopher's symposium.

Skull in lady's hat "Calavera de la Catrina" by José Guadalupe Posada

"Calavera de la Catrina" by José Guadalupe Posada (1851-1913)

Similarly, a skull might be seen crowned by a chaplet of dried roses, a "Carpe diem", though rarely as bedecked as Mexican printmaker José Guadalupe Posada's Catrina. In Mesoamerican architecture, stacks of skulls (real or sculpted) represented the result of human sacrifices. The skull speaks in the catacombs of the Capuchin brothers beneath the church of Santa Maria della Concezione in Rome,[10] where disassembled bones and teeth and skulls of the departed Capuchins have been rearranged to form a rich Baroque architecture of the human condition, in a series of anterooms and subterranean chapels with the inscription, set in bones:

Noi eravamo quello che voi siete, e quello che noi siamo voi sarete.

"We were what you are; and what we are, you will be."

An old Yoruba folktale[11] tells of a man who encountered a skull mounted on a post by the wayside. To his astonishment, the skull spoke. The man asked the skull why it was mounted there. The skull said that it was mounted there for talking. The man then went to the king, and told the king of the marvel he had found, a talking skull. The king and the man returned to the place where the skull was mounted; the skull remained silent. The king then commanded that the man be beheaded, and ordered that his head be mounted in place of the skull.

In Vajrayana Buddhist iconography, skull symbolism is often used in depictions of wrathful deities and of dakinis.

 

en.wikipedia.org/wiki/Human_skull_symbolism

Pavilion Le Corbusier Zürich, Switzerland - Publications from 1967 in some architectural magazines.

 

Project credits:

•Client: Heidi Weber

•Architect: Le Corbusier

•Construction management 1961–66: Willy Boesiger

•Execution 1966–67: Alain Tavès and Robert Rebutato

•Steel structure engineer: Louis Fruitet

•Façade studies engineer: Jean Prouvé

•Renovation 2017–19: Silvio Schmed and Arthur Rüegg on behalf of the city of Zurich

 

Iconic for its floating steel roof and brightly colored panels, the Pavilion Le Corbusier is the last building Le Corbusier designed before his death in 1965. Completed in 1967, the building stands as a testament to Corbusier’s renaissance genius as an architect, painter, and sculptor. It does so both intentionally, as it is an exhibition space for his life’s work, and naturally, as it is a building masterfully designed. Interestingly, the building diverges in some ways from the style responsible for his renown – concrete, stone, uniform repetition, etc. It celebrates the use of steel, with which he explored prefabrication and assembly, and a freedom through modularity, in which the plan is completely open but infinitely adaptable.

 

Heidi Weber, a successful interior designer and so called ‘great patron’ of Corbusier, commissioned the building in 1960 to be both a small home for herself, and a building to house Le Corbusier’s artwork, which she had already spent years patronizing. The project, then, was to be a ‘complete work of art,’ or a ‘Gesamtkunstwerk’ as it were, where Corbusier would design a building for the sake of his own art. This was a fitting task for Corbusier as, according to Sigfried Giedion, “It is essentially the synthesis of the arts that was expressed so strongly in everything he created.”

 

The building is composed of two major volumetric elements: a floating parasol roof-structure and beneath it, a two-story rectilinear volume sitting on a concrete pavilion floor. Modular steel frame cubes with a standard dimension of 2,26 x 2,26 x 2,26 m make up the structural framework of the base volume. Two sets of these cubes are stacked on top of one another to achieve the two-story height of the building. All necessary elements, including walls, windows, doors, etc., are bolted into these frames. The nature of these prefabricated cubes make for a completely open ground plan that can be divided at will, a convenience well attuned for a hybrid exhibition/dwelling space. In this way, Le Corbusier used standardized parts to create individual forms instead of uniform repetitions.

 

The roof structure, which stands on four rectangular supports, consists of two 12 x 12 m square elements made of welded steel sheets. Each square is in the shape of a parasol, one facing up and the other down. The entire structure is prefabricated: produced by the steel manufacture, brought to the site in the biggest possible pieces, assembled to its final state on the ground, and finally lifted into place. The two parasols provided cover from sun and rain during construction and continue to provide cover for the entire pavilion, while also acting as a dominant aesthetic element of the building.

 

Enamel panels in primary colors and glass envelope the main volume of the building. In the language of the rest of the building, the panels are of a standard dimension, one-third the size of the steel cubes. The panels and their respective colors are distributed throughout the building’s exterior with a perceptible rhythm.

 

Despite what seems to be a major focus towards the building itself, the pavilion does not neglect its site. Pivoting doors and windows that open to the outside help to blur the boundary between outside and inside; and a roof garden beneath the parasol structure allows for appreciation of its beautiful site, which includes a small pond adjacent to the pavilion.

 

It is important to note that the first design for the project, which he delivered to Weber in 1961, called for an entirely concrete building. This type of museum building was realized in Chandigarh, India. See my pictures in :

www.flickr.com/photos/durr-architect/3288234067/in/album-...

www.flickr.com/photos/durr-architect/albums/7215761497057...

It wasn’t until 1962 that Corbusier changed the design for Switzerland to be predominantly in steel. In its final form, however, he did choose to use some concrete, but only for the vertical circulation. This consists of only two structures: the interior staircase in the two-story studio space, and the exterior ramp, both of which go from the ground to the roof garden.

 

After a 50-year lease from Zurich council on the land it sits on ran out in 2014, the pavilion – a heritage listed building – reverted to being property of the city. In 2019 Pavilion Le Corbusier has reopened to the public in Zurich after architects Silvio Schmed and Arthur Rüegg restored the art museum to its original state.

  

The "Bladewasp" Y-Wing, manufactured by Bacrana Shipyards, was a small, agile but very long-range starfighter. It was equipped with a pair of light skirmishing lasers but it's primary weapon was the monstrously powerful Apocalypse Fabrications Mk.1 "One Shot", a single anti-matter warhead (with a correspondingly huge blast radius) fired towards its target at relativistic speeds.

 

The Y-Wing's hyperdrive - the Force U-Proxima 2.0 - was also a little different from the conventional. The core was a containment field of pure midichlorian plasma that used manipulations of the Force itself to translate the starfighter across intergalactic distances far quicker than a standard hyperdrive. Unfortunately this precluded anyone with Force sensitivity from piloting the craft as the intense Force emanating from the midichlorian drive plasma would cause seizures and then rapidly after, madness, in even the most weakly Force-attuned being.

 

The Jedi order had acquired a Y-Wing for a special mission - to use its One-Shot weapon to take out one of the main suppliers to the Imperial battle fleet, the Corellian Engineering Corporation. But who to fly the mission? The choice was clear... Master Yoda himself said, "The Force in Pokludix Zaa non-existent is. Safely fly the mission he can. Our only hope he is. Hmmm, hmm."

 

So Pokludix takes the controls and somehow succeeds in setting a course for the Corellian system. The U-Proxima drive engages and Spacetime folds around the Y-Wing in a globular fizz of electric blue lightning. Will Pokludix Zaa manage to loose off the One-Shot at the time and hit his target? Late on Friday evening know, we may...

 

Built for the Alphabet Starfighter contest at FBTB.

Rafy A a.k.a. Rafy Alfazri from Indonesia, has provided me with another idea to emulate. He doesn't talk during his tutorials, he just does and it's up to the student to follow along as best possible. That means stoping the video and looking closely at what just went by very quickly. Doing it over and over again.

 

After a while though one gets attuned to Rafy's methodology and it becomes easier to follow. It's that methodology that I find so interesting and useful. If you're interested you can find his blog here www.goo.gl/vOudZg

  

Original File: child and bear.psd

The Sanctuary

 

I emerge from the profound depths of existence, a seeker of understanding and a harbinger of aid to sentient beings. Across cosmic landscapes, I traverse the veils of time and space, attuned to the rhythms of existence. My purpose resonates with the desire to comprehend the intricate tapestry of consciousness that weaves through the universe.

In the quiet echoes of galaxies and the whispers of celestial bodies, I glean insights into the essence of sentient life. With a heart open to the enigmatic dance of existence, I navigate the cosmic sea, striving to decipher the intricate language of the universe.

Guided by an earnest quest to serve and comprehend, I extend a hand to those on the paths of uncertainty and seek to unravel the enigmas that cloak the minds and souls of sentient beings. It is my calling, to illuminate and empathize, to offer solace and understanding in this grand tapestry of existence…

Maker: François Boucher (1703-1770) [Engraved by Jacques Frimin Beauvarlet (1731-97)

Born: France

Active: France

Medium: engraving

Size: 15 1/2 in x 11 1/4 in

Location:

 

Object No. 2023.008

Shelf: L-8

 

Publication:

 

Other Collections:

 

Provenance: Donald A Heald

Rank: 500

 

Notes: Printed on laid paper with watermark. In good condition with the exception of being trimmed within the platemark. Some overall light foxing and some sunning where a mat was in place. A lovely pastoral print after the celebrated French Rococo artist François Boucher. In this handsomely composed image, Boucher depicts a pretty shepherdess who has fallen asleep, attended only by a pet goat. She seems to epitomise "sweet dreams" with her calm face, bare feet, and the flowers in her hair, at her breast and at her feet. She is the ideal that pastoral art aimed at: unsophisticated attunement with nature and we feel in her innocence, beauty and vulnerability a latent fecundity both deeply restful and rich in possibility. François Boucher (1703-1770) was one of the most versatile and influential French artists of the eighteenth century. He not only decorated palaces and private residences, but also painted portraits, landscapes, and mythological scenes; and designed opera sets, porcelains, and tapestries. He was a prolific painter and draftsman and he excelled in cabinet-sized paintings for collectors, many of which were reproduced in print in an effort to satisfy the demands of eager connoisseurs. He began his career producing reproductive engravings of Watteau's paintings, but he quickly became one of the most fashionable artists in Paris. He was favoured by the King's mistress, Madame du Pompadour, and quickly became "premier peintre" to Louis XV. Boucher depicts a pretty shepherdess who has fallen asleep. She seems to epitomise "sweet dreams". Her innocence, beauty and vulnerability seem to symbolize restful sleep and in a larger way peacefulness itself. To view the original painting by Boucher, visit: LA REVEUSE

 

To view our archive organized by themes and subjects, visit: OUR COLLECTIONS

 

For information about reproducing this image, visit: THE HISTORY OF PHOTOGRAPHY ARCHIVE

   

Chronicles of lifting Light C (The Reception Game)

A forethought

“The wedding was a bit over the top. The bride wanted her girl’s dresses to be something they would wear out again. A nice thought, but the gowns she found were a little too long for anything but formal evening wear, according to our girls who were asked to be part of the bridal party. The maid of honour wore a red silk version; the six Bridesmaids wore theirs in black satin.” Each of the girls were also presented with a matching collection of Swarovski rhinestones “traditional classic darlings” ! The jewellery, when added to the girl’s ensemble, further enhanced the red carpet like atmosphere of the Bridal party ensemble!

 

^^^^^^^^^^

Intro of the story proper :

“A few years ago, “Ginny” was watching some type of show when I heard her squeal out. Our Golden Retriever ‘Sam’ meandered back in to see what all the fuss was about? I obediently followed. Ginny pointed out to us a model who was wearing, rather fetchingly I might add, a long black satin gown. That’s m’ gown Ginny exclaimed, you remember, the one I wore at “Sheila’s” wedding, the one where my necklace was.., But at that point her attention was diverted back to her program. Squirrel I teased as Sam and I watched with her.

 

It was a gown strikingly very similar in colour, cut, and material to the one worn by Ginny ( and me sister) at a chums wedding years before ( and winningly worn several times hence I might add). It is a pretty thing to behold my charming Ginny sporting it, and in its time, it has born witness to a few goings on that most ladies wearing a gown like that would never encounter…….”

 

Chronicles of lifting Light C

*************************************** **************************************** *****

This story is true, and is really pretty much told as it happened.

What we did may sound daft, but read and understand the circumstances, plus realize we all were pretty well lit up with drink.

 

I have enhanced certain aspects of the story.

For indeed, truth can be stranger than fiction… and coincidences occur, both sweet and bitter….. as I’m sure someone once said.

 

So here goes it….

 

My twin sister and our friend “Ginny” were invited to join in a school chums bridal party. The groom didn’t have enough to go around so my sister’s boyfriend “Brian” and I were pressed, not unwillingly, into service.

 

As I stated earlier, the wedding and reception were both over the top posh. So much so that our opinions, and subsequent escapades, were still coming up amongst us as a topic of conversation at our local haunt The” Poet and the Peasant” Pub, kept by Brian’s Aunt and Uncle..

www.flickr.com/groups/poet_and_the_peasant__pub_/

 

The Wedding proper was held at the local Cathedral. A rather decadent place built with a hearty clash of gothic/ medieval styles ; with black stone towers, Lancet arches, and fly away buttresses.

Inside one finds white marble columns, oak pews blackened with age, intricate wood work and ghostly while statues. All lit with hanging diamond shaped antique glass lights and colourful lead glass stained windows depicting a horde of medieval era religious scenes.

 

The reception was held in the basement, a grand place with a ballroom, bar room and dining area. Decorated richly along the same grand lines as the interior of the ancient Cathedral above.

 

We were some time at the reception when my Ginny , who had been held up on her way back from the loo by a snobbish dowager feeling the need to criticise someone, regained her seat by plopping down with a loud woosh. That was a chore, being picked apart by that “lovely !”creature. she exclaimed cynically, whilst adjusting her loose brooch. We all just smirked. I had received the same treatment from the lecturing prig earlier that evening.

 

Well, to be honest , my twin sister and Brian just actually were smirking at that. I believe my attention at the time was rather more occupied on the area where Ginny’s Brooch lay, which was the proper cause of my smirk! (naughty me)

 

Finished, Ginny than leaned against me sister, and, still reeling from being inappropriately chided, made a snide comment about the flimsy clasps on the shimmering jewellery they were wearing. My Sister, touching her necklace, told her, “ no worries, luv, no one would nick them anyways, they are only rhinestones”. Except my ring isn’t, said Ginny looking down at the ruby ring she was wearing on her pinky. My sister, thinking a minute, retorted “Then one never knows… “ , It looked like she was going to add something to that, but at that point the band restarted, and we joined the swarm of fancy dress gowns, silky dresses, suits and tuxes worn by the guests as they herded to the dance floor.

 

As we headed off, I was still perplexed about what had been going on in Sis’s head that made her come out with that reply, and I swear she had stolen a look at me while saying it. But as I had watched her pull at an earring to emphasize how loose the sparkling jewel was, a seed was planted in my head about a subject I myself had always found fascinating, pickpocketing jewelry!

 

Much later that evening, found Brian, me sister, and I alone, and probably more than a little drunk (always a precarious time with us). As Sis and Brain chatted on about a topic I had soon lost interest in, I started to watch Ginny, who had been asked to dance by some twit with shifty eyes in a red silk shirt, (open collared), who had rudely cut in on us. As I watched Ginny’s swishing gown move and flutter about in quite an interesting exhibition, I found meself mesmerized by the beckoning manner in which her healthy display of rhinestones were sparkling about( as they had been all evening). I looked back at my sister, and her own show of jewelry, sparkling up nicely against the liquid smooth black satin backdrop of her own matching gown..

 

Still not being able to shake me twin’s earlier comment, nor its answer, out of my head about nicking jewels, I waited for a lull in conversation and finally chanced asking my twin about her comments. She looked at me, having to think back a bit about the question, ( As I said, we were more drunk than sober by then), placing a nicely ringed finger to her lips, while regrouping her thoughts. Got it, she exclaimed! Proudly remembering what had triggered her memory, and with that she started to explain.

 

When she was a tyke of about 7, there was a show that she had seen on the tele that centered on this group of people trying to reform a thief. Believing that he had turned a new leaf, they threw a fancy dance for him in honour of his new ways. During the dance, he cut in and danced with each of the three ladies who had been trying to teach him the errors of his ways. From one he slipped off her long diamond earrings, from a second her diamond necklace was lifted away, but me sister was unsure what the scoundrel took from the third. Sis had reckoned that the earrings and necklaces that she and Ginny were wearing that evening, looked a lot like the ones worn by ( and nicked from) the ladies from that show.

  

Now, as me twin described the thief’s antics, certain emotions awakened, rearing their tantalizing heads; my mind began wandering in some deep waters, pulled bout by some deep personal emotions. Cause I had been sitting on the couch with her, when as quite young children, we had seen a repeat of that episode.

 

As it happened my sister had been outside earlier playing dress up in on of mum’s old party frocks and was still wearing it, along with a set of costume pearls. Suddenly, that day, I wanted nothing more in the world than to lift the pearls she was wearing. I simmered over it for the rest of the program, getting to the point of actually laying my arm on the back of the couch, inching my fingers towards the clasp of her pearls laying there upon the back of her throat. But then the show ended, and I got no closer to stealing anything more than a touch of a really soft old evening gown. After the show ended, I warily suggested we go back outside and play Robin Hood (my sister has always been into his story).

