View allAll Photos Tagged Competing
On competion of testing on the SVR BR Standard Class 7 4-6-2 700000 'Britannia' is seen on the first stage of its move back to its base at Crewe.
To save a path 'Britannia' tnt 31466 worked the 08.30 Bewdley - Kidderminster with a consist comprising of the Bayer UK Smartweed (Weedkilling) train, which is seen shortly after having departed from Bewdley at Devils Spittleful / Dropping Well Farm.
Note: This scene has recently been transformed - not for the better I might add as far as railway photography is concerned - since the new owners of the land (Worcestershire Wildlife Trust) have erected fencing around the perimeter.
Elite Japanese runners Hiroko Yoshitomi (203) and Manami Kamitanida (207) competing in the 2014 Tokyo Marathon in Tokyo, Japan. Manami crossed the finsh line ahead of her rival in ninth place for women with a personal best time of 2:31:34. Hiroko, the "female Kawauchi," finished in tenth place about one minute behind Manami with a time of 2:32:38.
Went back to the river tonight to try to reframe the wool and trails shot the way I had envisioned it. Got a little closer tonight with the spin balanced opposite of the north star and the sparks crossing the star trails. I think I need a little darker sky and a 2 hour exposure for longer trails. Getting there...
Fun tidbit: The USGS site said the water temp was 48.5F tonight.
September 2011.
All over the capital, the Arirang adverts (« Grand mass gymnastic and artistic performance », « Welcome to Pyongyang » and so on) warn the profane…Between August and October, takes place one of the biggest and most impressive performances in the world. The tone is set : even the Beijing Olympics ceremony can’t compete with the mass games organized by the Democratic People's Republic of Korea (DPRK). The show is held several times a week and welcomes tourists from all over the World, including the US, in one of the most isolated and despised country on earth. The well-called « mass games » are designed to emphasize group dynamics rather than individual performances as the supreme emblem of communism. Prepared by hundred of thousands performers all along the year, after their classes for the youngest of them, they are entirely dedicated to the NK’s leader Kim Jong Il and his deceased father Kim Il Sung, considered as the « Eternal president » and « sun of the 21st century »…
In the surroundings of Pyongyang's May Day giant Stadium, two girls are running to perform for the Arirang show. They are already dressed in their gymnastic outfits, as well as some 100,000 others who participate to the performance. They all come to honour their self-proclaimed « dear leader » Kim Jong Il, after a very hard and gruelling training, since their earliest age. Yet, it has been many years that Kim Jong Il has not shown up, formally for business reasons. But officials now admit the western medias’ assertions of illness. Anyways, Kim Jong Il or not, the mass games are held every year in Pyongyang, as a means for the regime to show to the entire world the country’s strength and good shape. To reach this sole purpose, not less than 100,000 people are involved in a choreographed show of simultaneous dancing and gymnastics. Many symbols are displayed by thousands of trained athlets, whether they are adults or even children. Hand over their heart, the young pupils sing in chorus "We are the happiest children in the world", one of the famous propaganda songs in North Korea. Many dancers make movements either with ribbons or colourful flowers named « kimjonglias » after the leader Kim Jong Il. All along the show, a live band plays a ceremonious music.
On the background, some 20,000 young koreans sit on the terraces, facing the spectators. They flip coloured cards at a high speed to form a fresco of animated and detailed images, changing from one to another. Each time they turn the page to create a new giant picture, they cry out. It creates a awe-inspiring atmosphere, as the shout is mixed with the noise of thousands of pages turned at the same moment. The figures are stunning : to compose these images, 2000 children are needed to make only one soldier, 20,000 for a north korean flag. Hiding a much more grim reality, the panels represent Pyongyang enlightened by night, wheat fields ready for harvest, scientists at work, atoms as symbols of the nuclear bomb and others for the reunification of two Koreas. One of the North Korea’s myths (history according to them) is recounted by the means of a huge image made by thousands of children. It represents the two pistols reportedly used by Kim Il Sung, when he founded the Anti-Japanese People’s Guerrilla Army in 1932. When the pistols appear, the audience applauses loudly. Among them, many soldiers attend the show as the ultimate award after years of good and faithful service.The thousands and thousands of boys and girls involved create a giant mass movement in the stadium which leaves the public stunned. These talented performers are used to that kind of performance: in North Korea they have to dance, sing, jump and spin around as many times as there are celebrations, always in praise of their leaders.
The show continues in the same way for one hour. Thereafter, the thousands of people present vanish in the dark and silent streets of Pyongyang, which contrast with the flood of lights and music in the stadium. Within the space of a few hours, it gives us a a strange feeling, between the real and unreal, of another universe both terrifying and fantastic.
