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I can not decide which photo I like more, the b&w or the colour version.
I really like the blue hues of the coloured one, but the b&w seems to be more strong and dynamic.
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Independently of doctrinal atheism and cultural particularities,
modern man moves through the world as if Existence were nothing or as if he had invented it; it is for him a commonplace thing like the dust beneath his feet—more especially as he is no longer aware of the Principle at once transcendent and immanent—and he makes use of it with assurance and inadvertence in a life that has lost its sacredness and thus become meaningless. Everything is conceived through a web of contingencies, relationships, prejudices; no phenomenon is any longer considered in itself, in its being, and grasped at its root; the contingent has usurped the rank of the absolute; man scarcely reasons any more except in terms of his imagination, which is falsified by ideologies on the one hand and by his artificial surroundings on the other. Now eschatological doctrines, however exaggerated they may appear to the sensibilities of those whose only gospel is their materialism and dissipation and whose life is nothing but a flight before God, provide the true measure for the cosmic situation of man; what the Revelations ask of us and what Heaven imposes or inflicts on us is what we are in reality, regardless of our own opinion; we know it in our heart of hearts, if only we can detach ourselves a little from the monstrous accumulation of false images that have become entrenched in our mind. What we need is to become once again capable of grasping the value of Existence and, amid the multitude of phenomena, the meaning of man; we must once again find the measure of the real. Our reactions to eschatological doctrines—or to the one that concerns us most—are the measure of our understanding of man.
There is something in man which is able to conceive the Absolute and even attain to it and which therefore is absolute. This being the case, one can assess the extent of the aberration of those for whom it seems perfectly natural to have the right or chance to be man, but who wish to be so without participating in the integral nature of man and the attitudes it implies. Needless to say, the paradoxical possibility of denying itself is also a part of this nature—for to be man is to be free in a “relatively absolute” sense—much in the same way as to accept error or throw oneself into an abyss is a human possibility.
We have already said that “unbelievers” no longer have the
sense of either nothingness or existence, that they no longer know the value of existence and never look at it in relation to the nothingness from which it is miraculously detached. Miracles in the usual sense of the word are in effect only particular variants of the initial— and everywhere present—miracle that is the fact of existence; the miraculous and divine are everywhere; it is the human outlook that is absent.
Fundamentally there are only three miracles: existence, life,
intelligence; with intelligence, the curve springing from God closes on itself like a ring that in reality has never been parted from the Infinite.
---
Frithjof Schuon: Light on the Ancient Worlds
During their existence, Abbey Coaches were one of the more interesting small operators around Teesside and East Cleveland. It's fair to say that some of their vehicles were a bit rough around the edges, but this was the star of the show. Bristol RESL / ECW GHB146N spent a number of months as the regular vehicle on the weekly/bi-weekly services that linked the villages around Danby with either Whitby, Guisborough or Northallerton, which fitted between a Stokesley School run. It is seen in Guisborough on 05/07/01 and was making a fine sound. It is to my discredit that I flunked an opportunity to catch this fine machine from Great Ayton to Northallerton the one time I had the opportunity, but I can console myself that I have at least managed to catch up with its preserved sister, the sublime GHB148N, in recent times.
Eventually, all things merge into one, and a river runs through it.
The river was cut by the world's great flood and runs over rocks on the basement of time. On some of the rocks are timeless raindrops, under the rocks are the words, and some of the words are theirs.
I am haunted by waters.
After an incredibly hectic existence, including two years at the bottom of the Atlantic ocean due to a shipwreck off the coast of Spain, a tenure in the State Hall of History in Raleigh, NC in the early twenties where it become a controversial work of art, and a short stay with the Pulitzer prize-winning Paul Green at his estate, the statue of Virginia Dare finally came to rest at the Elizabethan Gardens about one hundred years after its creation in 1859 by American sculptor Maria Louise Lander.
Following is a short history of Penshurst Church - St John the Baptist. A more complete history and colourful guide book, with many images can be purchased in the church or from the trustees
In 2015 the Church of St John The Baptist will celebrate 900 years of history.
It is believed that a place of worship has been on the site since Saxon times, before the Norman Conquest in 1066. The recent discovery of Saxon artefacts nearby reinforces existence that the foundations date from 860 AD.
Penshurst Church is at the centre of the village and can be approached through Leicester Square which is attractively lined by cottages and stone buildings, one of which is the Old Guild Hall - one of only two still standing in England.
Penshurst's first priest, Wilhelmus, was famously installed in 1170 by Thomas a Becket - Archbishop of Canterbury. It was his last public act: he was assassinated two days later by four knights supposedly following Henry II's cry: "Who will rid me of this turbulent priest?"
Leicester Square was named after the Sidney's of Penshurst who were the Earls of Leicester from 1618-1745. The church approach from the village is through the archway that is formed by a suspended room that joins the Guild House with another building. The room was once the village armory and later the Parish school room and in more recent times served as a bric-a-brac shop until closed through 'health & safety' factors!
The bulging church yard contains the burials of almost eight centuries. The church yard was closed in 1857 by order of the Privy Council. Since then, parish burials have taken place at Poundsbridge chapel, on the edge of Penshurst parish, about two miles away.
The apparent table tomb by the church's south-west porch is not a tomb, but a dole table from which bread was distributed to the poor and handed out on St Thomas's Day - 21st December.
St John the Baptist is a rare example of a church which has been extended over many generations with several, large building campaigns.
The church's most striking external feature is the Tower, formed of three architectural stages. The first, two storey's high, dates from the 15th century. The stone blocks used at low level, particularly in the buttresses, are large, indicating their antiquity when greater depths of bed were available to masons. Subsequent stages, added in the 18th century, carry the clock stage and belfry.
The entrance to the Sidney family burial vault, set to the right of centre in the church's southern wall, was built in 1820, at the same times as the third Sidney family chapel. The chapel occupies the south-eastern corner of the church, close to Penshurst Place. The date 1820 is set in the spandrels to the left and right of the vault doorway, which bears the initial sand arms of Sir John Shelley Sidney, Bart., then head of the family.