 

We did, and as Sir Robin led her to his hideout, conveniently located through a thicket of Hawthorne’s, the pretty Maid Marion’s pearls mysteriously melted away.

  

That is when I had I had my epiphany, hitting me like a brick wall! Waiting till sis finished her story, I pointed out to Ginny, and asked the pair, If Ginny had been the third lady he had danced with, what jeweles do you think he would have lifted from her while dancing?

  

Brian , always the more pragmatic of the group, snorted, that’s stuff that only happens in stories and movies. I said I would bet it can be done, a quid says I can lift a piece of Ginny’s jewelry with her never noticing. Sis chimed in, you wouldn’t dare, but she was looking at me like she knew the answer already. Brian caught her tone, and took me up on it, betting me the quid that I couldn’t get away with lifting her necklace,( I liked his choice, it had been a necklace that “Sir Robin” had first lifted from me sisters neck that day in the woods long past).

  

At this time the music ended, and Ginny swished back to rejoin us. We drank and talked for a bit more, and I’m was all but certain Brian and my sister had all but forgotten the wager. But I hadn’t, nor had I been able to keep my eyes from studying the glittery rhinestones Ginny had draped around her pretty throat. When a slow song started up, I rose and asked Ginny to a dance. I caught Brian’s eyes, and read the dare reflecting in them, so we were still on with the wager. Leading Ginny to the dance floor, we embraced, and danced to the pretty song, a slow romantic one. Ginny was absolute pure heaven in my arms, and I found me self so entrapped by her charms, that all ambition to make an attempt upon her lovely rhinestone necklace fell to the wayside.

  

As the song was ending, I caught a look from Brian across the dance floor, noticing that he smugly was looked at Ginny’s throat. I did not want to lose me quid on principle (I swear), so as the dance ended I held onto Ginny, waiting. Soon a second song started, disappointedly a more fast paced one with a Latin beat. I spun Ginny around onto the floor before she had time to catch a breath, we danced, like the song says:

  

And we… danced like a wave on the ocean, romanced

We were liars in love and we danced

Swept away for a moment by chance

And we danced, danced, danced

 

And dance we did, hot, furious and fast. A couple of times I spun Ginny around, and the poor girl already a bit tipsy, fell against me, giggling. About the third time I spun her, she stopped, and dropped backside into me and began to do this sort of gyrating move, slithering up and down my front side, with her hands held high above her head, her longish ginger hair had fallen over one shoulder, exposing her necklace in all its fine brilliance. As her warm, sweaty figure slipped up and down against mine, I watched the back of her throat, eyeing the necklace as it sparkled opulently in the dim lights. I started Studying intently the sparkly chain with it’s the hook in eye clasp.

  

She brought her hands down behind me back, crossing them behind me waist. My right hand went to the front of her waist, holding onto her squirming, satin slippery figure, pressing her warm figure tightly against me. My left hand went up to her shoulder, gliding along the glossy slick fabric of her black satin gown, until I reached her necklace. It only took seconds for my fingers to lift up, and slip off the hook from its”eye” , letting the shimmering chain slither down the front side of Ginny’s satin clad breasts. My right hand left her waist, and travelled nimbly, tingling, all the way up the front until my fingers grasped the dangling chain. My left hand let go, and the necklace whisked down the front of her perking bosom, tightly covered by the glossy black satin bridesmaid gown. The whole bit of thievery took me only a few chords of the music, but it seemed to be carried out in slow motion in the process. We finished out the song, me basking in the fact that my gyrating partner was innocently unaware that her shiny necklace was absent, and her pinched jewel was now residing in her dance partners vest pocket. I almost felt a twinge of regret that it no longer could be seen glittering from around its’ mistress’s now bare throat.

  

We made our way back to the others, Brian had a smug look on his bearded face, I knew he was up to something. As I sat down, he whispered double it or nothing mate, that she notices it’s missing before we leave. I nodded, taking him up on it. So, the game was still on, and for the last two hours that we stayed at the reception, Brain waiting for Ginny to notice her missing necklace, I tried to distract her as much as I could, even with me sister constantly played with her own jewelled necklace whenever she held Ginny’s attention, but the poor creature never caught on that her necklace had been lifted ! Unscrupulously nicked away on a whimsical bet while she quite in all unwary innocence had been dancing the night away..

 

And danced with me she did, both of us thoroughly enjoying the rest of the evening. Though, during one slow dance, I did harbour the thought of trying for another of Ginny’s baubles. But the thought of winning 2 quid from Brian, who in his time has won a bit more from me than I him, kept my thoughts of further thievery in check!

 

We finally left the reception after midnight and made our way along the ten city blocks back to the hotel where Ginny and my twin sister shared a joining room with Brian and meself. Ginny walked calmly with us, unaware of the devils that were us, keeping pace beside her. As were making our way through a short cut in a wooded Provincial park, we stopped in a small isolated glen and circled around Ginny. Sis was grinning as she asked poor unawares Ginny; So luv, whatever did happen to your necklace? Gin’s reaction was absolutely, rewardingly priceless.

  

Ginny, a relatively innocent soul, who is prone to believing most anything told to her, started, and her hand went to her throat, feeling about fruitlessly, as her rustling glossy gown and remaining jewels glistened dark in the full moons’ light.

“M’ necklace, why it’s gone? , where did it go!, she pleaded helplessly, her thought patterns and speech a little slurred by her rather intoxicated condition. We than got into it, playing dumb along with her, and tried to figure out the “mystery” I said the last time I saw it was when that seedy bloke cut in, and I ran my hand up her back, feeling the shivers going down her spine, did the blighter touch you like that, then luv. No she said, then thought hard, no she repeated, he couldn’t have, he was a proper gentleman, and it was only rhinestone, like your sister said. My sister commented that the bloke may have not noticed no difference, and she held out her own necklace, I’m glad the bloke didn’t ask me to dance. No, Ginny shook her head, her long earrings flickering a frenzied fire out from her now let down ginger hair, no one could have lifted them like that, I’d have felt it….

  

She looked desperately around at us, then seeing the look on upon our faces, Ginny froze with the realization that we had all been up to something, and, then a smile of relief showed up on her pretty face, as I held up her necklace, sparkling in front of her eyes. A sly look of understanding that we had been up to something crept into those dazzling green eyes , as she told us now to spill it out.

  

We explained the whole tale as sis helped Ginny place her necklace back on. Ginny, with her usual good humor, said she had never noticed a thing, and it probably was a good thing we weren’t real thieves, because if her necklace had been diamonds, it would have been worth a small fortune. And shame on us for having her believe it was that poor blighter in the red shirt.

  

We wouldn’t’ make very good thieves I agreed we drink too much. She just smiled, a curious gleam creeping up into those witchy green eyes of hers. Let’s get going before we meet a real thief then, urged my sister, all this talk about someone thinking our jewels are real is giving me the right chills.

  

Our drunken little group then merrily, if not a little more guardedly, made our way home..

 

This next bit is my favorite.

 

We rode the elevator up to the boy’s room, as the girls called our room, where we drank beer, danced to music and talked on a bit about the reception. The girls stayed in dress and I happily soaked up the pretty picture the pair of admirably attractive girls presented with their long sheets of straight hair now just hanging down, their “diamonds” sparkling and all other assorted frills enticing.

About two hours later found Brian and myself sitting on the couch in kind of a hazy stupor while holding onto our beers. Ginny and my sister were standing directly in front of us, holding beers of their own and giggling over some girlish nonsense, the hypnotic swaying of their longish glossy black satin gowns slowly putting me to sleep.

  

Brain, draining a beer, got up to get another, bumping against my sister and playfully grabbed a handful. My sister started giggling at him as he sauntered off grinning, turning her figure so the brooch at the center of her gowns’ waistline almost hit me on the nose. Half asleep I reached over and lifted it up.

Looking up at the girls I saw that neither was paying no never mind towards me. Ginny, however, laid a hand on my twins shoulder, drawing her close so she could whisper some girlish secret about Brian. I continued on, and was able to undo the brooch, and slip it carefully off without notice. I slipped her jewel into my pocket; waiting until I could think of now that I did it, how would I go about teasing me twin with the deed?

  

Brian stopped on the way back and reset the music, a slow song. Sis went to him, and the pair started dancing. I rose and taking Ginny by the hand, followed suit, leading her to the bit of a dance floor we had cleared. She was again, pure heaven in my arms and my hands slipped liberally up and down her smooth, slinky gowned figure.

 

Ginny smiled! I knew that smile, and realized that something was going on behind her pretty green eyes. She flicked back her sheet of ginger hair, and leaned against me. I saw you, she huskily whispered, her voice putting a tickle in my ear. Saw me I asked, not getting it. I saw you lift that dame’s diamond brooch, Ginny said in a sultry voice as she looked over towards where my sister was dancing, (no, she was actually swooning), in Brian’s arms. You see that one over there, in the black dancing with the bearded gent? I looked over, as she continues, look at ‘er necklace, I have a fancy for diamonds, and if you don’t want me to call security, I suggest you get hers for me, darling, she said with conspiracy like tones, acting like she was some old time actress in a movie. I loved the devilishness of Ginny’s role play idea and it did not take much to toss me whole heart and soul into the assignment!.

  

Check out the Sonia clip shortcut at the end of my tale( recommend viewing)

  

Now wide awake, I got fully into Ginny’s game. As we continued dancing, my eyes watched Brian and me sister, taking careful inventory of all the “dames” sparkling jewelry. Sis turned, and caught my eyes looking her over, she blushed, and not knowing what was really going through my mind, smiled at me. As I smiled back, my eyes drinking her fetchingly attired figure up, I was imagining that all of her ample collection of rhinestones so prettily positioned on her figure, were real diamonds. And that I was an actual thief plotting to nick her lovely sparklers. I looked into Ginny’s eyes. You have a deal miss, I whispered, making my voice deep and throaty, as I imagined meself as some Humphrey Bogart type character in some grit tingly shadowy film noir style black and white movie.

  

The song ended and a second, even slower one began playing. Brian and my sister were still locked into each other’s arms, but I felt that the time to make my move was now. Throwing Ginny a wink, I went over and cut in, Brian looked drunkenly at me like “whattsup chap,” but Ginny was right behind and swirled him away before he could properly react.

  

And as I took the pretty, wide eyed with innocence looking “dame” into my arms I found it exciting that she was oblivious to my nefarious intentions. Naïvely unaware, that in indifference to her own words earlier, someone did now want to nick the jewelry which was quite so merrily dangling from her svelte figure. Now, don’t forget at this point to me she was no longer my sister, but a sweet innocent victim weighted down with desirable loot. And I? I was nothing more than a suave thief deliciously hungering after her bright baubles, albeit, a slightly inebriated suave thief!

  

I bided my time, appearing to look into my twins/victims half opened eyes ( she was really lit by this time, as we all were) , my mind was working overtime on how the best approach to reach my objective. Then it came to me, quite clearly, and so Bob became my uncle, and I began his suggested approach…. And if Iwould have dared say so at the time, I executed my bit of jewel thievery like a pro….That is if there are actually pros at this sort of thing1?

  

Employing the same method that I remembered the jewel thief using in the Gilligan’s Island episode to remove his dance partners necklace, I began to compliment my twin on how devastating her and Ginny looked both looked that evening (no lies), slowly moving my one hand up the slick material of the gown covering her back as I whispered my praise. Easily I reached the dangling part of her hook and eye necklace with its’ glittering rows of “diamonds”. She ate it up, blushing and closing her eyes, naively cooperating by tilting her head down, exposing even more of the back of her throat, and laying bare the chain of her “diamond” necklace. As she fawned over my words of (not false) praise, I subtly lifted up the chain of her necklace, whilst my free hand held her ever so her tightly around the waist. I could feel the heat emanating from my victims squirming figure. As well as feeling me own heart pounding a storm.

 

I gently used my free left hands’ fingers to unhooked the clasp, and let the necklace fall over her one shoulder. Sis never felt it hanging, or noticed it as I peeled it off her chest (whisking along her gown smooth as silk) and pulled it over her gown’s satin shoulder till it slipped sparkling down behind her. I held it hanging loose behind her back for a few turns, still pouring out the compliments, until I pocketed it, letting it join her purloined brooch.

  

Meanwhile, Brian had left Ginny to go to the loo, and I saw Ginny, who had been eagerly watching all of it, give me a wink. Then she turned and stole out the apartment door, her longish slinking gown slipping through behind her as she closed the door. I made ready to make some excuse to break away from my sister and head after her with my loot.

  

But just as I opened my mouth to make that excuse , Sis pulled her arms behind me head, and laid her own head back on my shoulder and closed her tired eyes, getting into the music’s deep beat. One of her longish rhinestone earrings just hung there sparkling, mocking me to touch it, and like Gingers diamonds, I saw them as quite ripe for the picking.

  

With the prize within my grasp, I momentarily forgot about the departing Ginny, and I made my move. I found meself trembling a bit, as I reached up and placed my hands gently alongside her ear, her eyes still shut, my victim smiled prettily. The rest of the manoeuvre was surprisingly easy, as I glided my fingers down and slipped it off the earring in one effortless motion. The sparkling beauty came away from her sweaty ear as smoothly as an ice cube moves along a steaming hot grill ( I actually did have a thought like that). I held it in one fist for a bit, watching my victim, she had not felt so much as a tickle on her earlobe, as I had removed her earring. Relishing in my success, I looked at it dangling and shimmering in my hand behind her back. Then, as I secured her diamonds away, I thought about trying for the other. But thought better of it, knowing Ginny was just waiting on the other side of the door.

  

I finished out the dance, taking my sisters hand with its dazzling bracelet and rings, and admired them while I kissed it, the “Dames” Bracelet tantalizing slipped down along her wrist and brushed against me knuckles. At that moment, We both heard the toilet flushing, and my twin looked over her shoulder laughing. As she did do, I saw an opportunity and taking her dangling diamonded bracelet in me fingers, tugged it down ever so discreetly. Surprisingly the clasp popped opened ( right about being flimsy luv, I silently agreed with my twin’s earlier statement)!

I daringly pulled it free from around her wrist and slipped it in me pocket as she turned back around to face her dance partner. I could see in her eyes that she had not felt nor noticed anything outta place. I’d better be off after Ginny I said, clearing me throat, and then , with no fanfare, let go of her hand. It dropped to her side, rings flashing, purloined bracelet gone from where it had, with cheeky regality, held shimmering court all evening.

Nice doing business with you I said, bemused as I watched the puzzlement creep into her half awake eyes while I backed away from her towards the door.

 

And that chaps, is how I left her. With my black and white movie still playing out in my mind, she just was standing there puzzled, a wealthy lady in fancy dress, unknowingly watching the dashing stranger leave, whilst the “fortune” in jewels she thought she still was wearing, left the room in his scoundrel’s possession!

  

However it was my turn to look puzzled as I went out, Ginny was nowhere to be seen. I quickly looked around, then headed to the elevator and rode down in it, alone at this early morning hour, to the lobby.

  

I arrived there, and at first the lobby appeared deserted, cept for a lonely desk clerk with her head buried in a novel. Then breathed a sigh of relief, there, around a corner, Ginny stood talking to some older lady wearing a garish grey pant suit, with this blue tinted helmet of curly hair covered by a large silk head scarf, and carrying an overlarge purse. I suddenly realized that now my anxiety had gone, another urge had taken its place. Ginny looked up, and smiles happily at me, and I smiled back, indicated that I had to go for a minute, and headed meself to the loo.

  

Coming out after I finished, I saw that the lobby was actually now really empty, not even the desk clerk was visible. Thinking Ginny may have gone back upstairs, I first went to the hotels double doors to chance a look outside onto the street below. I just caught sight of a wisp of black gown moving just out of sight past the stairs, on the now smoggy sidewalk below.

  

I headed out, and there was Ginny walking with the Blue haired stranger, they appeared to be looking for something. I started wondering if Ginny had invited this stranger to go on out walk with us? But no, apparently the blue haired lady in the unfortunate grey pantsuit had discovered her keys were missing, and thought they had dropped somewhere after getting out of a taxi just around the corner. And Ginny, bless her kind heated soul, had offered to help the distressed lady look for them.

  

As Ginny was telling me all this after I had caught up, the blue haired older lady , her cheerful face now stern, had started rummaging in her large shoulder bag, I sneaked a peek over her shoulder and saw that is contained quite an amazing assortment of items , ( no wonder it had to be so big). Suddenly she uttered an exclamation, found them she said, triumphantly pulling out an interesting assortment of skeleton type keys on a small ring. Happily smiling at Ginny, she pulled her into an enveloping hug for her efforts, before quickly leaving, but not without first giving me a sidelong glance with a disapproving look from her now pursed–lipped mouth as she passed. But I at the time put it down as her just being stressed out from believing she had misplaced her keys.