Dans toute la ville, les publicités d’Arirang (« Grande représentation gymnastique et artistique de masse », « Bienvenue à Pyongyang » etc.) mettent le profane en garde …Entre août et octobre, a lieu l’une des plus grandes et impressionnantes représentations au monde. Le ton est donné : pas même la cérémonie des Jeux de Pékin ne peut rivaliser avec les mass games organisés par la République Démocratique Populaire de Corée (RDPC). Le spectacle se tient plusieurs fois par semaine et accueille des touristes du monde entier, y compris des Etats-Unis, dans l’un des pays les plus isolés et méprisés sur terre. Les biens nommés mass games (« mouvements de masse») sont conçus pour mettre en avant les dynamiques de groupe plutôt que les performances individuelles comme emblème suprême du communisme. Préparés par des centaines de milliers d’artistes tout au long de l’année, après les cours pour les plus jeunes d’entre eux, les jeux sont entièrement dédiés au leader de la Corée du Nord, Kim Jong Il, et feu son père Kim Il Sung, considéré comme l’ « Eternel président » et « soleil du 21ème siècle »…
Aux environs du Stade géant May Day de Pyongyang, deux filles courent pour participer au spectacle de Arirang. Elles sont déjà en costume de gymnastique, tout comme quelque 100 000 autres qui participent à la représentation. Tous viennent pour honorer leur autoproclamé « cher leader » Kim Jong Il, après un très difficile et éprouvant entraînement, depuis leur plus jeune âge. Pourtant, cela fait plusieurs années que Kim Jong Il ne s’est pas montré, formellement pour des raisons professionnelles. Mais des officiels admettent les assertions des médias occidentaux sur sa maladie. Quoi qu’il en soit, Kim Jong Il ou pas, les jeux de masse ont lieu chaque année à Pyongyang, comme moyen pour le régime de montrer au monde entier la puissance et bonne santé du pays. Pour atteindre ce seul but, pas moins de 100 000 personnes sont engagées dans une chorégraphie de danses et gymnastiques synchronisées. De nombreux symboles sont affichés par des milliers d’athlètes entraînés, qu’il s’agisse d’adultes ou même d’enfants. Main sur le cœur, les jeunes élèves chantent en chœur « Nous sommes les enfants les plus heureux du monde », l’une des chansons de propagande les plus connues en Corée du Nord. De nombreux danseurs font des mouvements avec des rubans ou avec des fleurs colorées appelées « kimjonglias », du nom du leader Kim Jong Il. Tout le long du spectacle, un orchestre joue une musique solennelle.
À l’arrière-plan, quelque 20 000 jeunes coréens sont assis sur les gradins, faisant face aux spectateurs. Ils retournent des cartes colorées à une grande vitesse pour former une fresque d’images animées et détaillées, changeant de l’une à l’autre. Chaque fois qu’ils tournent la page pour créer une nouvelle illustration, ils crient. Cela crée une atmosphère impressionnante, le cri étant mêlé avec le bruit de milliers de pages tournées au même moment. Les chiffres sont stupéfiants : pour composer ces images, 2000 enfants sont nécessaires pour faire un seul soldat, 20 000 pour un drapeau de la Corée du Nord. Cachant une réalité bien plus dure, les panneaux représentent Pyongyang éclairée la nuit, des champs de blé prêt à être récolté, des scientifiques au travail, des atomes comme symboles de la bombe nucléaire et d’autres pour la réunification des deux Corées. L’un des mythes de Corée du Nord (ou histoire selon eux) est relaté au moyen d’une image gigantesque faite par des milliers d’enfants. Elle représente les deux pistolets que Kim Il Sung aurait utilisés quand il a fondé l’armée de guérilla populaire anti-japonaise en 1932. Lorsque les deux pistolets apparaissent, le public applaudit bruyamment. Parmi eux, de nombreux soldats assistent au spectacle comme récompense ultime après des années de bons et loyaux services. Les milliers et milliers de garçons et de filles participant créent un mouvement de masse géant dans le stade, qui laisse le public ébahi. Ces artistes talentueux sont coutumiers de ce type de représentation : en Corée du Nord ils doivent danser, chanter, sauter et virevolter autant de fois qu’il y a de célébrations, toujours à la gloire de leurs chefs.