Sir George Gilbert Scott (1811-1878), better known for his design of the extravagantly Victorian gothic St Pancras Station in London and of the Albert Memorial in Hyde Park, London, was the architect for the extension. Closer to Penshurst, he was responsible for the whole of the late 19th century church built in neighbouring Speldhurst.
The Becket window in the south-west corner of the church was given by parishioners and friends to mark the 800th anniversary of the institution of Archbishop Becket's first priest, Wilhelmus in 1170. The window's glazier was Lawrence Lee (who also designed and made other famous stained-glass windows at Southwark Cathedral and at Sandhurst) and who moved to Penshurst in 1962.
The Baptismal Font, which dates from the 15th century, is set in its traditional place in front of the church's entrance, to symbolize baptism's purpose in welcoming a new member to the church.
The Tower's upper level carries a peel of 8 bells, listed with their weights in the frame picture on the Tower wall. The No. 5 and 6 Bells were originally cast in 1450. The Tenor bell, cast in 1619, weighs 966 kg and is one of the heaviest bells in Kent. It was cast by Josephus Hatch who lived at Ulcombe in Kent and also cast bells hanging in Canterbury Cathedral.
The Nave is three bays long and incorporates some of the oldest fabric surviving in the building. The central Nave is flanked by two gabled aisles. The arches date from between 1200 and 1350. The Nave's roof construction comprises rafters with collar braces, crown posts and collar purlins supported on tie beams and wall posts. The corbels below the wall posts are heraldic devices. The roof was raised in the last quarter of the 15th century to accommodate the clerestory and improve the light. The line of the original roof can be seen cut in the plaster above the 15th century tower arch.
The Chancel screen was installed in 1897 as a memorial to Charles Stewart, 2nd Baron Hardinge. A second screen commemorates other members of the Hardinge family who died during the 1st World War.
The Chancel , where the choir sits, and Sanctuary, behind the altar rail, incorporate 14th and later 19th century work. The later work by Sir Giles Gilbert Scott consists of a lofty space with three bays set below a quasi barrel vault. Under the East window, behind the altar, is a wooden reredos in memory of Major Francis J Ball.
There is a wide collection of brasses and monuments with the Sanctuary dominated by memorials to previous Rectors of the parish, the most notable of whom was Revd. Henry Hammond who became Rector at the age of 28 and who went on to become Chaplain to King Charles I.
From the 13th century, Rectors lived next door to the church in a Rectory. The building was gifted by the Sidney family to the local Parochial Church Council who became concerned at the costs of maintenance and gifted it some 50 years ago to the Diocese. After the Church Commissioners' losses in the property market crash of the 1990s, the Diocese controversially decided to sell the original Rectory and build a smaller, modern replacement in the garden of its predecessor. Unfortunately the sale proceeds were added to general Diocesan funds and Penshurst Church itself did not benefit.
St Luke's Chapel, at the western end of the south aisle, was originally called simply the Side Chapel. It was rededicated by the Bishop of Rochester in 1981 as St Luke's. The Luke Tapestry, which hangs above the altar, was designed and worked by a former village doctor, Dr A Wood, in memory of his father, Dr C Wood, who was Penshurst's doctor for more than 50 years. Dedicated to St Luke as the first Christian physician, it denotes the partnership between medical science and Christianity.
Between the windows on the south wall is a memorial to Sir William Coventry who was a member of the powerful Naval Board whom Samuel Pepys served as Secretary whilst keeping his famous diary. Coventry, who died in 1686 at the age of 60, is mentioned favourably in the diary.
Sidney Chapel (south east) is the family's private chapel and they remain responsible for its upkeep. The Sidney family has lived in Penshurst Place for over 450 years.
The present mansion was built in 1341 when such properties ceased to be castles and became houses that could be defended in an emergency. When Henry IV's third son, John, Duke of Bedford, occupied Penshurst, the second hall, known as the Buckingham Building, was built. It was enlarged after 1552 when King Edward VI granted the house to Sir William Sidney who had been a courtier to the King's father, Henry VIII. Sir William's son Henry married Lady Mary Dudley, whose family became implicated in the Lady Jane Grey affair, although Henry escaped any involvement. During his lifetime he added apartments and the "King's Tower" to Penshurst and created what is now one of England's oldest private gardens.
The famous Sir Philip Sidney, Henry's eldest son, was born at Penshurst Place in 1554 and became one of the Elizabethan Age's most prominent figures. His mother, Lady Mary Dudley, was the daughter of John Dudley, 1st Duke of Northumberland, and the sister of Robert Dudley, 1st Earl of Leicester.
Philip's brother Robert Sidney inherited Penshurst after his death. His time resulted in more additions to the state rooms, including the "Long Gallery". Robert had also inherited the Earldom of Leicester and his descendants continued to live at Penshurst for the next seven generations.
The family enters the church through a gate in the wall directly from the garden of Penshurst Place and sits in this chapel during church services to this day. It is the third chapel on the site, built in 1820-2 to a design by J B Rebecca.
The tunnel-vaulted ceiling was restored in 1966. It is brilliantly painted with heraldic shields of the family, all hung on sinuous tress.
The most important memorials found in the Sidney chapel include:
• Lying against the south wall, the top half of a recumbent figure in chain mail, in Purbeck marble, of Sir Stephen de Penchester. The legs have been broken off, but from the sword drawing posture of the figure it is reasonable to assume that they were originally crossed.
• At the eastern end of the southern wall, monument with a tomb-chest and a panelled back-plate, known as an altar-tomb, commemorating Sir William Sidney to whom King Edward VI gave Penshurst Place in 1552. It is of characteristic Late Perpendicular design and the back plate is framed by twisted shafts that carry a deep, panelled cresting.
• A brass to Margaret Sidney, daughter of Sir Henry Sidney, who died in 1558 in the reign of 'King Philip and Queen Mary'. Margaret's eldest brother was the famous Sir Philip Sidney.
• A cross to Thomas Bullayen, brother of Anne Boleyn, the second wife of King Henry VIII and mother of Queen Elizabeth I.