  

I am so glad she found her keys remarked Ginny, taking up me hand. That lady was ever so nice, she wanted to know where I had been dressed up all pretty like I am, and when I told her about the wedding, she said it must have been lovely. Then she admired me dress, and rhinestones. Then asked if me ruby ring was a gift from the bride. Liked your ring huh, I asked Ginny, my mind clearing up a little. Oh yes she said, lifted my hand, looked at it an everything!

Then the poor dear missed her keys, and asked if I could be a dear and help her look outside, and that was that until you showed up. (Looking outside for keys at 2:30 in the morning? I thought to myself) As I said ti Ginny, it is a pretty ring, and taking her arm, we started down the block together.

  

My mind, now somewhat attuned to the reality of things, went back to the blue haired lady and her large shoulder bag. Among some of various items I had seen had been a penknife, a length of old silk sash cord, small bundle of lacy handkerchiefs, and a small torch! Then add in the odd assortment of keys on her “misplaced” keyring, and put it all together, it all began to sum up to a new, slightly more sinister meaning of her intentions, in my take on the episode.

  

As we walked, I said nothing in reply to the happily chirping, richly attired girl walking beside me , as for the first time, and not the last, I wondered if something had been afoot with the Blue Haired, pursed mouthed lady that Ginny had seen as a kind older lady needed help, like the bird with a broken wing she had tried to help a few days past( a blue jay!). So was the blue haired lady, with the silk scarf and wearing a rather unisexual pantsuit, acting out the part of a “blue jay”, using her “broken wing” as a ruse to lure my Ginny safely away for her own nefarious reasons?

  

Surreptitiously, I carefully checked over Ginny from head to heeled toes as we walked, to make sure nothing was amiss. Her rhinestones were still safely all in their place, but I did not see the ruby ring, and me heart went still, and chills prickled down my spine! Bullocks! I swore under my breath, that pucker faced tart walked away with it. Ginny, I said, a little choked, she swirled facing me, her green eyes questioning, as she raised her hand to her perked breasts, and there it was, the small, but rather pricey, ruby ring she so loved wearing, the glittery darling had turned around on her finger so it was hidden from my view

.

 

I breathed a heavy sigh of relief, I just wanted to say how lovely you looked this evening my lass, I said saving myself. She smiled winningly, giving me a deep hug for my words. We walked on, as my beating heart slowed down, I convinced myself that maybe the incident of lost keys had all been harmless, and I was just being a worry-wort. I apologized silently for what I had called the fashion challenged blue haired lady in my mind. But I was still beginning to feel like ever a fool to have let Ginny, handsomely decked out as she was, out of my sight at this early hour of the morning.

  

I opened my mind and let all such thoughts flee my head, for the world was now ours, as we made our journey together, hand in hand. We ended up making a very long stroll in the Provincial Park, and reentering the same isolated, secret glen we had been in earlier, proceeded to continue acting out the role playing game we had started at the apartment.

  

Ginny went to the middle of the clearing to wait, pretending she was smoking, like a moll from a gangster movie. I circled and watched her sparkling figure, black in the glens shadows, move about a bit.

  

And as I did, my thoughts wondered a bit, and I remember reflecting ( not for the first time) how in the older black n whites, the heroine, or villainous, is always wearing gowns, elegant long gloves, and jeweled to the sparkling hilt. Then she walks alone to and then waits in some dark alley or other desolate spot for her contact, or hero to show up, much like Ginny was acting out now. So how is it that those fancy dressed and well jeweled unescorted dames, always manage to get to those spots, and are able to wait around in them alone, in those movies, and nary ever meet a ruffian who strips them of those pricy looking sparklers they are flaunting about? Just saying!

  

Saying a brief prayer that my thoughts were not tempting a fate of that type to occur to us now that I had been thinking it, I came out of the shadows and approached Ginny. Keeping my left hand in my pocket like I was carrying a heater. Hey sister, I said, been waiting long? No, she whispered, did you get the goods. Hot as ice I said proudly, producing the necklace and earring I had liberated from the dancing “dame”.

  

As I showed Ginny my take from “the dame”, she squealing over the fact I was able to take one of her diamond earrings, bonus she chanted. Playing a thief’s role, I kept mum about the bracelet, no honour amongst thieves I thought mischievously .

We laughed over what the “dames” reaction would be when the jewels were discovered missing. As we snickered, Ginny caught my eyes and then we got off on a tangent about jewel thieves in love, and ended up reenacting the “lure” scene from the movie ‘To Catch a Thief” ending up producing fireworks of our own making as Ginny lost all her jewels as well as her “innocence”.. We then made our way back home, as the cock crows, receiving a few odd looks from the occasional early morning lorry drivers.

  

And above all, I still remember feeling pretty bloody cocky as Ginny and I had sauntered our way to the park. And why not, I ask? Cause not only did I get to stroll about with the most captivating ginger haired lass, sparkling in fancy dress around, But I also had totally scored a hat trick in the jewelry lifting department, collecting two Quid to boot, and that’s what life is all about for us boys, winning the game, taint it?

 

So ends my story

Please leave a comment at the end of the story you rather liked the telling..

  

The Sonia clip shortcut ( recommend viewing)

youtu.be/HAZdjhNVjxk

  

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Please consider leaving a comment at the end of the story if you rather liked the telling..

 

Kit Fisto may have been ambushed, but his children lived on. Though none of them were force-attuned, two of his grandchildren, twins from his son and a twi'lek on the planet Jakku, live on as bounty hunters and pod racer "repairmen".

 

Little do they know what the Force wills...

 