Le spectacle continue de cette façon pendant une heure. Ensuite, les milliers de personnes présentes disparaissent dans les rues sombres et silencieuses de Pyongyang, ce qui contraste avec le déluge de lumières et de musique dans le stade. En l’espace de quelques heures, cela nous donne un étrange sentiment, entre le réel et l’irréel, d’un autre univers à la fois terrifiant et fantastique.
© Eric Lafforgue
After competing in the morning session I grabbed my camera and walked around the course to grab a few images of the competitors participating in the afternoon session and this is one of my local colleagues with an old school underlever spring powered air rifle.
Competing PRB coal trains are seen at South 10th Street in Omaha in October 1993. An eastbound BN train is stopped at the Amtrak station while an eastbound UP coal train drops down the grade to cross the Missouri River.
Portugal and France will compete in the UEFA EURO 2016 final in Saint-Denis on Sunday.
Allez les Bleus et bonne chance!!!
Portugal v France "1-0"
additional time
– Sunday 10 July, 21:00
(Saint-Denis)
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Semi-finals
SF1: Portugal 2-0 Wales – Wednesday 6 July, 21:00 CEST (Lyon)
SF2: Germany 0-2 France – Thursday 7 July, 21:00 CEST (Marseille)
Rien ne va plus – nichts geht mehr!
Gerade dann wenn man denkt alles ist perfekt, passiert etwas was man nicht erwartet hat.
France:
"Libération": "Griezmann streckt Deutschland nieder. Frankreich ist im Finale. Beherrscht in der ersten Halbzeit, schaffen es 'Les Bleus' dank eines großzügigen Elfmeters und einer Gala von Griezmann."
Created with fd's Flickr Toys
Motovator by bighugelabs.com
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Previous winners
Germany Germany 3
Spain Spain 3
France France 2
Czechoslovakia Czechoslovakia 1
Denmark Denmark 1
Greece Greece 1
Italy Italy 1
Netherlands Netherlands 1
Soviet Union USSR 1
Czechoslovakia Czechoslovakia 1
-------------
Final tournament goals
Michel Platini
France France
9
Alan Shearer
England England
7
Thierry Henry
France France
6
Zlatan Ibrahimović
Sweden Sweden
6
Patrick Kluivert
Netherlands Netherlands
6
Nuno Gomes
Portugal Portugal
6
Cristiano Ronaldo
Portugal Portugal
6
Ruud van Nistelrooy
Netherlands Netherlands
6
This car competed in the Boulogne Trophy race at the Vintage Sports Car Club's Hawthorn Memorial Trophies Race Meeting at Oulton Park in June 2008. It's Mark Walker's 1908/22 GN Thunderbug, with a 4,228cc V-twin engine created using two cylinders from a 9-cylinder radial engine. The GN cyclecar was produced between 1910 and 1925, originally with a V-twin JAP or Peugeot engine, and later GN's own 1100cc engine.
A video montage that juxtaposes footage of the Aragon's 'Piedra Guara' with an early Spanish silent film. The music is an early work by Underworld and the allusion to 'skyscraper' reminded me of a text by Pierre D'Ovidio.
The silent film is by the Spanish film director Segundo Víctor Aurelio Chomón y Ruiz, who after three or four years working as an independent was employed by Pathé circa 1905. His brief was to compete against the success of Méliès who had by then been working for nearly 10 years on ways to animate from small theatre cabaret to stand-alone moving-image big-tops and early 'made for projection' cinemas. Whereas some of Chomón y Ruiz's works seem to copy the gist of specific Méliès films for rival Pathe's pockets ('Excursion dans la lune' 1908, 'La lecon de Musique' 1909), other works recorded witness of the talents from the Casino/cabaret Burlesque: with clay faces (www.youtube.com/watch?v=EcuxJmvxrRU&list=PLHQODl6Agbe...), slight of hand (www.youtube.com/watch?v=WiTjX0kHvMU) and other projects that played with the potential of spliced reality so new to strings of consecutive exposures: be they games of cut in 'The Dreadful night' ("https://www.youtube.com/watch?v=kGmMG4tlwEw") and 'The Fantastic Diver' (1905) (www.youtube.com/watch?v=uVmvlVXK2CA) or Chomón y Ruiz's individual contribution to what would become known as stop motion: for example the pre Snow White 'The Gold Spider' (www.youtube.com/watch?v=ZsxFheB-nbg&t=4s) and "La Valse des Assiettes' which can be seen at 4 minutes here (www.youtube.com/watch?v=Yz12qXiysXQ&list=LL&index=9). The short film featured in this montage is 'The Fairy of the Black Rocks' (appearing three times from 5min 21 onwards) with the full film available here: (www.youtube.com/watch?v=oe5RwgMas2s&list=LL&index=37). Regarding dates for this film, the Fondation Jérôme Seydoux list a shorter version of the film as being produced in 1901 and released in the 1902, and that five years later a further minute-plus was added, taking the length to around 3min 20. The additional footage is almost certainly the 'Parisian' graveyard scenes, with perhaps a little from the cutting room floor. The extended release appearing in the year when Louis Feuillade started his 'modernisation' of the cinema form, and the early version being produced when Méliès had already released 390 films - many hand tinted and the majority lost to abuse and/or fire.