• A wall monument to Robert Sidney, 4th Earl of Leicester and the nine of his 15 children who died before reaching adulthood.
• On a pedestal, two children who reached the age of six are shown as dancing angels with large wings, holding out their hands to balance an urn. Infant heads in the clouds above are titled with the names of the Earl's children. The monument was commissioned and its words set by his wife, Lady Elizabeth Egerton , who outlived her husband by what she describes on the memorial as "seven tedious years".
• At the north-east end of the chapel (nearest to the altar) a marble tomb chest to Philip Sidney, 5th Earl of Leicester and various of his descendants. It has a grey obelisk behind a magnificent coat of arms and the words on the top of the tomb chest describe his ancestry across several generations.
• A brass to Thoms Yden, who died in 1514, and to his wife Agnes.
• A memorial to Sophia, Lady De L'Isle signed by W Theed. It is a life-sized figure of a lady in Grecian draperies on a pedestal. She holds a Bible and raises her eyes aloft.
More recent memorials may hold as much historical interest for future generations. Inlaid in the floor is a leger in simple Cumberland slate, to Field Marshall John Standish Surtees Prendergast Vereker, 6th Viscout Gort (1886-1946).
On the south wall is the simple memorial to Philip William Sidney, the 1st Viscount de L'Isle VC KG and his wife Jaqueline, parents of the current Viscount.
The younger of two children (and the only son) of William Sidney, 5th Baron De L'Isle and Dudley (1859-1945), this 20th century Philip William Sidney was educated at Eton and Magdalene College, Cambridge and became a chartered accountant. He succeeded his father as 6th Baron De L'Isle and Dudley in 1945. IN 1951 he as appointed Secretary of State for Air under the government of Winston Churchill and held that office until 1955.During this time he visited Australia, travelling to Wooomera to examine weapons research and meeting the Prime Minister, Robert Menzies. In 1956 he was created Viscount De L'Isle. IN 1961, Menzies recommended his appointment as Governor-General of Australia.
He married Jacqueline in June 1940 and the couple had five children. After his wife's death, he married Margaret Shoubridge on 24 March 1966 in Paris. They had no children. He died in Penshurst in 1991.
The North Aisle was broadened in 1854-5 to the designs of Sir George Gilbert Scott. Its roof is scissor braced. At its western end, to the left of the first window is a memorial to Field Marshall Henry, 1st Viscount Hardinge, 1785-1856. Between the two windows are two brass tablets in memory of the Reverend George Richard Boissier, who died in 1858, having been rector of Penshurst and Maria, his wife, of whom it is noted that she was the daughter of Richard Allnutt, who has his own tablet at the eastern end of the North Aisle. This is to the right of the window, before the screen separating the Vestry from the aisle.
Besides sitting worthily on the magistrates' bench as the memorial tablet commemorates, Richard Allnutt was a prosperous wine merchant. He built the oirginal Palladian mansion at South Park, on a small hill to the south west of the village in the second half of the 18th century. Wine merchants were amongs the most prosperous members of the community in the late 18th and early 19th century and it is said that Richard Allnutt declined to agree to the proposed marriage of a second daughter because her young suitor was not wealthy enough.
The young man decided to make his fortune in India, with the East India Company and she agreed to wait for him. He duly prospered and returned three years later to claim his bride. As he approached the foot of South Park's drive on horseback, he saw a black funeral cortege approaching him. He was told that the coffin was that of Allnutt's younger daughter, who had just died of tuberculosis. He turned his horse round, rode off and was never seen in Penshurst again.
Organ: The church's fine organ was built by J W Walker & Sons in 1907. This organ maker, founded in 1828, can trace its roots back to the celebrated 16th century builder, Thomas Dallam. It has installed some 2000 organs of which the oldest surviving instrument is a small chamber organ dating from 1832. This instrument has two manuals and was extensively rebuilt in the years leading up to the Millennium, a project funded by village members who adopted different pipes for the Appeal.
Location: Little India, Kuala Lumpur, Malaysia.
"How can you believe in God, when you can't see, hear, touch, smell, taste or even imagine what He is?"
Answer: We know from the teachings of Muhammad, peace be upon him, that no one has ever actually seen God - at least not in this lifetime. Nor are we able to use our senses to make some kind of contact with Him. However, we are encouraged in Islam to use our senses and our common sense to recognize that all of this universe could not possibly come into existence on its own. Something had to design it all and then put it into motion. That is beyond our ability to do, yet it is something that we can understand.
We don't have to see an artist to recognize a painting, correct? So, if we see paintings without seeing artists painting them, in the same way, we can believe that Allah created everything without having to see Him (or touch, or hear, etc.).
For more : www.islamtomorrow.com/allah.asp
PLEASE BE NOTED: Any arguments are strictly not allowed.
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Thanks in advance for visiting my Photostream.
**********PLEASE NO GRAPHICS**********
The fog swirled in bleak and utter numbness.
Existence raved.
The stones bled.
The Shrine of the Older Life collapsed in rubble.
And Terra shuddered in her awful crime.
-- Calvin Miller, in The Singer
Sakharibazar, Old Dhaka, 2011
Normal people with extraordinary lifestyles
Along with smile and the gloomy, here life has its own rhyme, has its own colour.
Time passed by, humanity changed along with its history...
But these people remained here tolerating the hardest truth of existences
..........its their story of extraordinary existences.
Sakharibazar, Old Dhaka. A very interesting place for all of us to visit. Culture and customs of old Dhaka are the tribute to the ancient history of Bangladesh. Peoples still living in 100 years old building from generations after generations. With the reflection of their religious beauty Old Dhaka attracts peoples from here and abroad.
Shakhari Bazaar is one of the oldest mohallas (a traditional neighbourhood) in Puran Dhaka (Old Dhaka), located near the intersection of Islampur Road and Nawabpur Road;the two main arteries of the old city and only a block away from the Buriganga River. Shakhari Bazaar stretches along a narrow lane, lined with thin slices of richly decorated brick buildings, built during the late Mughal or Colonial period. Despite rampant modifications, accretion, extension over time, even redevelopment, many still bear the testimony of a rich tradition.