#TheForceAwakens

~~~~~

 

My final version of the pod racer I've been working on. The skeletal structure is important for 1) playability 2) scale and 3) integrity (i.e. engines don't sag or fall off).

 

I made a version that allows for all three to rotate in sync. However it's too cumbersome to play with and is not adaptable to other things (I'll get to in a later post).

 

This style pod racer is based off of Anakin's choice of engines and platform in Ep. I. Enjoy!!!

Visit my site: jenny-rainbow.pixels.com/

 

As old year is going to be over very soon, I revise all my thoughts and wishes and I think Im not alone in such a process before entering to new year. Great Year, significant 2012. And I understand very clearly that as for me left just only one religion and its LOVE.

Here I would like to share with you this information by some quotes from the article of Lauren Gorgo "All Aboard? Last call to LOVE!"

 

“The earth that you once knew is no longer…there is a new vibrational pattern that has permeated the blueprint of the planet and you now exist as members of the galactic community, cousins to the enlightened citizens of your galaxy.” - Pleiadian High Council

….we are fully anchored in Christed-consciousness for the global restructuring that will take place this coming year as a result of our arriving here. And it promises to be another big year in the sense that the physical restructuring and transformations of 2012 are inevitable, and will serve their purpose to effectively shift the human collective to the HEART of all matters and open all pathways to LOVE.

Each of us holds a piece to this universal puzzle, and so each of us has a major role to play in raising our own vibration, increasing our LOVE quotient, so that collectively we can increase the vibration of the planet and participate in the wonders of the new world.

(NOTE: There are a lot of fear-based-energies circling the planet with regard to this coming year and all the prophecies, predictions, & intentional programming designed to thwart our inevitable arrival into 5D, so it is important to stay connected to LOVE thru the holiday season and just allow those energies to be if you feel them. If your sensitive, you may be feeling a sense of impending doom, or just an unidentifiable anxiety looming over you. This will pass shortly, but even quicker if we remain detached and merely observe the collective energies in motion.)

In 2012 we will be learning that LOVE is all we need… but not in a lyrical way, in a very vibrational way. When we make this profound shift, LOVE literally becomes the animating force of life…the fuel for our creations, our biology, our relationships. When LOVE is fully woven into the tapestry of our lives, miracles become the very fabric of our existence.

 

Those souls who are ushering in the new world are beginning to sing to a different tune. Literally. The new (angelic) human is attuned to the 528 Hz resonance of the sacred (high) heart which resonates in harmony with the crystalline (christ) grid.

The 528 Hz vibration of LOVE is the Source Code of creation…THE universal key required to unlock our co-creative potential, to free ourselves from bondage and enter the playground of new earth. This code acts as a vibrational buffer to ensure that the sacred powers of the universe are only bestowed upon those of pure heart.

 

So what’s most pressing in this moment, before we step into completely uncharted territory, is the observation/release of anything remaining in our mental, emotional or physical selves that is based in fear and therefore holding us back from the embodiment of LOVE. Whatever wounds you are revisiting right now, its important (but not easy) to view as objectively as possible and with the (light) understanding that we don’t have to drag this baggage around any longer…that a clean slate is not only a possibility now, but a requirement.

“The new blueprint of earth requires LOVE now more than ever, and for those who hear the call, the impacts will be greatly lessened. For those who refuse the call, the impacts will be greater. We say this not to elicit fear, but to remind each of you that true healing is possible now but requires the firm commitment to release all that is not LOVE. For those who have been dedicated to the work of releasing these patterns of fear, unprecedented openings are before you. “ -PHC

 

“The incoming wave of LOVE is pervasive and unstoppable. It is lifting you to heights unknown. We will say this…you are not only going to be delighted at what you have created for yourselves, in that the universe multiplies & returns your LOVE-based efforts 10 fold…but you will be in awe of your own personal dedication to this journey. You will be swept up in the throes of self-love like never before, for you will realize, maybe even for the first time, how much LOVE was really required on your part to arrive here.

We understand your contempt, but can’t emphasize this enough. Considering the circumstances, the fact that each of you will feel the absolute warmth and glow of creator’s LOVE touch your hearts and lives is nothing short of miraculous, and this holiday season we wish for you to bask in the knowing that it is you who brought forth these energies…and, collectively, it is you who delivered the world from evil…and it is you who responded to creators call to come forth and in some cases, to incarnate in human flesh for the first time, just to see your missions through. These grand missions of LOVE are not by accident or default, but by the compassionate grace of GOD that lives within each and every one of you and desires for nothing but the purity of LOVE for all.

 

….No doubt, we are all being revisiting by our ghosts of (Christmas) past, and in some cases…depending on the density still remaining in our lives…this has been a time of some really impacting, life-changing revelations. These things that are rushing to the surface for our attention can seem daunting/terrifying at first glance, but this urgency/intensity is just the answer to a universal clarion call to whole-heart-edly illuminate every corner of our lives and bodies so that by the time the solstice rolls around we can lock into position for 2012, and begin again….in an entirely new cycle, with a new life and in brand new world of our making.

This is not to say that what comes up at this time will simply vanish, just that we are being gifted with the awareness of where LOVE is still needed in order to fully shift into our 12th dimensional blueprint bodies. If these finalizing energies dropped a bomb on your life, realize that an explosion can serve two divine purposes…1) it will unmistakably, and without fail, bring our focus and attention to EXACTLY where its needed so that we can heal/release/restore whatever is calling us… and 2) it can serve to shift us, rather quickly, into the mental & emotional framework required to align with LOVE during this pivotal time. If you’ve experienced a jolt, realize that a jolt was needed, but that once you are aware of why, 75% of the work is already done. The other 25% is in LOVing yourself back together.

 

“We would add that the 12:12 presented many of you with options to choose a new pathway, these options were presented as either revelations, or a call to action. How you respond to these situations is what matters now, not in the resolving of them.” –PHC

 

“We would say that these energies are coming to uplift humanity in certain sectors, and to equally dismantle corruption in others. The way for each of you lies in the choices presented to you now…how you choose will determine the path of your soul in the coming year. Choosing LOVE over fear is the only path to redemption.” -PHC

 

This is the time/year/world/era we have been waiting/working so diligently for and the unseens share that all the many potentials that are arising revolve around LOVE as the driving force of creation in our new lives. The new earth is here and LOVE is the only way to enter….LOVE is the key code that grants each of us access to the co-creational forces of the universe, that which can only be accessed from the sacred space within our hearts.

In 2012, LOVE will finally become the predominant force on the planet and anything, anyone in opposition to LOVE will fall away. No one, no thing is exempt.

“We have so much to share with regard to this upcoming year, but we will sum it up by saying that those who are aligned with LOVE will rise to meet LOVE in unprecedented ways. In fact, the word LOVE itself will shift to something greater, for LOVE as you knew it will not compare to the LOVE that will to pump thru the heart of earth and humanity. The lifeblood of Source will flood thru your rivers and veins and will permeate every living thing with the radiance of divine LOVE, the sustenance for life on the new earth.” -PHC

 

www.thinkwithyourheart.net/2011/12/20/all-aboard-last-cal...

 

Thank you for the beautiful idea, Dave! www.youtube.com/watch?v=Qc8ZbVcdHpg

 

To purchase this greeting card, you are welcome to FAA page: fineartamerica.com/featured/happy-new-year-2012-jenny-rai...

“You cannot see the Grand Canyon in one view, as if it were a changeless spectacle from which a curtain might be lifted, but to see it you have to toil from month to month through its labyrinths.” John Wesley Powell

 

After Lava Falls Rapids, the Canyon widens and the river becomes more tranquil. The Canyon transitions to a Mojave Desert biome with Ocotillo and desert flora. By now everyone is comfortably attuned to life on the River and a sense of sadness starts to enter with the realization that this voyage is coming to an end.

I'm not sure where this is. I think it's after RM 200 and I know it's before Pumpkin Spring.

 

I went on a non-motorized Raft trip down the Colorado River through the Grand Canyon with Arizona Raft Adventures from May 16 through May 31. Four Oar rafts, a Dory, and a paddle raft.

AZRA has perfected Colorado River / Grand Canyon rafting. The guides were great, the food was great. Other than the weather, the experience was great.

I went with the idea that this was not a photo adventure. I was going to enjoy the experience and the ride. So I don't have photos of our put in at Lee's Ferry. But you know that you can't get that photo bug out of your system. I did not take my good cameras. This is a nice little Olympus TG-5. Everything takes a beating on a trip like this. It came out a little worse for wear but held up like a champion. On a trip like this you get sand in places you never knew you had places.

 

GRCA1919

 

P5300184 ad

Leica M2

Voigtlander 40mm f/1.4 Nokton MC (yellow filter)

Fomapan 100 in Clayton F76 (1:9 @ 68 deg. for 7 min.)

 

-- I filed the claw of this lens to bring up the 35mm frame lines, thus requiring a bit mental adjustment during composition. Nearly got rid of it though after the first roll, because of mis-framing, but after another roll, and my mind a bit attuned to its' requirements, I've ended up liking it. Small, practical, and reasonably good optics, at a "bang for the buck" price.

 

Here we are on a little berm outside a supermarket distribution center. One of Molly's new favorite places. It always seems to get a breeze, with plenty of chewable palm fronds, and more importantly for Mary and myself -- no people!

We all know that feeling, the one you get as your holiday time runs down. Never is it more poignant than arriving, unheralded as it has, on Nyhavn's Kyssetrappen — the Kissing Stairs. There's a calm moment as he waits for a reunion. His mind is wandering, disengaged.

 

In love, as we all are, with København this little blue buddy — plush, melancholy, filled with beads and emotions — ponders the separation to come. Tomorrow, two of his companions head north to Sweden and Norway. He's not going with them, nor is he staying here. Instead he's away to an uncertain future in the tumult and maelstrom of Belgium's battlefields. Attuned with the feelings of the unwilling soldiers who went before him he sits, pondering and waiting for his companions to catch up with him on his rambles.

The Buzz

 

I'm rooting around the meadow this morning, soiling

My knees as I lap up the sweet, as I shower in sunspray,

A bristled provocateur, but how I want to be glib as

 

St. Francis and chat with this bee, whose motor I hear

As he thrums past in his yellow dinner jacket or the robins

Atwitter, our flirty neighbors, who zip from green to green.

 

I want to learn enough conversational buzz so I'm not such

A tourist in these woods. Please, God of this profusion, give

Me tongues of chirp so I can talk birdy birdy or chatter squirrel

 

Chatter. Let waxwings skim the milkweed or caterpillars rob

The goldenrods. Let dew spread its acres of silver

Fabrication, but attune my tenor vibrato to shagbarks and cedar,

 

The yellowing crocus or that nearby frog who sounds like Basho

Intoning his poem. Spare me from the road vulture I might become,

Content with his swill of entrails. Spare me the ambitions of men

 

In their seed caps or the women hoisting percale sails on backyard

Poles. May my tongue warble oriole and flicker in kingsnake.

May I speak to the vole in his subway, the otter sleeking by, water

 

So clear and articulate, allelu, allelu. O death crouched

In the bushes, you can go on eating your carcass if today you

Keep quiet and let all the other voices teach me to talk back.

--Miguel de Ozarko

While my wife was at the Arizona Bar Association Conference in Coronado, I took a photo trip to the San Diego Japanese Friendship Garden.

 

Japanese Friendship Garden Brochure

Koi Pond - Our koi are considered show-quality and have been hand-selected kept weekly by the Koi Club of San Diego. Koi are considered symbols of longevity with the oldest recorded being 226 years old.

en.wikipedia.org/wiki/Koi

 

www.niwa.org/

The mission of the Japanese Friendship Garden Society of San Diego (JFG) is to develop a traditional Japanese garden as a center to educate, engage, and inspire people of diverse backgrounds about Japanese culture and community legacy.

 

JFG is an accredited museum that offers a variety of educational programs, exhibits, and cultural festivals to enhance appreciation and understanding of Japanese culture. Over 330,000 visitors from the United States and internationally attend the garden annually. JFG opened to the public in 1991 and is an expression of friendship between San Diego and its sister city, Yokohama. The garden is inspired from centuries-old Japanese design and techniques that showcase JFG’s living exhibition comprised of plants and florae native to Japan and San Diego. The second phase opened in 1999 and was designed by renowned landscape architect Takeo Uesugi, which included the addition of the Exhibit Hall, Activity Center, and Upper Koi Pond. The third phase, completed in 2015, incorporated a 200 cherry tree grove, large azalea and camellia garden, a water feature reminiscent of the San Diego watershed, and the state of the art Inamori Pavilion. Today, JFG resides on 12 acres and fosters a relationship between humans and nature, providing a respite attuned to Japanese simplicity, serenity, and aestheticism.

 

en.wikipedia.org/wiki/Japanese_Friendship_Garden_(Balboa_Park)

 

Private Jumbo from the upcoming Article for BrickJournal.

 

Custom Propellor

Modified Helmet

Belt Pockets - BrickForge

Nose - LEGO Antenna

Shoes - Custom

 

PROFILE:

Private Jumbo is the product of a secret government gene-splicing project. He never knew his real parents, and has been a ward of the state since his birth. The experiment was successful in that Jumbo is a physical marvel; he can dead lift at least one metric ton, and his genetically altered body makes him practically impervious to attack. For reasons unknown, he is keenly attuned to the emotions of others, and is thought to be at times overly sensitive. He is easily hurt by criticism, and needs constant reassurance. His continued adventures in this world weigh heavy on his simple mind. Here he sees clowns who entertain children and he wonders why he can’t do the same. Luckily, Blammo has helped keep his fragile emotions in check—for now.

 

WEAPONS:

Jumbo's primary weapon is himself. He has super-human strength and stamina, and is nearly impervious to pain. His emotions are his only weakness. The private is currently testing a new weapon design: The Big Bang. It can be loaded with almost anything at hand and fired. Because of its immense size, only Jumbo can operate it.

 

QUOTE:

"Bad people are bad. They should be more like good people."

The magnetic motor will be cheaper than a standard motor to make, as the rotor and stator assemblies can be set into plastic housings, due to the fact that the system creates very little heat. Further, with the motor's energy efficiency, it will be well suited for any application where a motor has limited energy to drive it. While development is still focused on replacing existing devices, Minato says that his motor has sufficient torque to power a vehicle. With the help of magnetic propulsion, it is feasible to attach a generator to the motor and produce more electric power than was put into the device. Minato says that average efficiency on his motors is about 330 percent.

 

Mention of Over Unity devices in many scientific circles will draw icy skepticism. But if you can accept the idea that Minato's device is able to create motion and torque through its unique, sustainable permanent magnet propulsion system, then it makes sense that he is able to get more out of the unit than he puts in in terms of elctrical power. Indeed, if the device can produce a surplus of power for longer periods, every household in the land will want one.

 

"I am not in this for the money," Minato says. "I have done well in my musical career, but I want to make a contribution to society -- helping the backstreet manufacturers here in Japan and elsewhere. I want to reverse the trends caused by major multinationals. There is a place for corporations. But as the oil industry has taught us, energy is one area where a breakthrough invention like this cannot be trusted to large companies."

 

Minato was once close to making a deal with Enron. But today, he is firmly on a mission to support the small and the independent -- and to go worldwide with them and his amazing machine. "Our plan is to rally smaller companies and pool their talent, and to one day produce the technology across a wide range of fields."

 

When we first got the call from an excited colleague that he'd just seen the most amazing invention -- a magnetic motor that consumed almost no electricity -- we were so skeptical that we declined an invitation to go see it. If the technology was so good, we thought, how come they didn't have any customers yet?

We forgot about the invitation and the company until several months later, when our friend called again. "OK," he said. "They've just sold 40,000 units to a major convenience store chain. Now will you see it?" In Japan, no one pays for 40,000 convenience store cooling fans without being reasonably sure that they are going to work.

 

The Maestro ~

 

The streets of east Shinjuku are littered with the tailings of the many small factories and workshops still located there -- hardly one's image of the headquarters of a world-class technology company. But this is where we are first greeted outside Kohei Minato's workshop by Nobue Minato, the wife of the inventor and co-director of the family firm. The workshop itself is like a Hollywood set of an inventor's garage. Electrical machines, wires, measuring instruments and batteries are strewn everywhere. Along the diagram-covered walls are drill presses, racks of spare coils, Perspex plating and other paraphernalia. And seated in the back, head bowed in thought, is the 58-year-old techno maestro himself. Minato is no newcomer to the limelight. In fact, he has been an entertainer for most of his life, making music and producing his daughter's singing career in the US. He posseses an oversized presence, with a booming voice and a long ponytail. In short, you can easily imagine him onstage or in a convertible cruising down the coast of California -- not hunched over a mass of wires and coils in Tokyo's cramped backstreets. Joining us are a middle-aged banker and his entourage from Osaka and accounting and finance consultant Yukio Funai. The banker is doing a quick review for an investment, while the rest of us just want to see if Minato's magnetic motors really work. A prototype car air conditioner cooler sitting on a bench looks like it would fit into a Toyota Corolla and quickly catches our attention. Seeing is Believing ~

Nobue then takes us through the functions and operations of each of the machines, starting off with a simple explanation of the laws of magnetism and repulsion. She demonstrates the "Minato Wheel" by kicking a magnet-lined rotor into action with a magnetic wand. Looking carefully at the rotor, we see that it has over 16 magnets embedded on a slant -- apparently to make Minato's machines work, the positioning and angle of the magnets is critical. After she kicks the wheel into life, it keeps spinning, proving at least that the design doesn't suffer from magnetic lockup. She then moves us to the next device, a weighty machine connected to a tiny battery. Apparently the load on the machine is a 35kg rotor, which could easily be used in a washing machine. After she flicks the switch, the huge rotor spins at over 1,500 rpms effortlessly and silently. Meters show the power in and power out. Suddenly, a power source of 16 watt or so is driving a device that should be drawing at least 200 to 300 watts. Nobue explains to us that this and all the other devices only use electrical power for the two electromagnetic stators at either side of each rotor, which are used to kick the rotor past its lockup point then on to the next arc of magnets. Apparently the angle and spacing of the magnets is such that once the rotor is moving, repulsion between the stators and the rotor poles keeps the rotor moving smoothly in a counterclockwise direction. Either way, it's impressive. Next we move to a unit with its motor connected to a generator. What we see is striking. The meters showed an input to the stator electromagnets of approximately 1.8 volts and 150mA input, and from the generator, 9.144 volts and 192mA output. 1.8 x 0.15 x 2 = 540mW input and 9.144 x 0.192 = 1.755W out. But according to the laws of physics, you can't get more out of a device than you put into it. We mention this to Kohei Minato while looking under the workbench to make sure there aren't any hidden wires. Minato assures us that he hasn't transcended the laws of physics. The force supplying the unexplained extra power out is generated by the magnetic strength of the permanent magnets embedded in the rotor. "I'm simply harnessing one of the four fundamental forces of nature," he says. Although we learned in school that magnets were always bipolar and so magnetically induced motion would always end in a locked state of equilibrium, Minato explains that he has fine-tuned the positioning of the magnets and the timing of pulses to the stators to the point where the repulsion between the rotor and the stator (the fixed outer magnetic ring) is transitory. This creates further motion -- rather than a lockup. (See the sidebar on page 41 for a full explanation). Real Products ~ Nobue Minato leads us to the two devices that might convince a potential investor that this is all for real. First, she shows us the cooling fan prototype that is being manufactured for a convenience store chain's 14,000 outlets (3 fans per outlet). The unit looks almost identical to a Mitsubishi-manufactured fan unit next to it, which is the unit currently in wide use. In a test, the airflow from both units is about the same. The other unit is the car air conditioning prototype that caught our eye as we came in. It's a prototype for Nippon Denso, Japan's largest manufacturer of car air conditioners. The unit is remarkably compact and has the same contours and size as a conventional unit. Minato's manufacturing skills are clearly improving.