The 'La Fée des roches noires' may prove to have been one of his first from the pre Pathé years, and the fact that it was reedited shows at least that it remained in mind.
The music for the short film is by Underworld (Rick Smith, Darren Emerson and Karl Hyde) who took an urban skyscraper pinnacle down into a seedy collage of vivid post 'Paradis Garage' downtime names - and I hope an energy to assert a dynamic life force to the practically unique cavities, and carved structures with active dates looking to cusp either side of the ages of metal aside the foothills of the vivid and wild Sierra de Guara in the Spanish Aragon.
I leave the option open that the vivid and unique site may have been the original source of inspiration for De Chomon's film.
The 'Black rocks' of the title may be a general term as there are many many lesser carved monoliths in the region and a life and death of algae in the sandstone blackens their surface. Even if these specific rocks are not greatly dark or black, it is possible that here 'black rocks' equated to 'pagan' rocks.
Spanish scrubland is a repetitive scratch from endless thorny samples. The footpath sign in the film, 'Sentier de Epines' shows a direction to a wider landscape. For persons living aside the greater Ebro flats, the Sierra de Guara - piedmont that starts to lift from the carved monolith's shadow, might mark the start of a different quality of landscape. Less maintained. Wild spirits of times past to contrast with the ages of order and orders.
5 minute 40 sees a wizened polarded tree that can transcend with theatre to become a puppet 'giant' of a type that might be described as a Belenus-esque invention (7minutes 42).
Polarding cuts back certain species of tree to promote shoots that can then be used for basket weave. The rounded 'Crane' of a polarded Poplar is a term from the folk impression of a 'head' - 'crane'. In past posts I have documented ancient polarded trees that have anthropomorphic qualities and seeing these as forms apt for myths of tree-men, animate Gods and forest spirits seems viable. Between standing stones and earthworks, were the productive sprouting trees so dutifully managed for baskets and larger woven structures also loci for occasional and seasonal vivid folk activities? Did the featured site simply have a permanent and hyperbolic stone version of a local 'woody' feature that was common in the distant countryside either side of the ages of metal? Did Chomón y Ruiz simply communicate his folk tale with the most commonly experienced example?
The top of the 'polard-esque' rock stack is visible looking down from above at 6 minutes 45, with a full side view at 8 minutes and 9 minutes 30. The stack itself is currently described in texts as being phallic, but could easily have been an 'armature' for a weave and stitch 'giant' - arms held in counter-weighted motion to a thick braided circumference 'neck' rope. This would tie in with my past interpretations and posts arguing that the stylistic lines of Rouergat statue-menhirs were inspired by decorated Blandas region menhirs and were not poorly schematised individuals.
Tales of giants and fairies, witches and spirits were so much a part of the Sierra de Guara (seen as the horizon at the beginning pan) that a slightly kitsch series of posters and postcards appeared in the 1990s featuring different folk character manifests aside the region's vivid canyons. Alas, many from the last generation to remember their landscape without the cultural surge that came with electricity will now have died.
When you visit the site, the above mentioned rounded stack appears aside the end cliff to the long richly carved outcrop. The scene is attractive and unusual but hides its true wealth and meaning - as a tourist may today be content to see Nelson's column only to miss the National gallery and the ICA. The film's sleepy wanderer who naps aside the stack would be unaware of the scale of rock carving so close by. He will also be unaware that a cistern is high above his head (the site's potential cistern visible at 6 minutes). He does not know that he is so close to real giant's steps (4.40 and 9.38) and an extensive 'living necropolis' all ready to costume and animate the landscape - here pouring water on his innocence and sleepy immiscible daydreams (7minutes 34).
The great 1965 film 'The Saragossa Manuscript' documents the games, tricks and farces played on an officer during his descent through Spain, and there is a sense here that a local monolithic vestige from man's deeper chronologies; a structure that has been pushed into a role of 'Underworld' by the theatres of history, enjoyed its opportunities to farce naive wanderers into or out from their fold.
One lesson from the film is that a seemingly ordinary peasant may have a role - here a spell casting fairy or witch.