Shakhari Bazaar is the manifestation of the irrational policies, lack of adequate development control rules and distorted legal framework, all of which have left their indelible mark on this precious little mohalla that shares a long history of more than 400 years with Dhaka city itself.The history of Shakhari Bazaar goes back to the pre-Mughal days if not earlier. The first mention of Puran Dhaka can be found in the writings of Mirza Nathan, the general turned historian, who traveled with Subahdar Islam Khan. He mentioned Puran Dhaka, as the area between Dholai Khal and Buriganga river covering Shakhari Bazaar, Tanti Bazaar, Bangla Bazaar, Lakhsmi Bazaar, Bangla Bazaar, Kamar Nagar, Sutar Nagar, Goala Nagar, etc. Each mohalla belonged to separate communities depending on their craft and trade. The influences of the Mughal vocabulary in the planning of the spaces are literally evident in the use of Persian names to identify different spaces..
+++ DISCLAIMER +++
Nothing you see here is real, even though the conversion or the presented background story might be based historical facts. BEWARE!
Some background:
The Bell XP-68A owed its existence to the manufacturer’s rather disappointing outcome of its first jet fighter design, the XP-59A Airacomet. The Airacomet was a twin jet-engined fighter aircraft, designed and built during World War II after Major General Henry H. "Hap" Arnold became aware of the United Kingdom's jet program when he attended a demonstration of the Gloster E.28/39 in April 1941. He requested, and was given, the plans for the aircraft's powerplant, the Power Jets W.1, which he took back to the U.S. He also arranged for an example of the engine, the Whittle W.1X turbojet, to be flown to the U.S., along with drawings for the more powerful W.2B/23 engine and a small team of Power Jets engineers. On 4 September 1941, he offered the U.S. company General Electric a contract to produce an American version of the engine, which subsequently became the General Electric I-A. On the following day, he approached Lawrence Dale Bell, head of Bell Aircraft Corporation, to build a fighter to utilize it. As a disinformation tactic, the USAAF gave the project the designation "P-59A", to suggest it was a development of the unrelated, canceled Bell XP-59 fighter project. The P-59A was the first design fighter to have its turbojet engine and air inlet nacelles integrated within the main fuselage. The jet aircraft’s design was finalized on 9 January 1942 and the first prototype flew in October of the same year.
The following 13 service test YP-59As had a more powerful engine than their predecessor, the General Electric J31, but the improvement in performance was negligible, with top speed increased by only 5 mph and a slight reduction in the time they could be used before an overhaul was needed. One of these aircraft, the third YP-59A, was supplied to the Royal Air Force, in exchange for the first production Gloster Meteor I for evaluation and flight-offs with domestic alternatives.
British pilots found that the YP-59A compared very unfavorably with the jets that they were already flying. The United States Army Air Forces were not impressed by its performance either and cancelled the contract when fewer than half of the originally ordered aircraft had been produced. No P-59s entered combat, but the type paved the way for the next design generation of U.S. turbojet-powered aircraft and helped to develop appropriate maintenance structures and procedures.
In the meantime, a new, more powerful jet engine had been developed in Great Britain, the Halford H-1, which became later better known as the De Havilland Goblin. It was another centrifugal compressor design, but it produced almost twice as much thrust as the XP-59A’s J31 engines. Impressed by the British Gloster Meteor during the USAAF tests at Muroc Dry Lake - performance-wise as well as by the aircraft’s simplicity and ruggedness - Bell reacted promptly and proposed an alternative fighter with wing-mounted engine nacelles, since the XP-59A’s layout had proven to be aerodynamically sub-optimal and unsuited for the installation of H-1 engines. In order to save development time and because the aircraft was rather regarded as a proof-of-concept demonstrator instead of a true fighter prototype, the new aircraft was structurally based on Bell’s current piston-engine P-63 “Kingcobra”. The proposal was accepted and, in order to maintain secrecy, the new jet aircraft inherited once more a designation of a recently cancelled project, this time from the Vultee XP-68 “Tornado” fighter. Similar to the Airacomet two years before, just a simple “A” suffix was added.
Bell’s development contract covered only three XP-68A aircraft. The H-1 units were directly imported from Great Britain in secrecy, suspended in the bomb bays of B-24 Liberator bombers. A pair of these engines was mounted in mid-wing nacelles, very similar to the Gloster Meteor’s arrangement. The tailplane was given a 5° dihedral to move it out of the engine exhaust. In order to bear the new engines and their power, the wing main spars were strengthened and the main landing gear wells were moved towards the aircraft’s centerline, effectively narrowing track width. The landing gear wells now occupied the space of the former radiator ducts for the P-63’s omitted Allison V-1710 liquid-cooled V12 engine. Its former compartment behind the cockpit was used for a new fuel tank and test equipment. Having lost the propeller and its long drive shaft, the nose section was also redesigned: the front fuselage became deeper and the additional space there was used for another fuel tank in front of the cockpit and a bigger weapon bay. Different armament arrangements were envisioned, one of each was to be tested on the three prototypes: one machine would be armed with six 0.5” machine guns, another with four 20mm Hispano M2 cannon, and the third with two 37mm M10 cannon and two 0.5” machine guns. Provisions for a ventral hardpoint for a single drop tank or a 1.000 lb (550 kg) bomb were made, but this was never fitted on any of the prototypes. Additional hardpoints under the outer wings for smaller bombs or unguided missiles followed the same fate.
The three XP-68As were built at Bell’s Atlanta plant in the course of early 1944 and semi-officially christened “Airagator”. After their clandestine transfer to Muroc Dry Lake for flight tests and evaluations, the machines were quickly nicknamed “Barrelcobra” by the test staff – not only because of the characteristic shape of the engine nacelles, but also due to the sheer weight of the machines and their resulting sluggish handling on the ground and in the air. “Cadillac” was another nickname, due to the very soft acceleration through the new jet engines and the lack of vibrations that were typical for piston-engine- and propeller-driven aircraft.