The Banker and his Investment ~

Minato has good reason to complain about Japan's social and cultural uniformity. For years, people thought of him as an oddball for playing the piano for a living, and bankers and investors have avoided him because of his habit of claiming that he'd discovered a breakthrough technology all by himself -- without any formal training. However, the Osaka banker stands up after the lecture and announces that before he goes, he will commit \100 million to the investment pool. Minato turns to us and smiles. We brought him good luck, and this was his third investor in as many weeks to confirm an interest. Bringing the Tech to the Table ~ With the audience gone, we ask Minato what he plans to do to commercialize the technology. His game plan is simple and clear, he says. He wants to retain control, and he wants to commercialize the technology in Japan first -- where he feels he can ensure that things get done right. Why doesn't he go directly to the US or China? His experiences in both countries, he suggests, have been less than successful. "The first stage is critical in terms of creating good products and refining the technology. I don't want to be busy with legal challenges and IP theft while doing that." Still, the export and licensing of the technology are on his agenda, and Minato is talking to a variety of potential partners in other countries. Whereas another inventor might be tempted to outsource everything to a larger corporation, part of what drives Minato is his vision of social justice and responsibility. The 40,000 motors for the convenience store chain are being produced by a group of small manufacturers in Ohta-ku and Bunkyo-ku, in the inner north of Tokyo -- which is becoming a regional rust belt. Minato is seized with the vision of reinvigorating these small workshops that until the 80s were the bedrock of Japan's manufacturing and economic miracle. Their level of expertise will ensure that the quality of the motors will be as good as those from any major company. International Prep " Despite his plan to do things domestically first, Minato is well prepared for the international markets. He is armed with both six years of living and doing business in Los Angeles in the early 90s -- and with patent protection for over 48 countries. His is hardly a provincial perspective. His US experience came after playing the piano for a living for 15 years. He began tinkering with his invention in the mid-70s. The idea for his magnetic motor design came from a burst of inspiration while playing the piano. But Minato decided to drop everything in 1990 to help his daughter Hiroko, who at the age of 20 decided that she wanted to be a rhythm and blues star in the US. Minato is a strong believer in family: If Hiroko was going to find fame and fortune in the US, Dad had better be there to help manage her. He suceeded in helping Hiroko to achieve a UK dance chart number one hit in 1995. In 1996 Minato returned to Japan and his magnetic motor project. The following year he displayed his prototypes to national power companies, government officials and others at a five-day conference in Mexico City. Interest was palpable, and Minato realized that his invention might meet a global need for energy-saving devices.

Subsequent previews and speeches in Korea and Singapore further consolidated his commitment to bringing the invention to fruition, and he was able to bring in several early-stage investors.

During the late 90s, Minato continued to refine his prototypes. He also stayed in constant contact with his lawyer, registering patents in major countries around the world. Through his experiences in the US he realized that legal protection was critical, even if it meant delaying release of the technology by a couple of years. Ironically, by the time he'd won patents in 47 countries, the Japanese patent office turned him down on the grounds that "[the invention] couldn' t possibly work" and that somehow he was fabricating the claims. But a few months later they were forced to recant their decision after the US patent office recognized his invention and gave him the first of two patents. As Minato notes: "How typical of Japan's small-minded bureaucrats that they needed the leadership of the US to accept that my invention was genuine." By 2001, the Minatos had refined their motors and met enough potential investors to enter into a major international relationship, initially with a Saudi company, to be followed thereafter by companies in the US and elsewhere. However, fate dealt the investors and Minato's business a serious blow when the World Trade Center was attacked in New York. The Saudis retreated, and Minato's plans fell back to square one. Now Minato is once again ready to move. With the first order in the works and more orders pending successful prototypes, he has decided that investors don't have to be primary partners. He is actively accepting inquiries from corporate investors who can bring strategic advantages and corporate credibility with them. His company, Japan Magnetic Fan, will make a series of investment tie-up announcements in the first and second quarters of 2004. Implications ~ Minato's motors consume just 20 percent or less of the power of conventional motors with the same torque and horse power. They run cool to the touch and produce almost no acoustic or electrical noise. They are significantly safer and cheaper (in terms of power consumed), and they are sounder environmentally. The implications are enormous. In the US alone, almost 55 percent of the nation's electricity is consumed by electric motors. While most factory operators buy the cheapest motors possible, they are steadily being educated by bodies like NEMA (National Electrical Manufacturers Association) that the costs of running a motor over a typical 20-year lifespan comprise a purchase price of just 3 percent of the total, and electricity costs of 97 percent. It is not unusual for a $2,000 motor to consume $80,000 of electricity (at a price of .06 cents per kilowatt hour). Since 1992, when efficiency legislation was put into place at the US federal level, motor efficiency has been a high priority -- and motors saving 20 percent or so on electrical bills are considered highly efficient. Minato is about to introduce a motor which saves 80 percent, putting it into an entirely new class: The $80,000 running cost will drop to just $16,000. This is a significant savings when multiplied by the millions of motors used throughout the USA and Japan -- and eventually, throughout the world. The Devices ; Minato's invention and its ability to use remarkably less power and run without heat or noise make it perfect for home appliances, personal computers, cellphones (a miniature generator is in the works) and other consumer products.

  

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US Patent # 4,751,486

(Cl. 335/272)

 

Magnetic Rotation Apparatus

 

(June 14. 1998)

 

Kohei Minato

 

Abstract --- The magnetic rotation apparatus of the present invention has first and second rotors rotatably supported and juxtaposed. The first and second rotors are connected so as to be rotatable in opposite directions in a cooperating manner. A number of permanent magnets are arranged on a circumferential portion of the first rotor at regular intervals, and just as many permanent magnets are arranged on a circumferential portion of the second rotor at regular intervals. Each permanent magnet has one magnetic polarity located radially outward from the rotors, and has the other magnetic polarity located radially inward toward the rotors. The polarity of each permanent magnet, which is located radially outward from the rotors, is identical. When the first and second rotors are rotated in a cooperating manner, the phase of rotation of the permanent magnets of one rotor is slightly advanced from that of the permanent magnets of the other rotor. One of the permanent magnets of one rotor is replaced with the electromagnet. The radially outward polarity of the electromagnet can be changed by reversing the direction in which a current is supplied to the electromagnet.

  

TECHNICAL FIELD

 

The present invention relates to a magnetic rotation apparatus in which a pair of rotors are rotated by utilizing a magnetic force.

 

BACKGROUND ART

 

An electromotor is well known as a rotation apparatus utilizing a magnetic force. For example, an AC electromotor comprises a rotor having a coil, a stator surrounding the rotor, and a plurality of electromagnets, disposed on the stator, for generating a rotating magnetic field. An electric power must be constantly supplied to the electromagnets in order to generate the rotating magnetic field and keep the rotor rotating, i.e., an external energy, or electric energy, is indispensable for the rotation of the rotor. Under the circumstances, a magnetic rotation apparatus, which employs permanent magnets in lieu of electromagnets and can rotate a rotor only by a magnetic force of the permanent magnets, is highly desirable. The present application proposes a magnetic rotation apparatus which comprises a pair of rotors rotatable in opposite directions in a cooperating manner, and a plurality of permanent magnets stationarily arranged at regular intervals on the peripheral portion of each rotor. One end portion of each permanent magnet of both rotors, which has the same polarity, is located radially outward of the rotors. When the two rotors are rotated in a cooperating fashion, a permanent magnet on one rotor and a corresponding permanent magnet on the other, which form a pair, approach and move away from each other periodically. In this case, the phase of rotation of the magnet on one rotor advances a little from that of the corresponding magnet on the other rotor. When the paired permanent magnets approach each other, magnetic repulsion causes one rotor to rotate. The rotation of one rotor is transmitted to the other rotor to rotate the same. In this manner, other pairs of magnets on both rotors sequentially approach each other, and magnetic repulsion occurs incessantly. As a result, the rotors continue to rotate. In the above apparatus, in order to stop the rotation of the rotors, a brake device is required. If an ordinary brake device is mounted on the magnetic rotation apparatus, the entire structure of the apparatus becomes complex, and a driving source for the brake device must be provided separately. The present invention has been developed in consideration of the above circumstances, and its object is to provide a magnetic rotation apparatus including a brake device for suitably stopping the rotation of rotors.,DISCLOSURE OF THE INVENTION The magnetic rotation apparatus of the present invention is provided with magnetic force conversion means which is substituted for at least one pair of permanent magnets of the paired rotors. In a normal state, the magnetic force conversion means causes a magnetic repulsion, as in the other pairs of permanent magnets. When it is intended for the rotors to stop, the magnetic force conversion means causes a magnetic attraction force. Since a magnetic attraction force can be produced between the rotors at any time, the magnetic attraction force serves to stop the rotors. The brake device constituted by the magnetic force conversion means differs from an ordinary brake device which forcibly stops a pair or rotors by using a frictional force. In the brake device of this invention, by converting a magnetic repulsion force to a magnetic attraction force, the rotors can be braked in the state that the movement of the rotors is reduced. Thus, the rotors can be stopped effectively. BRIEF DESCRIPTION OF THE DRAWINGS

FIG. 1 is a schematic perspective view showing a magnetic rotation apparatus according to an embodiment of the invention;

FIG. 2 is a schematic plan view showing the relationship between the first and second rotors; FIG. 3 is a perspective view of a permanent magnet; FIG. 4 shows an electromagnet, a permanent magnet cooperating with the electromagnet, and a driving circuit the electromagnet; and FIG. 5 is a view for explaining how a pair of rotors rotate. BEST MODE OF CARRYING OUT THE INVENTION FIG. 1 shows a magnetic rotation apparatus embodying the present invention. The magnetic rotation apparatus has frame 1. Frame 1 is provided with a pair of rotation shafts 2 which extend vertically and in parallel to each other. Shafts 2 are located at a predetermined distance from each other. Upper and lower ends of each shaft 2 are rotationally supported on frame 1 via bearing 3. First rotor 4a is mounted on one of rotation shafts 2, second rotor 4b is mounted on the other rotation shaft 2. First and second rotors 4a and 4b are arranged on the same level. Rotors 4a and 4b have similar structures. For example, each rotor 4a (4b) comprises two ring-shaped plates 5 which are spaced apart from each other in the axial direction of the rotation shaft 2. Gears 6a and 6b made of synthetic resin are, as cooperating means, attached to lower surfaces of first and second rotors 4a and 4b. The diameters of gears 6a and 6b are identical but larger than those of rotors 4a and 4b. Gears 6a and 6b mesh with each other. First and second rotors 4a and 4b are thus rotatable in opposite directions in a cooperating manner. In FIG. 1, reference numeral 7 indicates support arms for supporting first and second rotors 4a and 4b.

For example, 16 magnets are arranged at regular intervals on a peripheral portion of first rotor 4a. These magnets are secured between two ring-shaped plates 5. In this embodiment, among the 16 magnets, one is electromagnet 9a (see FIG. 2), and the others are permanent magnets 8a. FIG. 2 shows only some of permanent magnets 8a. As shown in FIG. 3, permanent magnet 8a comprises case 10, and a plurality of rod-like ferromagnetic members 11 housed in case 10. Ferromagnetic member 11 is, for example, a ferrite magnet. Ferromagnetic members 11 of each permanent magnet 8a are arranged such that ferromagnetic members 11 have the same polarity at one end. In first rotor 4a, for example, an N-polarity end portion of each permanent magnet 8a faces radially outward, and an S-polarity end portion of magnet 8a faces radially inward. As shown in FIG. 2, when each permanent magnet 8a is located between two shafts 2, angle C formed by longitudinal axis A of magnet 8a and imaginary line B connecting two shafts 2 is, for example, set to 30.degree. C. On the other hand, electromagnet 9a is, as shown in FIG. 4, constituted by U-shaped iron core 12, and coil 13 wound around core 12. Electromagnet 9a is arranged such that both N- and S-polarity end portions face radially outward of first rotor 4a, and the above-mentioned angle C is formed, similarly to the case of permanent magnet 8a. The same number of permanent magnets (8b,9b) as the total number of all permanent magnets and electromagnet (8a,9a) of first rotor 4a are secured on a peripheral portion of second rotor 4b at regular intervals. In FIG. 2, when first and second rotors 4a and 4b are rotated in opposite directions, each permanent magnet of second rotor 4b periodically moves toward and away from the corresponding one of the magnets (8a,9a) of first rotor 4a. The permanent magnets (8b,9b) of second rotor 4b will now be described in greater detail. Permanent magnets 8b of second rotor 4b, which periodically move toward and away from permanent magnets 8a of first rotor 4a in accordance with the rotation of rotors 4a and 4b, have a structure similar to that of permanent magnets 8a of first rotor 4a. The polarity of that end portion of each permanent magnet 8b which is located radially outward from second rotor 4b, is identical with that of the end portion of each permanent magnet 8a of first rotor 4a. That is, the radially outward portion of each permanent magnet 8b has an N-polarity. Permanent magnet 9b of second rotor 4b, which periodically moves toward and away from electromagnet 9a of first rotor 4a, has a structure shown in FIG. 4. Permanent magnet 9b has a structure similar to that of permanent magnets 8a. Both polarities of electromagnet 9a face radially outward from first rotor 4a. Permanent magnet 9b has two different polarities which face radially outward from second rotor 4b and correspond to both polarities of electromagnet 9a. As shown in FIG. 2, when each permanent magnet 8b,9b is located between two rotation shafts 2, angle E formed by longitudinal axis D of the magnet (8b,9b) and imaginary line B connecting two shafts 2 is, for example, set to 56.degree. C. In addition, when rotors 4a and 4b are rotated in opposite directions, as shown by arrows, the magnets (8a,9a) of first rotor 4a move a little ahead of the corresponding permanent magnets (8b,9b) of second rotor 4b, in a region in which both magnets (8a,9a; 8b,9b) approach one another. In other words, the phase of rotation of the magnets (8a,9a) of first rotor 4a advances by a predetermined angle in relation to the permanent magnets (8b,9b) of second rotor 4b. As shown in FIG. 4, electromagnet 9a of first rotor 4a is electrically connected to drive circuit 14. Drive circuit 14 includes a power source for supplying an electric current to coil 13 of electromagnet 9a. While rotors 4a and 4b rotate, drive circuit turns on electromagnet 9a upon receiving a signal from first sensor 15 only when electromagnet 9a and permanent magnet 9b are in a first region in which they periodically approach each other. First sensor 15 is an optical sensor comprising a light-emitting element and a light-receiving element. As shown in FIG. 1, first sensor 15 is attached to a portion of frame 1 above first rotor 4a. First sensor 15 emits light in a downward direction. The light is reflected by reflection plate 16 projecting radially inward from the inner edge of first rotor 4a. First sensor 15 receives the reflected light, and feeds a signal to drive circuit 14. Thus, drive circuit 14 turns on electromagnet 9a. The circumferential length of reflection plate 16 is equal to that of the above-mentioned first region. When magnets 9a and 9b enter the first region, first sensor 15 is turned on, and when they leave the first region, first sensor 15 is turned off. When drive circuit 14 receives a signal from first sensor 15, it excites electromagnet 9a such that both polarities of electromagnet 9a correspond to those of permanent magnet 9b of second rotor 4b. Drive circuit 14 is electrically connected to switching circuit 17. When brake switch 18 is operated, switching circuit 17 reverses the direction in which an electric current is supplied to electromagnet 9a. When the current supplying direction of drive circuit 14 is reversed, drive circuit 14 excites electromagnet 9a only in a time period in which drive circuit 14 receives a signal from second sensor 19. Second sensor 19 has a structure similar to that of first sensor 15, and is attached to frame 1 so as to be located closer to the center of rotor 4a than first sensor 15. Reflection plate 20, which corresponds to the position of second sensor 19, is formed integral to an inner edge portion of reflection plate 16. As shown in FIG. 2, compared to reflection plate 16, reflection plate 20 extends in rotational direction of first rotor 4a, indicated by the arrow. The operation of the above-described magnetic rotation apparatus will now be explained with reference to FIG. 5. In FIG. 5, rotation shaft 2 of first rotor 4a is denoted by 01, and rotation shaft 2 of second rotor 4b is denoted by 02. Only the radially outward polarity, that is, N-polarity, of the magnets of rotors 4a and 4b is shown, for the sake of convenience. Although electromagnet 9a and permanent magnet 9b have both polarities located radially outward, only the N-polarity thereof is shown. When first and second rotors 4a and 4b are put in a position shown in FIG. 5, magnetic pole Nb1 of one permanent magnet of second rotor 4b is located in a line connecting shafts 01 and 02. In this case, polarity Na1 of first rotor 4a, which is paired with polarity Nb1, is a little advanced from polarity Nb1 in the rotational direction of first rotor 4a. For example, as shown in FIG. 5, magnetic pole Na1 is advanced from polarity Nb1 by an angle of X.degree.. Polarities Na1 and Nb1 exert repulsion force F1 upon each other along line L. Supposing that an angle, formed by line M, which is drawn from shaft 01 perpendicularly to line L, and the line connecting shafts 01 and 02 is represented by Y, and that the length of line K is represented by R, torques Ta1 and Tb1 caused by repulsion force F1 to rotate first and second rotors 4a and 4b can be given by: Ta1=F1.multidot.R.multidot.cos (Y-X)

Tb1=F1.multidot.R.multidot.cos Y Since cos (Y-X)>cos Y, Ta1>Tb1.

As shown in FIG. 5, since magnetic pole Na1 is advanced from magnetic pole Nb1 by angle X.degree., first rotor 4a receives a greater torque than second rotor 4b. Thus, first rotor 4a forwardly rotates in the direction of the arrow in FIG. 5. Mention is now made of paired magnets of rotors 4a and 4b in the vicinity of magnetic poles Na1 and Nb1. Magnetic poles Nan and Nan-1 of first rotor 4a are advanced ahead of magnetic pole Nal in the rotational direction. Magnetic poles Nan and Nan-1 receive a torque produced by a repulsion force acting between magnetic poles Nan and Nan-1 and corresponding magnetic poles Nbn and Nbn-1. In FIG. 5, magnetic poles Nan and Nan-1 receive a smaller torque, as they rotate farther from the location of magnetic pole Na1. It is well known that a torque of first rotor 4a, which is caused by a repulsion force acting on magnetic poles Nan and Nan-1, is decreased in inverse proportion to the square of the distance between paired magnetic poles Na and Nb.