In the film, the masked dancers that here appear at 8 minutes 32 are represented with pantomimic convention. To help project a reality, it can be noted that Spanish and Iberic museums regularly treasure mask and costumes from traditional regional folk traditions. Today the Ituren & Zubieta costumes to the site's west - from its January carnival - are both far from the madding crowd and fiercely serious. Pointed height, large bells and elemental shag pounce, parade and fury.
Did the site draw in living protagonists from the immediate area or did it's great carved capacities indicate that it served rarer communities from the greater Guara and additional 'ancient' visitors from beyond - akin to a Stonehenge category monument. I certainly favour this interpretation.
Sandstone ablates more than for example some of the schists to the east, and the petroglyphs of cups and canals aside larger basins are clearly generalised if a little faded, and they do include some potential sign composites (a potentially very interesting faded composite at 2.08 and a tailed cup 6.55). Dates either side of the chalcolithic seem valid. Some of the rounded and 'organic' walls (5.55) remind one of the central areas of Ulaca, (and I suspect that some of these monolithic elements seriously predate their iron age walls). In Spain the leather bag can carry goods and water and is adapted to residual transport dragon manifests and horse and donkey, so a rich supply of dateable ceramics may not be a reward. This might place the comparative study of the surface details at an increased level of relevance.
Rare but evenly distributed examples of sites currently described as necropolis can be found in Spain and beyond. I argue that this example saw the anthropomorphic 'bathtub' impressions expand both in aperture and depth. I argue that the first 'sarcophagi' were late prehistoric moulds of living people assuring the Earth Gods of a fidelity after the revolution of the first ages of metal. Examples of openings close to the expected sarcophagi bathtub form can be seen at 4.10, 4.25 and 5.50. Other examples exist outside of the footage. Other elements look like arched and cornered 'doubles' visible in several sites to the east and featured in past posts.
Sleeping in a sacred site perhaps expanded to the idea of key ritual folk costumes and artefacts held in rooms carved and linked under the surface - apt for stocking the key elements of residual and ornamental 'transport dragons' and folk costume accessories? Elements kept close to a sacred rocks; elements ready to animate a date and a culture? The 'room' spaces do not seem adapted for crofting or cultured living even if a toilet can be a bucket, a hole can be covered and a fire made. Regarding fire, a regular pyre seems to have been at the far end to the cistern of water, judging by the redden colour of the rock (1.35).
Past collapse can be see at 2.19, and each block needs to be analysed for cups and canals which help to push the expected date range to either side of the chalcolithic.
The next collapse can be seen cracking into preparation at 2.20 and 3.24 and the site urgently needs to link up with a department of building science and assure its future. Maybe breathable lime cement, local sand or ground sandstone, stainless-steel pins and subtle flexible consolidation completed with the discretion afforded to the restoration of a valued painting.
Photographers who hand tint images and negatives are today interested in Chomón y Ruiz; cinephile watch him for his contribution to the early epic Cabiria (Giovanni Pastrone, 1914). The group 'Underworld' went from an obscure white label LP with a 'Cowgirl' that needed a drop down to 33rpm and a bemusable dansefloor, to a 6hr delux boxset and input into the London Olympics. The rock is obscure enough to not attract graffiti parties, but too obscure to merit preventative measures against cracks and rock falls. Sites like this help to ask questions and shine a light on the great mosaic of mankind.
AJM 13.01.23
Press play and then 'L' and even f11. Escape and f11 a second time to return.
This car competed in the HGPCA Sports Car Race at the Christie’s International Historic Festival meeting at Silverstone in July 1992. It's the 1956 Cooper T39 of John Beasley, more commonly known as the Cooper Bobtail because of the truncated tail of the car which was aerodynamically effective, but which John Cooper claimed to have been shortened so that it would fit inside the works transporter. The car was used in the 1,100cc and 1,500cc classes of sportscar racing and this car has a 4-cylinder inline 1,460cc Coventry Climax engine. It was reputedly the road-holding characteristics of this car that led John Cooper to produce first the rear-engined 1½ litre Formula 2 car and then the 2½ litre Formula 1 car that gave Jack Brabham the World Drivers' Championship in 1959 and 1960. Cooper's successes led all the other teams to adopt the rear-engine layout, and the last Formula 1 Grand Prix to be won by a front-engined car was Ferrari's victory in the 1960 Italian Grand Prix.
Competing in the UNLIMITED Class; "Hi-Tec Oils" #10 with Michael Cunningham driving along with Narelle Grayland during the evening qualifying session at the Penrite V8 Superboats meet at Temora.