Due to the structural reinforcements and modifications, the XP-68A had become a heavy aircraft with an empty weight of 4 tons and a MTOW of almost 8 tons – the same as the big P-47 Thunderbolt piston fighter, while the P-63 had an MTOW of only 10,700 lb (4,900 kg). The result was, among other flaws, a very long take-off distance, especially in the hot desert climate of the Mojave Desert (which precluded any external ordnance) and an inherent unwillingness to change direction, its turning radius was immense. More than once the brakes overheated during landing, so that extra water cooling for the main landing gear was retrofitted.
Once in the air, the aircraft proved to be quite fast – as long as it was flying in a straight line, though. Only the roll characteristics were acceptable, but flying the XP-68A remained hazardous, esp. after the loss of one of the H-1s engines: This resulted in heavily asymmetrical propulsion, making the XP-68A hard to control at all and prone to spin in level flight.
After trials and direct comparison, the XP-68A turned out not to be as fast and, even worse, much less agile than the Meteor Mk III (the RAF’s then current, operational fighter version), which even had weaker Derwent engines. The operational range was insufficient, too, esp. in regard of the planned Pacific theatre of operations, and the high overall weight precluded any considerable external load like drop tanks.
However, compared with the XP-59A, the XP-68A was a considerable step forward, but it had become quickly clear that the XP-68A and its outfit-a-propeller-design-with jet-engines approach did not bear the potential for any service fighter development: it was already outdated when the prototypes were starting their test program. No further XP-68A was ordered or built, and the three prototypes fulfilled their test and evaluation program until May 1945. During these tests, the first prototype was lost on the ground due to an engine fire. After the program’s completion, the two remaining machines were handed over to the US Navy and used for research at the NATC Patuxent River Test Centre, where they were operated until 1949 and finally scrapped.
General characteristics.
Crew: 1
Length: 33 ft 9 in (10.36 m)
Wingspan: 38 ft 4 in (11.7 m)
Height: 13 ft (3.96 m)
Wing area: 248 sq ft (23 m²)
Empty weight: 8,799 lb (3,995 kg)
Loaded weight: 15,138 lb (6,873 kg)
Max. take-off weight: 17,246 lb (7,830 kg)
Powerplant:
2× Halford H-1 (De Havilland Goblin) turbojets, rated at 3,500 lbf (15.6 kN) each
Performance:
Maximum speed: 559 mph (900 km/h)
Range: 500 mi (444 nmi, 805 km)
Service ceiling: 37,565 ft (11,450 m)
Rate of climb: 3.930 ft/min (20 m/s)
Wing loading: 44.9 lb/ft² (218.97 kg/m²)
Thrust/weight: 0.45
Time to altitude: 5.0 min to 30,000 ft (9,145 m)
Armament:
4× Hispano M2 20 mm cannon with 150 rounds
One ventral hardpoint for a single drop tank or a 1.000 lb (550 kg) bomb
6× 60 lb (30 kg) rockets or 2× 500 lb (227 kg) bombs under the outer wings
The kit and its assembly:
This whiffy Kingcobra conversion was spawned by a post by fellow user nighthunter in January 2019 at whatifmodelers.com about a potential jet-powered variant. In found the idea charming, since the XP-59 had turned out to be a dud and the Gloster Meteor had been tested by the USAAF. Why not combine both into a fictional, late WWII Bell prototype?
The basic idea was simple: take a P-63 and add a Meteor’s engine nacelles, while keeping the Kingcobra’s original proportions. This sounds pretty easy but was more challenging than the first look at the outcome might suggest.
The donor kits are a vintage Airfix 1:72 Gloster Meteor Mk.III, since it has the proper, small nacelles, and an Eastern Express P-63 Kingcobra. The latter looked promising, since this kit comes with very good surface and cockpit details (even with a clear dashboard) as well as parts for several P-63 variants, including the A, C and even the exotic “pinball” manned target version. However, anything comes at a price, and the kit’s low price point is compensated by soft plastic (which turned out to be hard to sand), some flash and mediocre fit of any of the major components like fuselage halves, the wings or the clear parts. It feels a lot like a typical short-run kit. Nevertheless, I feel inclined to build another one in a more conventional fashion some day.
Work started with the H-1 nacelles, which had to be cut out from the Meteor wings. Since they come OOB only with a well-visible vertical plate and a main wing spar dummy in the air intake, I added some fine mesh to the plate – normally, you can see directly onto the engine behind the wing spar. Another issue was the fact that the Meteor’s wings are much thicker and deeper than the P-63s, so that lots of PSR work was necessary.
Simply cutting the P-63 OOB wings up and inserting the Meteor nacelles was also not possible: the P-63 has a very wide main landing gear, due to the ventral radiators and oil coolers, which were originally buried in the wing roots and under the piston engine. The only solution: move the complete landing gear (including the wells) inward, so that the nacelles could be placed as close as possible to the fuselage in a mid-span position. Furthermore, the - now useless - radiator openings had to disappear, resulting in a major redesign of the wing root sections. All of this became a major surgery task, followed by similarly messy work on the outer wings during the integration of the Meteor nacelles. LOTS of PSR, even though the outcome looks surprisingly plausible and balanced.
Work on the fuselage started in parallel. It was built mainly OOB, using the optional ventral fin for a P-63C. The exhaust stubs as well as the dorsal carburetor intake had to disappear (the latter made easy thanks to suitable optional parts for the manned target version). Since the P-63 had a conventional low stabilizer arrangement (unlike the Meteor with its cruciform tail), I gave them a slight dihedral to move them out of the engine efflux, a trick Sukhoi engineers did on the Su-11 prototype with afterburner engines in 1947, too.
Furthermore, the whole nose ahead of the cockpit was heavily re-designed, because I wanted the “new” aircraft to lose its propeller heritage and the P-63’s round and rather pointed nose. Somewhat inspired by the P-59 and the P-80, I omitted the propeller parts altogether and re-sculpted the nose with 2C putty, creating a deeper shape with a tall, oval diameter, so that the lower fuselage line was horizontally extended forward. In a profile view the aircraft now looks much more massive and P-80esque. The front landing gear was retained, just its side walls were extended downwards with the help of 0.5mm styrene sheet material, so that the original stance could be kept. Lots of lead in the nose ensured that the model would properly stand on its three wheels.