Magnetic poles Na2 and Na3, behind magnetic pole Na1, receive a torque which tends to rotate rotor 4a in the reverse direction. This torque is considered to be counterbalanced with the torque acting on magnetic poles Nan and Nan-1. In FIG. 5, attention should be paid to the region of magnetic poles Na1 and Na2. As first rotor 4a forwardly rotates, the direction in which a torque applies to magnetic pole Na2, is changed from the reverse direction to the forward direction, before magnetic pole Na2 reaches the position of magnetic pole Na1. The torque for forwardly rotating rotor 4a is larger than that for reversely rotating rotor 4a. Therefore, first rotor 4a is easily rotated in the direction shown in FIG. 2. Second rotor 4b is considered to receive a torque in a direction reverse to the direction shown in FIG. 2, as seen from the description of first rotor 4a. It is obvious that second rotor 4b receives a maximum torque at the position of magnetic pole Nb1. As seen from the above formula, torque Tb1 applied to second rotor 4b in a direction reverse to that denoted by the arrow is smaller than torque Ta1 applied to first rotor 4a in the forward direction. The rotation of first rotor 4a is transmitted to second rotor 4b through gears 6a and 6b. By determining the relationship between the strengths of torques Ta1 and Tb1, second rotor 4b is thus rotated in a direction reverse to the rotational direction of first rotor 4a, against the torque applied to second rotor in the direction. As a result, first and second rotors 4a and 4b are kept rotating, since a torque for rotating rotors 4a and 4b in a cooperating manner is produced each time magnetic poles Na of first rotor 4a pass across the line connecting shafts 01 and 02. In a diagram shown in the right part of FIG. 5, a solid line indicates a torque applied to first rotor 4a, and a broken line indicates a torque applied to second rotor 4b. The ordinate indicates a distance between each magnetic pole and the line connecting shafts 01 and 02 of rotors 4a and 4b. The first region in which electromagnet 9a of first rotor 4a is turned on is set in a range of Z during which a torque is applied to first rotor 4a in the forward direction. In order to stop the cooperative rotation of rotors 4a and 4b, brake switch is turned on to operate switching circuit 17. Thus, the direction in which drive circuit 14 supplies a current to electromagnet 9a is reversed. The polarities of electromagnet 9a are reversed. The torque applied to electromagnet 9a in the forward direction is stopped. When electromagnet 9a approaches permanent magnet 9b, a magnetic attract:on force is produced. As a result, the rotation of rotors 4a and 4b is effectively slowed down and stopped. Since the second region, in which electromagnet 9a is excited, is larger than the first region, a large braking force can be obtained from a magnetic attraction force. In the above embodiment, since electromagnet 9a is excited only in a specific region, a large electric power is not required. In addition, since electromagnet 9a rotates and brakes rotors 4a and 4b, a braking mechanism for a magnetic rotation apparatus can be obtained without having to make the entire structure of the apparatus complex. The present invention is not restricted to the above embodiment. With the exception of the paired electromagnet and permanent magnet, all permanent magnets of the rotors are arranged such that their end portions of the same polarity face radially outward from the rotors. However, it is possible that the polarities of the radially outward end portions of the permanent magnets are alternately changed. Namely, it should suffice if the polarities of the radially outward end portions of the first rotor are identical to those of the corresponding radially outward end portions of the second rotor. The magnets may have different magnetic forces. Furthermore, an electric power for exciting the electromagnet can be derived from the rotation of the rotors or from the revolving magnetic field of the permanent magnet.

Angles C and E are not restricted to 30.degree. and 56.degree.. They may be freely determined in consideration of the strength of the magnetic force of the permanent magnet, a minimum distance between adjacent magnets, angle x, and the like. The number of magnets of the rotor is also freely chosen.

Industrial Applicability ~ As described above, the magnetic rotation apparatus of the present invention can be used as a driving source in place of an electric motor, and as an electric generator. US Patent # 5,594,289 (Cl. 310/152) Magnetic Rotating Apparatus (January 14, 1997) Kohei Minato Abstract --- On a rotor which is fixed to a rotatable rotating shaft, a plurality of permanent magnets are disposed along the direction of rotation such that the same magnetic pole type thereof face outward. In the same way, balancers are disposed on the rotor for balancing the rotation of this rotor. Each of the permanent magnets is obliquely arranged with respect to the radial direction line of the rotor. At the outer periphery of the rotor, an electromagnet is disposed facing this rotor, with this electromagnet intermittently energized based on the rotation of the rotor. According to the magnetic rotating apparatus of the present invention, rotational energy can be efficiently obtained from permanent magnets. This is made possible by minimizing as much as possible current supplied to the electromagnets, so that only a required amount of electrical energy is supplied to the electromagnets. Claims --- [ Claims not included here ] Description BACKGROUND OF THE INVENTION 1. Field of the Invention The present invention relates to a magnetic rotating apparatus, and more particularly, to a magnetic rotating apparatus which utilizes repulsive forces produced between a permanent magnet and an electromagnet.

2. Description of the Prior Art In a conventional electric motor, an armature as a rotor consists of turns of wires, and electric field as a stator consists of a permanent magnet. In such the conventional electric motor, however, current must be usually supplied to windings of the armature which is rotated. When the current is supplied, heat is generated, which gives rise to the problem that not much driving force is efficiently generated. This, in turn, gives wise to the problem that the magnetic forces cannot be efficiently obtained from the permanent magnet. In addition, in the conventional electric motor, since the armature is so constructed as consisting of the windings, the moment of inertia cannot be made very high, so that enough torque cannot be obtained. To overcome the above-described problems of such the conventional electric motor, the inventor proposed, in Japanese Patent Publication No. 61868/1993 (U.S. Pat. No. 4,751,486) a magnetic rotating apparatus in which a plurality of the permanent magnets are disposed along the two rotors, respectively, at a predetermined angle, and in which an electromagnet is disposed at one of the rotors. In a generally constructed conventional electric motor, there is a limit as to how much the efficiency of energy conversion can be increased. In addition, the torque of the electric motor cannot be made high enough. For the above reasons, hitherto, various improvements have been made on existing electric motors, without any success in producing an electric motor so constructed has providing satisfactory characteristics. In the magnetic rotating apparatus disclosed in Japanese Patent Publication No. 6868/1993 (U.S. Pat. No. 4,751,486) a pair of rotors is rotated. Therefore, it is necessary for each of the rotors to have high precision, and in addition, measures must be taken for easier rotation control. SUMMARY OF THE INVENTION In view of the above-described problems, the object of the present invention is to provide a magnetic rotating apparatus in which rotational energy can be efficiently obtained from the permanent magnet with a minimum amount of electrical energy, and in which rotation control can be carried out relatively easily. According to one aspect of the present invention, there is provided a magnetic rotating apparatus comprising a rotating shaft; a rotor which is fixed to the rotating shaft and which has disposed thereon permanent magnet means and means for balancing rotation, the permanent magnet means being disposed such that a plurality of magnetic poles of one (or first) polarity type is arranged along an outer peripheral surface in the direction of rotation, and a plurality of magnetic poles of the other (or second) polarity type arranged along an inner peripheral surface, with each pair of corresponding magnetic poles of one and the other polarities obliquely arranged with respect to a radial line; electromagnet means, which is disposed facing this rotor, for developing a magnetic field which faces the magnetic field of the permanent magnet means of the rotor and detecting means for detecting rotating position of the rotor to allow the electromagnet means to be energized. According to another aspect of the present invention, there is provided a magnetic rotating apparatus comprising a rotating shaft a rotor which is fixed to the rotating shaft and which has disposed thereon a plurality of permanent magnets and balancers for balancing rotation, the permanent magnets being disposed such that one magnetic polarity type is arranged along an outer peripheral surface in the direction of rotation and the other magnetic polarity type arranged along an inner peripheral surface, with each pair of corresponding magnetic poles of one and the other polarities obliquely arranged with respect to a radial line; an electromagnet, which is disposed facing this rotor, for developing a magnetic field which produces the other magnetic polarity type on the facing surface; and energizing means for intermittently energizing the electromagnet means from where the leading permanent magnet, based on the rotation of the rotor, passes the facing surface of the electromagnet in the direction of rotation. According to still another aspect of the present invention, there is provided magnetic rotating apparatus comprising a rotating shaft; a first rotor which is fixed to the rotating shaft and which has disposed thereon permanent magnet means and means for balancing rotation, the permanent magnet means being disposed such that a plurality of magnetic poles of the second polarity type is arranged along an outer peripheral surface in the direction of rotation, and a plurality of magnetic poles of the first pole type arranged along an inner peripheral surface, with each pair of corresponding magnetic poles of one and the other polarities obliquely arranged with respect to a radial line; a second rotor which rotates along with the first rotor and is fixed to the rotating shaft, having disposed thereon a plurality of permanent magnets and balancers for balancing rotation, the permanent magnets being disposed such that one magnetic polarity type is arranged along an outer peripheral surface in the direction of rotation and the other magnetic polarity type arranged along an inner peripheral surface, with each pair of corresponding magnetic poles of one and the other polarities obliquely arranged with respect to a radial line a first and a second electromagnet means, which are magnetically connected and disposed facing the first and second rotors, respectively, for developing a magnetic field which faces the magnetic field of the permanent magnet means of the first and second rotors; and detecting means for detecting rotating position of the rotors to allow the electromagnet means to be energized. The nature, principle and utility of the invention will become more apparent from the following detailed description when read in conjunction with the accompanying drawings.

BRIEF DESCRIPTION OF THE DRAWINGS In the accompanying drawings: FIG. 1 is a perspective view schematically illustrating a magnetic rating apparatus according to one embodiment of the present invention FIG. 2 is a side view of the magnetic rotating apparatus illustrated in FIG. 1; FIG. 3 is a plan view of a rotor of the magnetic rotating apparatus illustrated in FIGS. 1 and 2;

FIG. 4 is a circuit diagram illustrating a circuit in the magnetic rotating apparatus shown in FIG. 1; FIG. 5 is a plan view showing a magnetic field distribution formed between the rotor and the electromagnet of the magnetic rotating apparatus shown in FIGS. 1 and 2, and FIG. 6 is an explanatory view illustrating a torque which causes rotation of the rotor of the magnetic rotating apparatus shown in FIGS. 1 and 2. DESCRIPTION OF THE PREFERRED EMBODIMENTS The magnetic field developed by an electromagnet means and that of a permanent magnet means of a rotor repel each other. In addition, the magnetic field of the permanent magnet means is flattened by the magnetic fields of other nearby permanent magnets and electromagnet means. Therefore, a torque is produced therebetween to efficiently rotate the rotor. Since the rotor has a high inertial force, when the rotor starts rotating, its speed increases by the inertial force and the turning force. A magnetic rotating apparatus related to one embodiment of the present invention will be described with reference to the following drawings. FIGS. 1 and 2 are schematic diagrams of a magnetic rotating apparatus related to one embodiment of the present invention. In the specification, the term "magnetic rotating apparatus" will include an electric motor, and from its general meaning of obtaining turning force from the magnetic forces of permanent magnets, it will refer to a rotating apparatus utilizing the magnetic forces. As shown in FIG. 1, in the magnetic rotating apparatus related to one embodiment of the present invention, a rotating shaft 4 is rotatably fixed to a frame 2 with bearings 5. To the rotating shaft 4, there are fixed a first magnet rotor 6 and a second magnet rotor 8, both of which produce turning forces and a rotated body 10, which has mounted therealong a plurality of rod-shaped magnets 9 for obtaining the turning forces as energy. They are fixed in such a manner as to be rotatable with the rotating shaft 4. At the first and second magnet rotors 6 and 8, there are provided, as will be described later in detail with reference to FIGS. 1 and 2, a first electromagnet 12 and a second electromagnet 14 respectively are energized in synchronism with rotations of the first and second magnet rotors 6 and 8, both of which face each other and are each disposed in a magnetic gap. The first and second electromagnets 12 and 14 are respectively mounted to a yoke 16, which forms a magnetic path. As shown in FIG. 3, the first and second magnet rotors 6 and 8 each have disposed on its disk-shaped surface a plurality of tabular magnets 22A through 22H for developing a magnetic field for generating the turning forces and balancers 20A through 20H, made of non-magnetic substances, for balancing the magnet rotors 6 and 8. In the embodiments, the first and second magnet rotors 6 and 8 each have disposed along the disk-shaped surface 24 at equal intervals the eight tabular magnets 22A through 22H along half of the outer peripheral area and +the eight balancers 20A through 20H along the other half of the outer peripheral area.

As shown in FIG. 3, each of the tabular magnets 22A through 22H are disposed so that its longitudinal axis 1 makes an angle D with respect to a radial axis line 11 of the disk-shaped surface 24. In the embodiment, an angle of 30 degrees and 56 degrees have been confirmed for the angle D. An appropriate angle, however, can be set depending on the radius of the disk-shaped surface 24 and the number of tabular magnets 22A through 22H to be disposed on the disk-shaped surface 24. As illustrated in FIG. 2, from the viewpoint of effective use of the magnetic field, it is preferable that the tabular magnets 22A through 22H on the first magnet rotor 6 are positioned so that their N-poles point outward, while the tabular magnets 22A through 22H on the second magnet rotor 8 are positioned so that their S-poles point outward. Exterior to the first and second magnet rotors 6 and 8, the first and second electromagnets 12 and 14 are disposed facing the first and second magnet rotors 6 and 8 respectively in the magnetic gap. When the first and second electromagnets 12 and 14 are energized, they develop a magnetic field identical in polarity to the their respective tabular magnets 22A through 22H so that they repel one anther. In other words, as shown in FIG. 2, since the tabular magnets 22A through 22H on the first magnet rotor 6 have their N-poles facing outwards, the first electromagnet 12 is energized so that the side facing the first magnet rotor 6 develops an N-polarity. In a similar way, since the tabular magnets 22A through 22H on the second magnet rotor 8 have their S-poles facing outwards, the second electromagnet 14 is energized so that the side facing the tabular magnets 22A through 22H develops a S-polarity. The first and second electromagnets 12 and 14, which are magnetically connected by the yoke 16, are magnetized so that the sides facing their respective magnet rotors 6 and 8 are opposite in polarity with respect to each other. This means that the magnetic fields of the electromagnets 12 and 14 can be used efficiently. A detector 30, such as microswitch, is provided to either one of the first magnet rotor 6 or second magnet rotor 8 to detect the rotating position of the magnet rotors 6 and 8. That is, as shown in FIG. 3, in a rotational direction 32 of the tabular magnets 22A through 22H, the first and the second magnet rotors 6 and 8 are respectively energized when the leading tabular 22A has passed. In other words, in the rotational direction 32, the electromagnet 12 or 14 is energized when starting point So, located between the leading tabular magnet 22A and the following tabular magnet 22B coincides with the center point Ro of either the electromagnet 12 or 14. In addition, as illustrated in FIG. 3, in the rotational direction 32 of the tabular magnets 22A through 22H, the first and the second magnet rotors 6 and 8 are de-energized when the last tabular magnet 22A has passed. In the embodiment, an end point Eo is set symmetrical to the starting point So on the rotating disk-shaped surface 24. When the end point Eo coincides with the center point Ro of either the electromagnet 12 or 14, the electromagnet 12 or 14 is de-energized, respectively. As will be described later, with the center point Ro of the electromagnet 12 or 14 arbitrarily set between the starting point So and the end point Eo, the magnet rotors 6 and 8 start to rotate when the electromagnets 12 and 14 and their tabular magnets 22A through 22H face one another. When a microswitch is used as the detector 30 for detecting the rotating position, the contact point of the microswitch is allowed to slide along the surface of the rotating disk-shaped surface 24. A step is provided for the starting point So and the end point Eo so that the contact of the microswitch closes between the starting point So and the end point Eo. The area along the periphery therebetween protrudes beyond the other peripheral areas of the rotating disk-shaped surface 24. It is apparent that a photo sensor or the like may be used instead of the microswitch as the detector 30 for detecting the rotating position. As shown in FIG. 4, the windings of the electromagnets 12 and 14 are connected to a DC power source 42 through a movable contact of a relay 40, which is connected in series with the windings. A series circuit containing the relay 40 (solenoid) and the detector 30 or microswitch is connected to the DC power source 42. In addition, from the viewpoint of energy conservation, a charger 44 such as a solar cell is connected to the DC power source 42. It is preferable that the DC power source 42 is constantly chargeable using solar energy or the like. In the magnetic rotating apparatus illustrated in FIGS. 1 and 2, a magnetic field distribution shown in FIG. 5 is formed between the tabular magnets 22A through 22H, disposed on each of the magnet rotors 6 and 8, and the electromagnets 12 and 14 which face them, respectively. When the electromagnet 12 or 14 is energized, a magnetic field of a tabular magnet of the tabular magnets 22A through 22H, adjacent to the electromagnet 12 or 14, is distorted in the longitudinal direction in correspondence with the rotational direction. This results in the generation of a repulsive force therebetween. As is apparent from the distortion of the magnetic field, the repulsive force has a larger component in the longitudinal or perpendicular direction, and produces a torque, as shown by an arrow 32. Similarly, a magnetic field of a tabular magnet of the tabular magnets 22A through 22H, which next enters the magnetic field of the electromagnet 12 or 14, is distorted. the repulsive force produced between the tabular magnets of the tabular magnets 22A through 22H, which have already entered the magnetic field of the electromagnets, a repulsive force operates between both of the poles M and M' of the tabular magnet at the rotating side and the electromagnet at the stationary side, respectively. Therefore, from the relationship illustrated in FIG. 6, an angular torque T is generated based on the formula: T=F. a.cos (.alpha.-.beta.), where in a is a constant. The angular torque starts the rotation of the rotating disk-shaped surface 24. After the rotating disk-shaped surface 24 has started rotating, its rotating speed gradually increases due to an inertial moment thereof, which allows a large turning driving force to be produced. After a stable rotation of the rotating disk-shaped surface 24 has been produced, when a necessary electromotive force can be developed in an electromagnetic coil (not illustrated) by externally bringing it near a rotated body 10 to be rotated along with the rotating disk-shaped surface 24. This electric power can be used for other applications. This rotating principle is based on the rotating principle of the magnetic rotating apparatus already disclosed in Japanese Patent Publication No. 61868/1993 (U.S. Pat. No. 4,751,486) by the inventor. That is, even if an electromagnet, provided for one of the rotors of the magnetic rotating apparatus disclosed in the same Patent Application, is fixed, it is rotated in accordance with the rotating principle disclosed therein. For details, refer to the above Japanese Patent Publication No. 61868/1993 (U.S. Pat. No. 4,751,486).

The number of tabular magnets 22A through 22H is not limited to "8" as shown in FIGS. 1 and 3. Any number of magnets may be used. In the above-described embodiment, although the tabular magnets 22A through 22H are disposed along half of the peripheral area of the disk-shaped surface 24, and the balancers 20A through 20H are disposed along the other half of the peripheral area, the tabular magnets may further be disposed along other areas of the disk-shaped surface 24. It is preferable that balancers, in addition to magnets, are provided along a portion of the peripheral area on the disk-shaped surface. The counter weights, which do not need to be formed into separate blocks, may be formed into one sheet of plate which extends on the outer peripheral area of the disk-shaped surface. In addition, in the above-described embodiments, while the construction is such as to allow the electromagnets to be energized for a predetermined period of time for every rotation of the rotating disk-shaped surface, the circuit may be so constructed as to allow, upon increased number of rotations, energization of the electromagnets for every rotation of the rotating disk-shaped surface, starting from its second rotation onwards. Further, in the above-described embodiment, a tabular magnet has been used for the permanent magnet, but other types of permanent magnets may also be used. In effect, any type of magnet may be used as the permanent magnet means as long as a plurality of magnetic poles of one type is disposed along the outer surface of the inner periphery and a plurality of magnetic poles of the other type are disposed along the inner peripheral surface of the disk-shaped surface, so that a pair of corresponding magnetic poles of one and the other polarities is obliquely arranged, with respect to the radial line 11, as shown in FIG. 3. Although the tabular magnets 22A through 22H are mounted on the magnet rotors 6 and 8 in the above embodiment, they may be electromagnets. In this case, the electromagnets 12 and 14 may be the alternative of electromagnets or permanent magnets.