New South Wales, Australia.
Taken with Tamron 90mm macro lens. I do not use this lens as frequently as my 70-300mm lens. The latter is more versatile to carry with me. However, this shot was taken in my daughter's beautiful garden.
Check my photos on Flickriver link below.
It is fun to compete with the critters in the area to see who will get the ripened figs, the animals or me...LOL! I call it the Fig Bowl, the animals seem to be winning the yearly contest, but in many ways I do not mind loosing. The figs are really good though!
Having a snack at the beach always attracts seagulls.
I took plenty of photos of them walking around the grass but thought I'd throw a crumb to get an action shot.
• Competed in the Mille Miglia in 1951 and 1953.
• 23rd of 25 Touring Barchettas built.
• Very original and matching numbers throughout.
Offered at RM Sotheby's annual Amelia Island sale back in March, the right buyers weren't in the room and it failed to reach its $8,000,000 to $10,000,000 estimate.
Gatherings of males compete for breeding females with each male displaying his colourful plumage, bobbing and hopping, and making a variety of calls. These displays take place in communal leks, where males gather to challenge rivals and beckon the females. The display turns into a cacophony of bright color and a frenzied activity filling the air with very strange sounds
The Andean cock-of-the-rock eats a diet of fruit, supplemented by insects, amphibians, reptiles, and smaller mice. It is distributed all across the cloud forest of the Andes, having a range of around 260,000 km2 (100,000 sq mi). Even though it is being affected by destruction of its habitat, the Andean cock-of-the-rock is not classified as threatened.
Can't compete with a queen... no prince for her, no castle and no fairytale... She's been left outside alone
Anastacia - Left outside alone
www.youtube.com/watch?v=HP9UVaPL5SE
All my life I've been waiting
For you to bring a fairytale my way
Been living in a fantasy without meaning
It's not okay, I don't feel safe
I don't feel safe...
Left broken empty in despair
Want to breathe, can't find air
Thought you were sent from up above
But you and me never had love
So much more I have to say
Help me find a way
And I wonder if you know
How it really feels
To be left outside alone
When it's cold out here
Well maybe you should know
Just how it feels
To be left outside alone
To be left outside alone...
I tell ya..
All my life I've been waiting
For you to bring a fairytale my way
Been living in a fantasy without meaning
It's not okay, I don't feel safe
I need to... pray
Why do you play me like a game?
Always someone else to blame
Careless, helpless little man
Someday you might understand
There's not much more to say
But I hope you find a way
...
This car competed in the Louis Vuitton 1950s Sports Car Race at the Coys International Historic Festival meeting at Silverstone in August 1996. It's the 1955 Maserati 300S of Dudley and Sally Mason-Styrron and was driven in the race by Sally Mason-Styrron. The 300S was produced by Maserati from 1955 to 1959 to contend the World Sportscar Championship and had a straight-6 engine based on the 250F Grand Prix car's 2½ litre unit, but with a longer stroke to bring the capacity up to 2,992cc and this car is chassis 3055.
IF, THEN, AND THE ATHEIST DILEMMA.
All scientific theories are based on ‘if’ and ‘then’. The proposition being; IF such a thing is so, THEN we can expect certain effects to be evident.
For example: there are only two competing alternatives for the origin/first cause of everything.
A natural, first cause, OR a supernatural, first cause.
Atheists believe in a natural, first cause.
Theists believe in a supernatural, first cause.
IF the first cause is natural, THEN progressive evolution of the universe (cosmos) and life are deemed to be expected, even essential.
Conversely, IF the first cause is supernatural, THEN an evolutionary scenario of the cosmos and/or life is not required, not probable, but not impossible.
In other words, while evolution, and an enormous, time frame are perceived as absolutely essential for atheist naturalism, theism could (perhaps reluctantly) accept evolution and/or a long, time frame as possible in a creation scenario.
Crucially, if the evidence doesn’t stack up for cosmic evolution, biological evolution, and a long evolutionary time frame, atheist naturalism is perceived to fail.
For atheism, evolution is an Achilles heel. Atheists have an ideological commitment to a natural origin of everything from nothing - which, if it were possible, would essentially require both cosmic and biological evolution and a vast timescale.
Consequently, atheist scientists can never be genuinely objective in assessing evidence. Only theist scientists can be truly objective.
However, the primary Achilles heel for atheist naturalism is its starting proposition.
Because the ‘IF’ proposal of a natural, first cause, is fatally flawed, the subsequent ‘THEN’ is a non sequitur.