Once the rhinoplasty was done I drilled four holes into the nose and used hollow steel needles as gun barrels, with a look reminiscent of the Douglas A-20G.
Adding the (perfectly) clear parts of the canopy as a final assembly step also turned out to be a major fight against the elements.
Painting and markings:
With an USAAF WWII prototype in mind, there were only two options: either an NMF machine, or a camouflage in Olive Drab and Neutral Grey. I went for the latter and used Tamiya XF-62 for the upper surfaces and Humbrol 156 (Dark Camouflage Grey) underneath. The kit received a light black ink wash and some post shading in order to emphasize panels. A little dry-brushing with silver around the leading edges and the cockpit was done, too.
The cockpit interior became chromate green (I used Humbrol 150, Forest Green) while the landing gear wells were painted with zinc chromate yellow (Humbrol 81). The landing gear itself was painted in aluminum (Humbrol 56).
Markings/decals became minimal, puzzled together from various sources – only some “Stars and Bars” insignia and the serial number.
Somehow this conversion ended up looking a lot like the contemporary Soviet Sukhoi Su-9 and -11 (Samolyet K and LK) jet fighter prototype – unintentionally, though. But I am happy with the outcome – the P-63 ancestry is there, and the Meteor engines are recognizable, too. But everything blends into each other well, the whole affair looks very balanced and believable. This is IMHO furthermore emphasized by the simple paint scheme. A jet-powered Kingcobra? Why not…?
Atheist myths debunked.
The development of order.
One of many questions’ atheists are unable to answer is:
Why is there order in the universe?
Order denotes purpose. Purpose requires a purposeful creation, which atheists deny.
There are several laws of nature and principles of science that atheists dearly wish would not exist.
Among these are:
The Law of Cause and Effect, the First and Second Law of Thermodynamics and the Law of Biogenesis.
These laws frustrate all attempts by atheists to replace God with ‘naturalism’ - their extraordinary belief that everything arose from nothing of its own volition, progressively increasing in order and potential, by entirely, natural processes.
Every natural, origin scenario (naturalism) defies explanation of the existence of order in the universe.
The First Law of Thermodynamics tells us that the building blocks of the universe, matter and energy, cannot be created by natural means.
The Second Law tells us matter/energy does not increase in order and potential. It tells us that, over time, the natural tendency is towards disorder and decreasing potential, from an obvious, original peak. There cannot be any natural, ongoing, development of order. This is an inconvenient fact for all atheist, natural, origin scenarios, which require the exact opposite; a simple, natural origin of matter/energy from nothing, progressively increasing in order and potential.
In addition to this inconvenient truth is the fact that an effect cannot be greater than its cause. A simple, random, chaotic, or disordered origin cannot naturally lead to a complex, ordered result. This causality principle endorses the Second Law.
The Second Law tells us order/complexity/potential does not increase naturally, but tends to decrease, and the Law of Cause and Effect tells us the result of a process cannot be superior to the totality of its original cause or causes. There cannot subsequently be more potential or order in an effect/entity than that which was intrinsic to its origin. Furthermore, the tendency, over time, is for this potential to decrease.
The absolute killer for atheist, origins mythology is that: even if progressively increasing order/potential in the universe was possible, it would still denote purpose.
What inherent principle could support increasing order/improvement as a likely outcome of purely, natural processes?
For example: If, as atheists are compelled to believe, matter/energy automatically progressed, of its own volition, from its origin, to acquire an inherent predisposition for the spontaneous generation of life (so-called abiogenesis), which (incidentally) violates the Law of Biogenesis, they have to explain how such a predisposition/blueprint for life originated in an unconscious, unplanned, purposeless universe?
They may argue that the origin of life is a just a chance event, but the mechanism/constituents of any chance event must have the intrinsic capacity or capability to produce the chance outcome. A random, number generator may generate an unlikely combination of numbers by chance, but it cannot generate any numbers at all unless it is devised/constructed with the ability to do so. An unlikely event may happen by chance, but only if such an event is intrinsically possible. The atheist ploy, of just ignoring laws of nature, spectacularly fails.
How could the potential for constructive improvement develop autonomously in unplanned, unconscious, purposeless, dumb matter, which originated from nothing? The obvious, rational answer is that it couldn’t.
Atheists often employ bizarre arguments to justify their denial of the universality of laws which refute their beliefs. One of these, which has attained common currency among atheists, is the idea that snowflakes and crystals are examples of natural development of order. And that they somehow contradict the Second Law of Thermodynamics.
Here is an exchange I had with an atheist which illustrates this:
An atheist (Aimless Alliterations) in answer to part of my original post where I cited the Second Law of Thermodynamics, wrote this:
“Oh, goodness gracious. You tied yourself up in all sorts of knots a while back with this one . You really need to read the science and understand it before making statements like this.
Quoting me:
"The second Law of Thermodynamics rules out the spontaneous generation of life from non-life as a chance event. "
“Really? Where does it state this?”
Quoting me again:
"According to the Second Law of Thermodynamics, when left to themselves, things naturally become more disordered, rather than more ordered."
“Okay then..............account for snowflakes, rock crystals, the grading of sediment in a river system”.
My reply:
You wrote:
"According to the Second Law of Thermodynamics, when left to themselves, things naturally become more disordered, rather than more ordered." Okay then..............account for snowflakes, rock crystals, the grading of sediment in a river system."
I am afraid it is you who doesn’t understand the Second Law. What I said is perfectly correct.
There are only 2 ways the effects of entropy can be temporarily decreased, halted or reversed by an input of energy. Either by a directive means or agent guiding the energy input, OR a directive or conversion mechanism possessed by the recipient of the energy to utilise it in a constructive way.
Raw (unguided) energy (such as random heat) tends to increase entropy and time makes it worse.