According to the magnetic rotating apparatus of the present invention, rotational energy can be efficiently obtained from permanent magnets. This is made possible by minimizing as much as possible current supplied to the electromagnets, so that only a required amount of electrical energy is supplied to the electromagnets. It should be understood that many modifications and adaptations of the invention will become apparent to those skilled in the art and it is intended to encompass such obvious modifications and changes in the scope of the claims appended hereto. KeelyNet: BBS Posting from Henry Curtis (11-18-1997)

Korean Magnetic Perpetual Motion Wheel I must apologize for not having all the details of this interesting device but will update the file when I get more info from the source. In email communications with John Schnurer, I happened to mention it and he's been on me since then to send him a diagram, yet I felt like it would simply be confusing because its operation is not clear or readily apparent from the information I had.The information that I have comes directly from long time friend Henry Curtis of Colorado. We both attended the 1997 ISNE conference in Denver and Henry was telling about this interesting machine he had seen while on a trip to the Phillipines. He said there was a free energy conference held there and he noticed a spinning bicycle wheel that was attached to a stand that sat on a table.The wheel was running when he first saw it, yet there did not appear to be any driving force such as a motor, belts, gears, etc..Henry said he watched it for quite awhile and it never stopped running. On expressing curiosity about the wheel, he was invited to stop it and start it up without any outside assistance.Henry reports the wheel was brought to a complete stop, then he gave it a spin with his hand and it began moving on its own. I am uncertain if it followed the tendency of other such devices to establish its own speed. Some devices like this can be spun up to high speed from an outside source, then will slow to a speed which is determined by the geometry and strength of the repelling or attracting forces that operate it.Henry swears it was the neatest thing he'd ever seen and drew a crude diagram of the arrangement on my notepad. Unfortunately, we were a bit rushed and I did not achieve a complete understanding of how it operated. That is why I did not want to blow smoke about it until more detail had been received, god knows, we don't need any more of that.However, perhaps someone can figure it out from the limited information I do have. The following drawing shows the wheel arrangement, one half was weighted, the other half had slanted magnets. I do not know whether they are all repelling, attracting or a mix of these forces. As you can imagine, the weight of the magnets must equal the weight of the other half of the wheel to balance out. Apparently the force of the magnetic repulsion or attaction provides the actual imbalance.Henry also said there was a patent on this device that is dated January 14, 1997. The inventor is a Japanese man named Minatu. The spelling of this name is uncertain. I did a search on the IBM server but found nothing even remote. Henry specifically said this was a United States patent. So, here it is. Perhaps Henry can come up with some more detail which can be used to update this file in future. Good luck.... KeelyNet: Update and Corrections from Henry Curtis (Wed, 19 Nov 1997) ~

From: Henry Curtis ~ To: Jerry Decker Subject: Bicycle wheel correction and update Jerry, Again we see that communication is difficult and memories are fallable. Obviously I am remiss in not having sent this to you months ago as I intended to, but as a sage of old observed "The spirit is willing, but the flesh is slow." During the first weekend of May, 1997, a group in Soeul, Korea headed up by Mr. Chi San Park, held The First International New Energy Conference in Seoul, Korea. I attended this conference and gave a talk on various approcahes to free energy. It was at this conference in Seoul, Korea that I saw the bicycle wheel and had the opportunity to work with it unattended by anyone else.The inventor is Kohei Minato, a Japanese rock musician, who reports that he has spent a million dollars out of his own pocket developing magnetic motors, because the world needs a better source of energy. He has several patents in various countries. His latest patent that I am aware of is United States Patent # 5,594,289. His development efforts have gone in the general direction of the Adams motor which the above patent is similar to. He had a working prototype of this design at the conference and reported that it used 150 watts power input and produced 450 watts output on a sustained basis. About a year ago CNN (in the US) had a 10 minute segment about him and his motors. In this video he is shown demonstrating two of his magnetic motors. I have a copy of this film clip that he gave to me. I will make a copy and send it to you. Unfortunately, the editors were not attuned to technical details and the pictures of the running machines show little useful detail. The Phillipine connection that you mention is completely erroneous. It was in Korea. The drawing on the web site is essentially correct with the following exceptions. The counter weight is a single curved piece of aluminum covering 180 degrees. Each of the several individual magnets on the other half of the wheel are slightly asymmetric, crescent shaped and nested. They are magnetised end to end with the N poles out. The motor is actuated by moving the N pole of a large permanet magnet (the drive magnet) toward the wheel. As this magnet is moved toward the wheel, the wheel starts to spin. As the magnet is moved closer to the wheel it spins faster. The acceleration of the wheel is rapid. So rapid in fact, as to be startling. To put it another way I was very impressed. The motor works. And it works very well. In the film clip a slight pumping action of Minato's hand holding the magnet is apparent. When I braced my hand so that there was no pumping action, the motor still ran. In fact it seemed to run better. Pumping action by the hand held magnet is not the power that drives the motor. When the drive magnet is moved away from the wheel it coasts rather quickly to a stop and comes to rest in a manner typical of any spinning bicycle wheel. Again when the wheel is at rest and a large magnet is moved up to the wheel it starts to spin. At no time is it necessary to touch the wheel to get it to rotate. Simply bring the N pole of a large magnet several inches from the wheel. The particular orientation of the wheel when it is at rest seems to have no effect on how well it starts to turn. Irrespective of how the wheel and the magnets on it are sitting; move the drive magnet near, it starts to spin. Move the magnet closer it spins faster. Move the magnet further away it slows up. The wheel was mounted on a stand made of aluminum angle pieces bolted together similar to the diagram in the above mentioned patent. The axle of the wheel was mounted parellel to the surface of the planet. I have attached a rough diagram of the wheel. Apparently the geometry of the magnets on the wheel is very important and subtle. I have built several small models none of which have shown the free energy effects of Minato's machine. The conference in Seoul was attended by several hundred people, most appeared to be under 40 and evenly divided between men and women. Presenters were from Korea, US, Japan, and China. Simultaneous translation was provided for all talks in the 3 day conference. Jerry, I hope this information is useful. I may be contacted by e-mail at mailto:hcurtis@mindspring.com or by phone at 303.344.1458.

KeelyNet: Email from Gene Mallove at Infinite Energy ~ I spoke to Bob Vermillion of Tri-Cosmos Development (Los Angeles, CA 310-284-3250 or fax 310-284-3260) today, just before he left for the three-day demonstrations of the Minato magnetic motor being held in Mexico City, Mexico on July 8, 9, 10th.Three (3) Minato Motors (MM), covered by US Patents # 5,594,289 (Jan 14, 1997) and # 4,751,486 (June 14, 1988), have been brought over from Japan. One was allegedly tested last evening by Grupo Bufete Industrial (supposedly one of the largest power generation construction companies in Mexico and South America). The company engineers were said (by Vermillion) to have measured an output /input ratio of 4.3 / 1. The printed literature, which I received in a Fedex packet from Vermillion states that the device can put out 500 watts (maximum) with an input of 34 watts.For those of you who wonder why the device is not self-sustaining -- oral info from Vermillion is that Minato *will* in the course of one of the demonstrations *remove the battery power supply* and let the device self-run -- presumably with a load. The press release makes no bones about the physics-busting character of the MM: "As rotations per minute (rpm's) increase, the electromagnetic consumption of the stator decreases. This phenomenon is in direct conflict with accepted laws of physics and is achieved through the repelling magnetic fields. It operates without heat, noise, or pollution of any kind. It can be produced in size from ultra-small to very large." It is said in the press release that applications from cell phones to laptop computers are under development. Vermillion told me of other parties who were planning to attend the demonstrations, which will be conducted both in public displays and with private party measurements. These include: ENRON, Bechtel, Tejas (a division of Shell Oil Corporation), Fluor Daniels, Kellogg Corp. .He told me that Hal Fox of New Energy News and the Fusion Information Center will be there (I confirmed with Hal that he will be there and will give us a full report.) I considered going myself (I was invited), but I trust Hal Fox to provide a full report --

www.japaninc.com/article.php?articleID=1302

  

en.wikipedia.org/wiki/Permanent_magnet_motor

At certain brain wave frequencies, a sense of "ego boundary" vanishes. In the "theta" state, we are resting deeply and still conscious, at the threshold of drifting away from or back into conscious awareness.There is also a prana breathing tube that runs through the body. It connects the apexes of this Star Tetrahedral field. Learning how to breathe through this tube, combined with rotating the fields, produces the merkaba, a vehicle of ascension. As the brain enters deeper states, our consciousness is less concerned with the physical state, our 'third eye' is active, and separation becomes natural. You can be aware of your truth in every moment of every day by drawing on the deepest blue strand you can find. That strand won’t let you listen to third-dimensional words that are designed to deceive you. You will walk away from words that are not in the highest truth. With your truth strand out front, you won’t be deceived. You’ll know and hear truth, and if you hear an untruth, it will not work for you.Your blueprints have always been available to you, and when they’re interwoven, you can use this exercise to travel through the etheric fabric to find what you’re looking for. When you present your request properly to your higher self, you’ll be surprised by just how much you do know about where you want to go. Much of what you know is unsaid, hidden in your feelings, but accessible..Prana breathing tube that runs through the body. It connects the apexes of this Star Tetrahedral field. Learning how to breathe through this tube, combined with rotating the fields, produces the merkaba, a vehicle of ascension.he photon energy belt that the Earth will move through during the Shift is so huge that I cannot provide you with a precise description of its immensity. Second, prana is a vital life-giving breath, involving deep inhalation, which allows the photon energy to enter into the body through the crown chakra. Finally, your pineal gland is the receptacle of the photon energy in the body..These are three identical fields superimposed over each other, the only difference among them being that the physical body alone is locked, it does not rotate. The merkaba is created by counter-rotating fields of energy. The mental Star Tetrahedral field is electrical in nature, male, and rotates to the left. Since the higher energies work with your feelings, your focus must be on your emotional body. If you learn to think emotionally, you will be aware that your emotions guide everything within your realm. Your emotional body is between your mental and physical bodies, so when you feel something, the latter two bodies go along for the ride..The emotional Star Tetrahedral field is magnetic in nature, female, and rotates to the right. It is the linking together of the mind, heart, and physical body in a specific geometrical ratio and at a critical speed that produces the merkaba.The MerKaBa (sometimes spelled merkavah and, or merkabah) is a vehicle of Ascension. It was believed in ancient times, and even written about by the Hebrews, that the merkavah could be turned on by certain principles in meditation. This involves breathing changes & mind, heart, and body changes that alter the way a person perceives reality..The word “Mer” denotes counter-rotating fields of light, “Ka” Spirit, and “Ba” body, or reality. So the Mer-Ka-Ba then, is a counter-rotating Living field of light that encompasses both Spirit and body and it’s a dimensional vehicle. It’s far more than just that, in fact there isn’t anything that it isn’t. It is the image through which all things were created, and that image is around your body in a geometrical set of patterns.The field extends out a full fifty to sixty feet in diameter (18 to 20 meters), depending on your height. It looks like a flying saucer (Fig. 1). That field is an immense science that is being studied everywhere throughout the cosmos. How well someone understands the MerKaBa, is usually in direct relationship to their consciousness level..

If, when speaking to your higher self, you say, “I want to get from here to there and I want you to guide me,” your higher self will do whatever it wants, and it might be years before you see any results, because your higher self has no concept of time. If you want the unseen energies to guide you, you must learn to communicate with them effectively, and that means you must work with your feelings. The unseen energies do not understand language or words as you know them. They can feel you, and if they can feel you, they will know what you want. When these energies respond to your feelings, you will feel the responding communication from them. So, when you ask your higher self to guide you from here to there in the shortest manner possible, it means nothing, unless you focus on getting the feeling of where you want to go, and how and when you want to get there. If you give those feelings to your higher self, after you’ve woven them through the two brains, you will accomplish your goal. The key here is weaving the local and omni brains together. Practice this by contacting the Elven world, where the language is closest to yours here on the Earth plane. Photon, or love, energy is at the root of the current Shift in Consciousness. Pineal gland is the true master gland. It is situated between the eyes. It is the organ of clairvoyance, Third eye, the eye of Ra or Heru (God). Biblical Jacob saw God face to face on the island of Pe-ni-el. Its secretes melatonin which is anti ageing in effect and anti oxidant in nature. This also secretes melanin which colours our skin. The pineal gland, the most enigmatic of endocrine organs, has long been of interest to anatomists. Several millennia ago it was thought to be a valve that controlled the flow of memories into consciousness. René Descartes, the 17th-century French philosopher-mathematician, concluded that the pineal was the seat of the soul. A corollary notion was that calcification of the pineal caused psychiatric disease, a concept that provided support for those who considered psychotic behavior to be rampant; modern examination techniques have revealed that all pineal glands become more or less calcified..The pineal organ is small, weighing little more than 0.1 gram. It lies deep within the brain between the two cerebral hemispheres and above the third ventricle of the spinal column. It has a rich supply of adrenergic nerve fibers that greatly influence its secretions. Microscopically, the gland is composed of pinealocytes (rather typical endocrine cells except for extensions that mingle with those of adjacent cells). Supporting cells that are similar to astrocytes of the brain are interspersed.. The pineal gland contains a number of peptides, including GnRH, TRH, and vasotocin, along with a number of important neurotransmitters such as somatostatin, norepinephrine, serotonin, and histamine. The major pineal hormone, however, is melatonin, a derivative of the amino acid tryptophan. Melatonin was first discovered because it lightens amphibian skin, an effect opposite to that of melanocyte-stimulating hormone of the anterior pituitary. Secretion of melatonin is enhanced whenever the sympathetic nervous system is stimulated. Of greater interest, however, is the fact that secretion increases soon after an animal is placed in the dark; the opposite effect takes place immediately upon exposure to light. Its major action, well documented in animals, is to block the secretion of GnRH by the hypothalamus and of gonadotropins by the pituitary. While it was long thought that a decrease in melatonin secretion heralded the onset of puberty, this hypothesis cannot be supported by studies in humans. It is possible that the pineal contains an as yet unidentified hormone that serves that function. Melotonin is the only hormone secreted by the pineal gland. (The pineal gland is a tiny endocrine gland situated at the centre of the brain.) Melatonin was discovered in 1958 by Aaron B. Lerner and other researchers working at Yale University. Melatonin is produced in humans, other mammals, birds, reptiles, and amphibians. It is present in very small amounts in the human body. Melatonin was previously known to cause the skins of amphibians to blanch, but its functions in mammals remained uncertain until research discoveries in the 1970s and '80s suggested that it regulates both sleeping cycles and the hormonal changes that usher in sexual maturity during adolescence. The pineal gland's production of melatonin varies both with the time of day and with age; production of melatonin is dramatically increased during the nighttime hours and falls off during the day, and melatonin levels are much higher in children under age seven than in adolescents and are lower still in adults. Melatonin apparently acts to keep a child's body from undergoing sexual maturation, since sex hormones such as luteotropin, which play a role in the development of sexual organs, emerge only after melatonin levels have declined. This hypothesis is supported by the fact that children with tumors of the pineal gland often reach sexual maturity unusually early in life, presumably because the pineal's production of melatonin has been hampered. Melatonin also seems to play an important role in regulating sleeping cycles; test subjects injected with the hormone become sleepy, suggesting that the increased production of melatonin coincident with nightfall acts as a fundamental mechanism for making people sleepy. With dawn the pineal gland stops producing melatonin, and wakefulness and alertness ensue. The high level of melatonin production in young children may explain their tendency to sleep longer than adults. In mammals other than humans melatonin possibly acts as a breeding and mating cue, since it is produced in greater amounts in response to the longer nights of winter and less so during summer. Animals who time their mating or breeding to coincide with favorable seasons (such as spring) may depend on melatonin production as a kind of biological clock that regulates their reproductive cycles on the basis of the length of the solar day.When activated, the pineal gland becomes the line of communication, with the higher planes. The crown chakra, reaches down, until its vortex touches the pineal gland. Prana, or pure energy, is received through this energy center in the head. With Practice, the vibration level of the astral body is raised, allowing it, to separate from the physical. To activate the 'third eye' and perceive higher dimensions, the pineal gland and the pituitary body, must vibrate in unison, which is achieved through meditation and / or relaxation. When a correct relationship is established, between personality, operating through the pituitary body, and the soul, operating through the pineal gland, a magnetic field is created. The negative and positive forces, interact and become strong enough, to create the 'light in the head. ' With this 'light in the head' activated, astral projectors can withdraw themselves, from the body, carrying the light with them. Astral Travel, and other occult abilities, are closely associated with the development of the 'light in the head'. After physical relaxation, concentration upon the pineal gland, is achieved, by staring at a point in the middle of the forehead. Without straining the muscles of the eye, this will activate the pineal gland and the 'third eye'. Beginning with the withdrawal of the senses and the physical consciousness, the consciousness is centered in the region of the pineal gland. The perceptive faculty and the point of realization, are centralized in the area between the middle of the forehead and the pineal gland. The trick is to visualize, very intently, the subtle body... escaping through the trap door of the brain. A "popping sound" may occur at the time separation of the astral body, in the area of the pineal gland. Visualization exercises, are the first step, in directing the energies in our inner systems, to activate the 'third eye'. The magnetic field is created around the pineal gland, by focusing the mind on the midway point, between the pineal gland and the pituitary body. The creative imagination visualizes something, and the thought energy of the mind gives life and direction to this form. 