The atheist ‘IF’ (a natural, first cause) is logically impossible according to the laws of nature, because all natural entities are contingent, temporal and temporary.
In other words:
All natural entities depend on an adequate cause.
All natural entities have a beginning.
And all natural entities are subject to entropy.
Whereas a first cause MUST be non-contingent, infinite and eternal.
But, just suppose we ignore this insurmountable obstacle and, for the sake of argument, assume that the ‘THEN’ which follows from the atheist ‘IF’ proposition of a natural, first cause is worth considering.
We realise that both cosmic and biological evolution are still not possible as NATURAL occurrences.
The law of cause and effect tells us that whatever caused the universe (whether it evolved or not) could not be inferior, in any way, to the sum total of the universe.
An effect cannot be greater than its cause.
So, we know that cosmic evolution from nothing could not happen naturally.
That traps atheists in an impossible, catch 22 situation, by supporting cosmic evolution, they are supporting something which could not happen naturally, according to natural laws.
It doesn’t get any better with biological evolution, in fact it gets worse. The Law of Biogenesis (which has never been falsified) rules out the spontaneous generation of life from sterile matter. Atheists choose to ignore this firmly established law and have, perversely, invented their own law (abiogenesis), which says the exact opposite. However, their cynical disregard for laws of nature, ironically, fails to solve their problem.
Crucially ...
An origin of life, arising of its own volition from sterile matter, conditions permitting (abiogenesis), would require an inherent predisposition/potential of matter to automatically develop life.
The atheist dilemma here is; where does such an inherent predisposition to automatically produce life come from? In a purposeless universe, which arose from nothing, how could matter have acquired such a potential or property?
A predisposed potential for spontaneous generation of life would require a purposeful creation (some sort of blueprint/plan for life intrinsic to matter). So, by advocating abiogenesis, atheists are unintentionally supporting a purposeful creation.
Following on from that, we also realise that abiogenesis requires an initial input of constructive, genetic information. Information Theory tells us; there is no NATURAL means by which such information can arise of its own accord in matter.
Then there is the problem of the law of entropy (which derives from the Second Law of Thermodynamics). How can abiogenesis defy that law? The only way that order can increase is by an input of guided energy. Raw energy has the opposite effect. What could possibly direct or guide the energy to counter the natural effects of entropy?
Dr James Tour - 'The Origin of Life'
Suppose we are stupid enough to ignore all this and we carry on speculating further by proposing a progressive, microbes-to-human evolution (Darwinism).
Starting with the limited, genetic information in the first cell (which originated how, and from where? nobody knows). The only method of increasing that original information is through a long, incremental series of beneficial mutations (genetic, copying MISTAKES). Natural selection cannot produce new information, it simply selects from existing information.
Proposing mistakes as a mechanism for improvement is not sensible. In fact, it is completely bonkers. Billions of such beneficial mutations would be required to transform microbes into humans and every other living thing.
Once again, it would need help from a purposeful creator.
So, we can conclude that the atheist ‘IF’, of a natural, first cause, is not only a non-starter, but also every ‘THEN’, which would essentially arise from that proposal, ironically supports the theist ‘IF’.
Consequently ...
If you don't believe in cosmic evolution you (obviously) support a creator.
If you do believe in cosmic evolution you (perhaps unintentionally) also support a creator.
And...
If you don’t believe in abiogenesis and biological evolution, you (obviously) support a creator.
If you do believe in abiogenesis and biological evolution you (perhaps unintentionally) also support a creator.
Conclusion:
The inevitable and amazing conclusion is that everyone (intentionally or unintentionally) supports the existence of a creator, whatever scenario they propose for the origin of the universe.
No one can devise an origin scenario for the universe that doesn’t require a Creator. That is a fact, whether you like it or not!
The Bible correctly declares:
Only the fool in his heart says there is no God.
Theists have no ideological need to be dogmatic. Unlike atheists, they can assess all the available scientific evidence objectively. Because a long timescale, and even an evolutionary scenario, in no way disproves a creator. In fact, as I have already explained, a creator would still be essential to enable: cosmic evolution, the origin of life, and microbes-to-human evolution. Whereas, both a long timescale and biological evolution are deemed essential to (but are no evidence for) the beliefs of atheist naturalism.
Atheist scientists are hamstrung by their own preconceptions.
It is impossible for atheists to be objective regarding any evidence. They are forced by their own ideological commitment to make dogmatic assumptions. It is unthinkable that atheists would even consider any interpretation of the evidence, other than that which they perceive (albeit erroneously) to support naturalism. They force science into a straitjacket of their own making.