Snowflakes, rock crystals etc. do not violate the Law of Thermodynamics, although atheists who hate all natural laws that interfere with their ideology dearly wish they did. They act only according to their pre-coded, atomic structure, and furthermore they are formed by the removal of heat, being transferred from them to their surroundings, rather than the opposite, which evolutionists require for abiogenesis.
Regarding the grading of sediment, I am surprised you mention that, because we know that is how most strata are formed, which effectively demolishes the uniformitarian interpretation of the geologic column and the fossil record. In this case, the grading is guided by the physical properties of the particles (size, shape, weight etc.) obeying physical laws. And, it will in time, be eroded and disorganised by the same forces that created it.
Abiogenesis (life arising of its own accord by natural processes from sterile matter) certainly does violate the Second Law of Thermodynamics, because it requires a reversal of the effects of entropy.
Atheists and evolutionists often argue that abiogenesis doesn’t violate the Second Law because the Earth is an ‘open system’ which allows an input of energy from outside itself, namely the Sun.
They claim that the law of entropy only applies to ‘closed systems. This claim is obviously spurious, because firstly, we can observe entropy happening all around us. We are in the open system of the Earth, and yet we are well aware of entropy. We see that the Sun does not halt or reverse entropy, in fact we see the opposite. The raw energy and heat from the Sun, unless harnessed, does damage, things all around us obey the law - they deteriorate, rot, erode and decay, they do not naturally improve. If you paint your house, the Sun, and the weather effects caused by the Sun, will eventually damage the paintwork, it will crack and peel after a few years. The hotter the Sun (the greater the energy input) the quicker it will happen.
Secondly, even if it were true that in an open system, things can defy the law of entropy, natural laws are laws for the whole universe, and the universe, as a whole, is a closed system.
So, what can we deduce from this?
Can the effects of entropy ever be reversed of halted?
Obviously, when you paint your house, you are reversing the bad effects of entropy for a short period, but you have to keep doing it, it is not permanent. Moreover, the energy you are using to repair and temporarily reverse the effects of entropy, is directed and guided by your skill and intelligence.
So, the atheist argument about the Earth being an open system is clearly not a valid one.
To conclude: We know that the energy input to the so-called Primordial Soup would have been raw, random, unguided energy. So the only other possibility to reverse the effects of entropy is that a directive or conversion mechanism was possessed by the recipient of the energy to utilise it in a constructive way, i.e. that basic matter (chemistry) is somehow inherently predisposed with the potential/blueprint for creating life and the information for life.
Please explain what that directive mechanism for the constructive utilisation of raw energy is - and where that inherent potential for the reversal of entropy and the construction of life comes from?
We certainly don't see abiogenesis happening naturally today, it doesn't even happen artificially in contrived experiments. To claim it happened long ago as a one-off phenomenon in some imagined scenario is not science, it is just pie-in-the-sky fantasy.
Atheist reply:
Quoting me:
“Snowflakes, rock crystals etc. do not violate the Law of Thermodynamics, although atheists who hate all natural laws that interfere with their ideology dearly wish they did. They act only according to their pre-coded, atomic structure, and furthermore they are formed by the removal of heat, being transferred from them to their surroundings...”
“So in other words they become MORE ordered despite become cooler? So the Second Law of Thermodynamics is violated because there is a REDUCTION in entropy? According to you this should be impossible.
You certainly don't understand the Second Law of Thermodynamics......or maybe you do but are simply lying about it to justify your absurd claims?”
My reply:
“You wrote:
"So in other words they become MORE ordered despite become cooler? So, the Second Law of Thermodynamics is violated because there is a REDUCTION in entropy? According to you this should be impossible.
You certainly don't understand the Second Law of Thermodynamics......or maybe you do but are simply lying about it to justify your absurd claims?"
Oh, for goodness sake! I warned you about scouring the internet searching for answers from quack, atheist websites. They are presented by people as clueless and gullible as the people they are trying to convince, or by people who are deliberately trying to deceive the public for ideological reasons.
Atheists should know that snowflakes, crystals etc. are not examples of the development of order. By regularly presenting them as such, they reveal either their deceitfulness or their complete misunderstanding of science.
There is NO reduction in entropy, the Second Law is NOT, and CANNOT be, violated, as you claim. If you knew even the basics of the Second Law, you would not make a fool of yourself by saying it is.
Snowflakes have absolutely no relevance whatsoever to the increase in complexity/order required for the origin of life.
Snowflakes, crystals etc. are simply reverting to the natural state dictated by their atomic structure as they cool. If you knew anything about the Second Law you would know that the natural, intrinsic order of matter is highest at lower temperatures. You would know that the application of raw (undirected) heat/energy increases entropy.
The natural, intrinsic order of substances is greatest at absolute zero.
That does not mean cooling causes a decrease in entropy overall, the heat/energy is transferred from one substance to its surroundings and the entropy is increased in the surroundings.
Snowflakes have absolutely no relevance to abiogenesis, because there is no increase in order above or beyond that which is intrinsic to the inherent, atomic properties of water. By lowering the temperature, the apparent increase in order is not an actual increase in, or the development of order, but simply a restoration at the atomic level to the original, natural, ordered state of water at the lower temperature.
If a rubber ball is squashed (made asymmetrical) by applying a heavy weight to it, would it be classed as an increase in order when the weight is removed, and it returns to its original, symmetrical shape?
According to the ridiculous, atheist analogy of snowflakes and crystals it would be. It only goes to show that atheists will clutch at any straw, however silly, to justify their ideology. They have the audacity to challenge and attempt to undermine natural laws with their nonsense and then accuse those who uphold them of being unscientific and ignorant. Their barefaced cheek never ceases to amaze me.
I repeat my question, which you have failed to answer:
We know that the energy input to the so-called Primordial Soup would have been raw, random, unguided energy. So the only other possibility to reverse the effects of entropy is that a directive or conversion mechanism was possessed by the recipient of the energy to utilise it in a constructive way, i.e. that basic matter (chemistry) is somehow inherently predisposed with the potential/blueprint for creating life and the information for life. Please explain what that directive mechanism for the constructive utilisation of raw energy is - and where that inherent potential for the reversal of entropy and the construction of life comes from?