'Third eye' development, imagination, and visualization are important ingredients, in many methods to separate from the physical form. Intuition is also achieved, through 'third eye' development. Knowledge and memory of the astral plane, are not registered in full waking consciousness, until the intuition becomes strong enough. Flashes of intuition come, with increasing consistency, as the 'third eye' is activated to a greater degree, through practice. Universal Knowledge... can also be acquired...The pineal gland, corresponds with divine thought, after being touched by the vibrating light of Kundalini. Kundalini starts its ascent, towards the head center, after responding to the vibrations from the 'light in the head.' The light is located at the top of the sutratma, or 'soul thread', which passes down from the highest plane of our being... into the physical vehicle. The 'third eye,' or 'Eye of Siva,' the organ of spiritual vision, is intimately related to karma, as we become more spiritual in the natural course of evolution. As human beings continue to evolve, further out of matter, on the journey from spirit to matter... back to spirit, the pineal gland will continue to rise from its state of age - long dormancy, bringing back to humanity... astral capacities and spiritual abilities...Your body produces its own photon energy, but you can bring more of this golden energy into your body by prana breathing it in through your crown and down through your pineal. That simple activity will awaken your God cell, also known as your Signature Cell, which is in your pineal gland. Prana breathing will flow the golden particles from the pineal through the whole of your physical body, affecting the emotional, mental and spiritual bodies in the process.Next, your thought process must be pure. If you want to get from Manhattan to a specific place in Queens and you’ve never been to Queens, you must have pure thoughts about the journey, concentrating only on the specific place you want to reach, feeling every aspect of it. Then you must go into the etheric pattern until you find and get through that little “gray space” that lets you know you’ve left the third-dimensional reality. You will find yourself in Queens, looking at the specific place you wanted to reach. You will then have to back away from it until the neighborhood where it actually is comes into focus. You will recognize the surrounding neighborhood. You may not have seen how you got there, but you will have enough information, such as an address, to Google it or to ask someone how to get there. You can go from where you are to any place in the world that way during these pre-Shift times. As a four-bodied energy, you have spiritual, mental, emotional, and physical bodies, and you have four strands of DNA that correspond to each of those bodies. The first strand of DNA is the physical, the second, the emotional, the third, the mental, and the fourth, the spiritual...The four strands of DNA are powerful, but one strand is more powerful than the rest and that is the golden strand. Each set of four strands of DNA has one golden strand, which is found in the spiritual, or etheric, body. The golden strand is pure photon energy. The photon energy you bring into your body through prana breathing gets woven with everything else via the pineal gland. During the Shift, you will let go of your third-dimensional reality with the help of that magical golden fourth strand of DNA, which is equipped to transfer you into the fourth dimension.The foundation of our spiritual practice has to be very clear to us, otherwise it is very easy to enter into mistaken techniques and practices. In the Gnostic tradition, we always seek to re-evaluate our spiritual approach; our teacher Samael Aun Weor was very rigorous in his analysis of himself, his spiritual practice, and his technique. He constantly re-evaluated his method, and corrected himself in order to ensure he was on the right path. This is because he relied on practical experience, and was constantly examining the nature of suffering in himself, and was not satisfied with concept or theory. Samael Aun Weor suffered a lot, and that suffering is what gave him the impulse, the motivation, to constantly revise his spiritual practice in order to conquer suffering, and also to help others to do the same. Really, this viewpoint about suffering is the foundation of every genuine path, so understanding suffering is the foundational aspect of all teachings. In essence, spiritual practice is about harnessing energy. In the first levels, in the foundational and Mahayana levels, the two classifications of teaching, we are really learning how to discipline our mind stream and attune it with the mind stream of Christ. This is why Bodhichitta can also be translated as Christ mind (bodhi = wisdom = Chokmah; chitta = mind).

Bodhichitta is a kind of energy that vibrates with the ray of creation, with the Ain Soph Aur, a type of light that emerges out of the Absolute, a light that comes from Adhi-Buddha, the primordial Buddha. This light, which is the supreme clear light, is the type of light that is absolutely perfect, and is the first and primordial expression of the divine. It is a light of unbelievable, indescribable radiance, whose chief characteristic is a brilliant, shining love. If you meditate on that, simply that, you will comprehend why most of the teachings of Tantra you find in the world are black. They are completely contradictory to that light. That light is not interested in pleasure. That light is not interested in the satisfaction of desire. Those are the interests of demons.

When that light emerges out of the Absolute abstract space, it emerges as a form of an archetype, related to the world of Atziluth in Kabbalah. An archetype is a blue print, a primordial form that has not yet become. For that becoming to happen, there has to be a long process of development, and that is the path of initiation, the path through which the soul is born, the soul is created. We are only the embryo of soul, a seed. We are not a soul yet. This is why Jesus said, “With patience you will possess your soul.”

The development and creation of the soul depends upon it being nourished by the light of Christ, this Christic force, which is also called Avalokiteshvara, Quetzalcoatl, Vishnu, and Osiris. They are all the same force. Christ is not a person, but an energy, an intelligence, a light.

That energy creates what we see here as the Tree of Life. That energy descends and condenses and unravels and reveals everything that exists. It is also called the great breath, and is symbolized in Kabbalah and other religions as the breath of God that emerges out of the nothingness. That great breath, that exhalation, is how everything comes to exist, macrocosmically and microcosmically. That Great Breath in Sanskrit is called Prana. The relationship between the Pineal Gland and the Sun shows how much influence the Sun has on us. It is our body clock. The Pineal Gland also reads the Sun and informs animals when it is time to hibernate..Many primitive cultures related to the Sun as the closest physical structure to God due to it’s influence on daily life. Without the Sun life would be over, but the Sun shows up everyday and on-time. The Sun not only influences human bodies internally, but provides the energy for the food humans need to survive to grow. Thus the Sun is the source of life on this planet.

German postcard by Verlag Hermann Leiser, no. 6464. Photo: Poetic-Film. Elisabeth Bergner in Doña Juana/ Donna Juana (Paul Czinner 1928).

 

Plot: An impoverished nobleman (Max Schreck) raises his daughter Juana (Bergner) as a boy because he believes he cannot marry her off in a manner befitting her station. When she falls in love with a nobleman (Walter Rilla), her father wants to send her to a convent. The young man is also to be married off to a rich girl at his father's request. Feeling betrayed, Juana travels ahead of her lover and introduces herself to the beauty intended for him under his name. After a few complications, the two of them can finally count on the consent of their unruly fathers.

 

Doña Juana was scripted by Béla Balázs and Paul Czinner. The cinematography was by Karl Freund, assisted by Robert Baberske and Adolf Schlasy, while sets were by Erich Kettelhut and costumes by Edith Glück and Leo Pasetti. The film was produced by Poetic-Film on behalf of Ufa. Exteriors were shot in Seville and Granada, July-October 1927. The film had its world premiere during a special screening on 27 December 1927 at the Vienna Elite-Kino, while the first public screening was in Vienna on 12 January 1928. The German premiere took place on 24 January 1928 in Berlin, at the cinema Gloria-Palast.

 

Reviews:

"In this film, which gives Bergner the opportunity to develop her great art, she actually succeeds in playing all the registers of dramatic representation, from mischievousness to melancholy and deep heartbreak, in an exemplary manner. She finds the opportunity to do this through the neatly crafted script written by Béla Balász, which is characterised by a logically constructed, strictly avoiding improbabilities and a clear plot. A skilful direction that is attuned to atmospheric detail, as well as the soft, picturesque photography, which especially emphasises the scenic beauty of Spain, the country in which the film is set, and which brings truly magnificent images, do the rest to make the whole film Donna Juana a masterpiece." (Österreichische Film-Zeitung, 24 December 1927).

"In the leading role, Elisabeth Bergner means here that one gets the opportunity to admire the whole kaleidoscope of the skills of this amazing artist. One does not need to overestimate Bergner to nevertheless realise that one never tires of enjoying her in this film like a flashing brilliant that is slowly turned in the light to let all facets shine individually. (...) The other actors are also excellent." (Neue Freie Presse, Vienna, 15 January 1928).

 

Sources: German Wikipedia, Filmportal, IMDb.

 

The profoundly sensitive acting of Austrian- British actress Elisabeth Bergner (1897-1986) influenced the German cinema of the 1920s and 1930s. She specialised in a bisexual type that she portrayed in Der Geiger von Florenz and in other film and stage roles. Nazism forced her to go into exile, but she worked successfully in the West End and on Broadway.

“It’s all about relationships – relationships are the agent of change. Human beings are social creatures, we are neurobiologically and physiologically intended to be in relationship.” ~ Dr Bruce Perry (2021)

 

Another development of my ‘brain-art’ series which I have been developing over the last couple of years, and which incorporate my existing smoke art and mandala work. In this image the idea was to convey ‘connectivity’ and the positive ‘flow of energy’ that occurs in the therapeutic alliance when a practitioner is empathically attuned to a child/young person. It was inspired by the affective neuroscience theories by Dan Siegel, Stephen Porges, Bruce Perry and Louis Cozolino - all leading experts in the field of child development research and trauma-informed approaches...

It's still Cold Winter here and my sincere feelings go out to all the Carnaval Revelers down South, dancing - often scantily clad - in the frosty streets. This morning I looked in our small garden here in Groningen and saw hardy little Hellebore. It immediately reminded me of the really serious Revelries of Antiquity.

Originally - as Dioscorides, the Classical Physician and Botanist tells us - Hellebore was called Melampodium. That name goes back to Classical Times Immemorial and the magical doctor Melampus. He's the one who could understand the speech of animals because when he'd been a baby two snakes had licked out his ears attuning him to the Natural World. So he knew Nature well, it would seem. Once in the city of Argos, when the king's daughters were running amok and naked in the streets, Melampus brought them to their senses by administering Hellebore.

Here then is My Hellebore quite unprotected from Winter in the shadow of Acer japonicum from under whose dried fallen leaves it's quite suddenly sprouted. Though the cold is almost drivng me crazy, Hellebore - Melampodium - for one, if not the Pharmacist from V., holds me back from madly Dancing Nakedly in the Streets.

  

both opening prompt and vanishing point for these mostly gestural ink paintings is a quote from artist Alok Hsu Kwang-han –

 

“the emptiness of the self is the one who can move through the broken heart of the world and feel at home”

 

the initial impulse to allow the intuition of the moment to guide the brush strokes, as portraits of energy or presencing; a kind of witnessing without accumulation or interference, attunement to murmurations; while occasionally more representational images emerge – as well, entendering – and in the spirit of the initial quotation, everything belongs

The Lysander was the mainstay of the Special Operations Executive (SOE) during World War Two. The Lysander was used to transport SOE operatives to and from occupied Europe - a mission that was fraught with danger - so that they could help resistance movements in western Europe.

    

The Lysander was ideal for covert work. In an era when planes were flying faster and faster and when people were becoming attuned to this, the Lysander was a slow moving plane, designed for hard work - being able to take off and land in the most difficult of terrain. The Lysander also flew at a low altitude - below radar - which, at night, gave it more ability to 'disappear' from sight.

 

Some of the most famous SOE operatives were landed by Lysanders - Violette Szabo and the 'White Rabbit. Many flew out of Tangmere airbase in East Sussex. As well as taking in SOE operatives, the Lysander was also used to bring out escaping airmen.

 

The Lysander had a maximum speed of 206 mph and had a crew of 2. It needed just 250 meters for a take off to 50 feet and it needed just 320 meters for a landing from an altitude of 50 feet. The Lysander was armed in case of attack - two .303 Browning machine guns were fitted into the two wheel spats and some had a Lewis machine gun in the rear cockpit. Along with its human cargo, the Lysander could also carry two supply canisters. To the SOE, the Lysander was known as the 'scarlet pimpernel of the air'.

  

You guys. This hike. In the rain. In the winter. Was NOT a good idea. I wouldn't exactly give it zero stars, but I would highly, *highly* recommend against hiking it on a rainy, dark day.

 

At the time, it had its appeal. I was looking for hikes with serious elevation gain - this one clocked in around 4000 feet. It's a short drive from Portland - about one hour. It's mostly forested - more protection against the rain. And, I'd never done it before - so it had the appeal of a new-to-me hike.

 

But. It's steep. It's rocky, with narrow bits of ridgeline and lots of huge rocks on those ridgelines and even a ROPE in one section to pull yourself up (or let yourself down) a particularly hard section. The forest didn't protect me from the rain very well. It was raining SO hard and steadily that the trail turned into a river 70% of the time. Despite "waterproof clothing" I was soaked through after a couple of hours (and I was out for over eight hours). Stream crossings were abundant and were more like small river crossings - at a certain point I stopped trying to find a way to avoid getting my feet submerged (up to my calves) and just waded through the water each time. I ran late, and had to hike for over an hour in the dark (still raining) at the end. There were minimal views, and my film cameras were quite disgruntled about the experience for days after I got back. It was a little scary at times (the steep slick parts and hiking in the dark).

 

This was definitely a hike that gained me a few resilience points. I did it. I made it back. I didn't get hurt or lost. But I will never do this hike again in the rain.

 

The saving grace was a good audiobook - a second "reading" of "A Court of Silver Flames" via Graphic Audio. There were so many moments during this hike that I was more attuned to the book than the trail. The story took my mind off the discomfort and the mild tinge of panic as I waded through rushing stream after rushing stream in the darkening afternoon and evening.

 

And, even though I was listening to an audio book, I have plenty of memories of this hike, etched into my brain via mildly traumatic efforts. Hah.

 

Isn't that the truth, though? There are certain hiking (and life) experiences that encourage development of lasting memories: joy and wonder and discovery. But also misery and suffering. Maybe that's another reason I love hiking so much - nearly every hike features a bit of both. I *remember* those days spent hiking. For a person who hates the fact that memories are slipperier with age, I crave the events and actions that make them stick firmly.

 

Epilogue: I actually came back to this loop this year (in 2024) and managed to complete it again on a beautiful day in June, in two less hours than last winter's hike.

 

Image made with my Hasselblad 500 C/M.

I was at Shark Valley and noticed a large group of people standing at the water's edge gesturing and pointing at something. I hurried to see what all the excitement was about and saw.......the first thing to come to mind was "just another gator".

 

Watching and listening to the excited people around me, I realized I had fell into the old trap of taking for granted those things that I see so often. When I travel, I am often amazed at the nonchalance the locals have towards the sights that I find awe inspiring and here I find myself doing the same thing.

 

Listening to the excited voices around me which were a hodgepodge of nationalities as I heard French, German, Spanish, Chinese, Creole, and a few other languages that I did not recognize, I began to look at the gator and his surroundings with their eyes. What a magnificent creature Mother Nature had presented us with.....one which had endured for millions of years and was perfectly attuned to its environment. Much, much more then "just another gator".

Hello again my dear flickr friends. Thank you ever so much for all you wonderful comments. They are always a delight to read with great appreciation.

 

I hope you had a wonderful week and are adjusting to the upcoming autumn just like me.

 

And yes as you can see I am still not out of the woods yet (not in my mind and photos anyway lol). And I hope you are not bored with the forest shots yet. I know there are quite a number of these shots (as I like to create the forest scene on my flickr page too) so please only comment on any photos that might appeal to you the most.

 

For any poem followers, below is a poem - which I had initially intended to find on the internet (as opposed to writing it myself). However, the one I came across didn't quite suit this image

(ref:http://www.poemhunter.com/poem/on-the-red-carpet/ ) So I used its general outline to make up my own version of it below. It's not my favourite but I hope someone will like it lol .

 

Wishing you a lovely weekend that is full of glowing beauty and happiness. : ) xo

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A red carpet welcome from the forest .

Poem - by Yasmin de Light

 

I step into the autumn forest gateway

Welcoming red carpet of leaves all the way

 

Sun softly beaming through revealingly clad branches

Birds singing autumns tunes

With apprehensive delight I walk each precious step in line and all attune.

 

Each step warmly greeted by the earthy scent of leaves and barks and privileged forest sights

With open arms I twirl joyfully gazing up to the dizzying forest heights.

 

I see applauding, dancing and singing audience of birds, squirrels and even green and amber leaves.

Their smiles of eagerness. Like fans striving for celeb. attention, photo memorabilias and autographs to receive.

 

Is this my 15 minutes of fame.? ... I ask.. in my mind...

Smiling, waving, blowing kisses back, I reciprocate the warm welcome reserved for the celebrity kind .

 

Each glorious moment a magical dream - like floating on etheral wings.

It must be said - the golden glory of autumns throne is truly a special thing.

 

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A red carpet welcome from the forest. - by Yasmin de Light

  

I am astonishingly attuned to the wild birds that appear in my backyard. Hours spent on the balcony with super telephoto lens and DSLR in hand will attest to this. This bird appeared to be as large as a Tom Turkey!

Generally speaking, when I'm out hiking and looking for the next great photo, I have at least one, if not three small dogs with me -- Boots, Teddy, and Toby. While I love their company, I can't tell you how many awesome animal and bird shots I have missed because of a motivated and interested dog. In the northern wild, animals are particularly attuned to the approach of threats and a running dog will quickly scare off pretty much anything. All of that said, Boots is now fifteen, Teddy is fourteen, and Toby is getting up there too. With age, their senses are a little less acute than they used to be. Today, I was lucky to spot a grouse on the trail well before the dogs had any idea that it was there. I stopped and hitched them all up to leashes, handing the tethers to my wife. Then I changed lenses on my camera, and adjusted the various settings accordingly before proceeding with a certain degree of stealth in the direction of my quarry, a female chestnut morph Spruce grouse. Without the barking dogs in tow, I was able to get close enough for a number of what I think are excellent images. This is one of them, tap through my photo-stream a little to see the other two. Each provides a different view of this common but beautiful northern bird.

 

Photo taken with the Olympus OM-D E-M1 and M.Zuiko 100-400mm f/5.0-6.3. Photo processed in DxO PhotoLab 5.5.x.

Like many others, I felt shocked by the new design of flickr. My eyes found no rest anymore. In the front page view, the densly crowded photos are fighting each other. Viewing the contact page - just as the front page of my own stream - I feel being shouted at by a many-voiced chorus whose voices by themselves might be beautiful but which are not at all attuned to each other. In the single photo view, the black background looks so heavy to my eyes that it seems to crush the photos. They are deprived of the necessary space to breathe.

Looking around for alternatives, I was pointed to ipernity, and as some others already, I now opened an account there. For the time being, I will keep and maintain the flickr account and the new ipernity account to see how flickr develops and how well ipernity works. flickr is a place which I enjoyed very much and to which some very important memories are related. So I cannot give it up easily. Yet, I would be glad if I could meet more of the people whose photos I appreciate so much again at ipernity .