All scientific hypotheses/theories about past events, that no one witnessed, rely on assumptions. None can be claimed as FACT.
The biggest assumption of all, and one that is logically and scientifically unsustainable, is the idea of a natural, first cause. If this is your starting assumption, then everything that follows is flawed.
The new atheist nonsense, is simply the old, pagan nonsense of naturalism in a new guise.
Dr James Tour - 'The Origin of Life' - Abiogenesis decisively refuted.
youtu.be/B1E4QMn2mxk
The poison in our midst - progressive politics.
Viveca Rose Ellington is my model competing in the BNTM competition. Last week Viveca ranked third to last for her Amazon photo challenge (link here:
www.flickr.com/photos/71036671@N05/8413188518/in/set-7215... ) so I hope her ratings go up this week!
This week's photo challenge was "Carnival", well I personally have never been to one of these celebrations, but they look like a lot of fun. I had fun creating different outfits,scenes, and poses for this shoot, it was difficult but I hope you all like the results!
Here are links to view the other carnival inspired outfits I made:
Outfit 1: www.flickr.com/photos/71036671@N05/8443561102/in/set-7215...
Outfit 2: www.flickr.com/photos/71036671@N05/8442471521/in/set-7215...
Outfit 3: www.flickr.com/photos/71036671@N05/8442476341/in/set-7215...
Outfit 4: www.flickr.com/photos/71036671@N05/8443570176/in/set-7215...
A paratrooper from C Company, 3rd Battalion Parachute Regiment (3 PARA) fires at a target on Otterburn ranges in Northumberland.
Paratroopers competed against each other to be the best, while celebrating one of The Parachute Regiment's heroes.
The McKay VC Competition saw sections from 3rd Battalion The Parachute Regiment (3 PARA) put through paces around the arduous terrain of the Otterburn Ranges in Northumbria. The contest saw troops in full battle rig take part in a 15km night navigation exercise including stands testing their signalling, medical and parachute packing skills; an assault course; and live fire section attacks.
The competition honours the memory of Sergeant Ian McKay, who was awarded a posthumous Victoria Cross for his "outstanding selflessness, perseverance and courage" during the Falklands War in 1982. Sgt McKay VC was killed during the assault on Mount Longdon when he attacked an Argentine position alone and under heavy fire.
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© Crown Copyright 2014
Photographer: Sgt Si Longworth RLC (Phot)
Image 45158237.jpg from www.defenceimages.mod.uk
This image is available for high resolution download at www.defenceimagery.mod.uk subject to the terms and conditions of the Open Government License at www.nationalarchives.gov.uk/doc/open-government-licence/. Search for image number 45158237.jpg
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- www.kevin-palmer.com - I hiked up into this valley across from Antelope Butte to shoot the colorful aspen trees with fresh snow.
A paratrooper from C Company, 3rd Battalion Parachute Regiment (3 PARA) during live firing training on Otterburn ranges in Northuimberland.
Paratroopers competed against each other to be the best, while celebrating one of The Parachute Regiment's heroes.
The McKay VC Competition saw sections from 3rd Battalion The Parachute Regiment (3 PARA) put through paces around the arduous terrain of the Otterburn Ranges in Northumbria. The contest saw troops in full battle rig take part in a 15km night navigation exercise including stands testing their signalling, medical and parachute packing skills; an assault course; and live fire section attacks.
The competition honours the memory of Sergeant Ian McKay, who was awarded a posthumous Victoria Cross for his "outstanding selflessness, perseverance and courage" during the Falklands War in 1982. Sgt McKay VC was killed during the assault on Mount Longdon when he attacked an Argentine position alone and under heavy fire.
-------------------------------------------------------
© Crown Copyright 2014
Photographer: Sgt Si Longworth RLC (Phot)
Image 45158241.jpg from www.defenceimages.mod.uk
Use of this image is subject to the terms and conditions of the MoD News Licence at www.defenceimagery.mod.uk/fotoweb/20121001_Crown_copyrigh...
For latest news visit www.gov.uk/government/organisations/ministry-of-defence
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A stare off between the bee and ant, for the sweet nectar of the cactus flower that is still in bud.
Craig competed at his first Paralympic Games as tandem pilot to Anthony Kappes. In their second event, the B sprint, the pair beat Paralympics GB team-mates Neil Fachie and Barney Storey to take gold on the last day of action in the Velodrome. In the 2013 New Year's Honours, Craig was awarded a MBE. Very difficult to get a good shot of the box because of where it is. It seems a fitting tribute that Royal Mail are going to leave these boxes golden so that we remember in years to come some of these great achievements.