The basic, inherent, atomic structure of water, and of all matter, along with natural law, is part of the initial order of the universe which became present at the moment of its creation. It is not developing order, such as that which would be required for abiogenesis or cosmic and biological evolution.”
Atheist reply:
“You really, really don't understand The Second Law of Thermodynamics and you shouldn't write any further drivel which relies on this.
Let's look at you original claim: The second Law of Thermodynamics rules out the spontaneous generation of life from non-life as a chance event. Fail - The Second Law of Thermodynamics is nothing to do with chance.
But I'll tell you what .........rather than carry on with this nonsense I'll refer you to a very useful site that you (and anyone else) can access and it'll tell you what entropy is and how it relates to the Second Law of Thermodynamics. It doesn't talk about origin of life or anything like that. It uses quite simple language and you need to read it and UNDERSTAND it.
entropysimple.oxy.edu/”
My reply:
You wrote:
"You asked for references to self-replicating information. There are many to choose from but here you go. Enjoy the bed-time reading."
There you go again - giving me links to internet sites, which I am quite capable of accessing myself. I am well aware of how to Google endless points of view on virtually every subject under the Sun. So please stop insulting my intelligence, I have seen all this stuff before. I asked you to give me examples yourself, a simple enough request. I don't want links to internet sites (or long copy and pasted tracts) which can be found on the internet to justify virtually anything. What is your problem with actually answering questions yourself?
You wrote:
"You really, really don't understand The Second Law of Thermodynamics and you shouldn't write any further drivel which relies on this.
Let's look at you original claim: The second Law of Thermodynamics rules out the spontaneous generation of life from non-life as a chance event. Fail - The Second Law of Thermodynamics is nothing to do with chance."
You accuse me of not knowing anything about the Second Law, after your astonishing, earlier statement:
"So in other words they become MORE ordered despite become cooler? So the Second Law of Thermodynamics is violated because there is a REDUCTION in entropy? According to you this should be impossible."
You, who wants to claim that (what Einstein called the premier law in science) can be violated have the audacity to accuse me of not knowing anything about the Second Law. Unbelievable!
The reason I used the word 'chance' is perfectly obvious to anyone who knows anything about the subject, which obviously doesn't include you.
Only DIRECTED energy can enable a temporary decrease in entropy, it does NOT HAPPEN by CHANCE. There has to be a guiding principle or agent either: 1) acting directly on the energy source - or: 2) a directive or conversion mechanism possessed by the recipient of the energy. A decrease in entropy doesn't happen randomly or as a 'chance' event.
You believe the atheist nonsense that snowflakes/crystals are an example of an increase in order, which demonstrates your dire knowledge of the subject.
If you knew anything about the Second Law you would not have cited such a spurious example, apparently you are willing to believe anything you read on atheist/evolutionist websites as though it is gospel.
Perhaps you can address the question I asked in my last post: If a rubber ball is squashed (made asymmetrical) by applying a heavy weight to it, would it be classed as an increase in order when the weight is removed and it returns to its original, symmetrical shape? But I doubt it, answering questions is not exactly your forte. You would rather nit pick about the qualifications of anyone who disagrees with atheist pseudoscience.
Atheist reply:
Quoting me:
“There you go again - giving me links to internet sites, which I am quite capable of accessing myself. I am well aware of how to Google endless points of view on virtually every subject under the Sun."
“Well you asked for examples and I provided these for you. These are references to well-respected research which provides evidence which you appear to be either too lazy or unwilling to research for yourself.
If you were aware of such research would you have written the nonsense you pour forth? ............Probably.
You also appear to have some sort of cognitive dissonance as far as the Second Law of Thermodynamics and entropy. I provide you with an excellent resource and you fail to take advantage of it to understand the subject matter properly.
That really is astonishing!
All your rubber ball example does is illustrate the law of conservation of energy.”
My reply:
You wrote:
"Well you asked for examples and I provided these for you. These are references to well-respected research which provides evidence which you appear to be either too lazy or unwilling to research for yourself."
No! You are either too lazy to answer any questions yourself, or you are unable to. I suspect it is the latter, because you have already demonstrated from previous remarks that your knowledge of the subject is absolutely dire. Yet you insist on continuing to try to bluff it out, by either copying or pasting other people's work or posting links to anything you think supports your argument.
I'm afraid you have been sussed.
You have already put your foot in it - big time, by citing snowflakes and crystals as an example of developing order.
You mistakenly thought all you had to do to win an argument was to parrot stuff direct from an atheist/evolutionist website. When, in fact, parroting the sort of pseudoscientific rubbish that atheist/evolutionist websites are filled with, is a sure way of making yourself look extremely foolish.
You wrote:
"All your rubber ball example does is illustrate the law of conservation of energy"
What sort of damn-fool answer is that?
I asked: "If a rubber ball is squashed (made asymmetrical) by applying a heavy weight to it, would it be classed as an increase in order when the weight is removed and it returns to its original, symmetrical shape?"
IS IT AN INCREASE IN ORDER OR NOT?
Please answer the question.
Because if it isn't an increase in order, it completely demolishes both your snowflake/crystal argument and the credibility of atheist/evolutionist so-called 'science'.
No wonder you don't want to answer.
**************************************************
Four and a half years later.
I am still waiting for any atheist to answer the rubber ball question?
The full debate can be seen here:
www.flickr.com/photos/truth-in-science/16208667768
___________________________________
Another argument employed by atheists to justify their denial of the Law of Cause and Effect is ‘quantum mechanics’.
Their claim being; because quantum effects appear to behave randomly, they could also be uncaused.
This is complete nonsense, quantum effects may appear random and uncaused, but they are definitely not uncaused. Even if their direct cause is difficult to determine, they are part of a CAUSED, physical universe.
The idea that anything within a CAUSED universe can be causeless is ridiculous, because whatever caused the whole universe, is the original cause of everything within it.
Furthermore, just because directly traceable causes cannot be determined, doesn’t mean a direct cause doesn’t exist.
For example:
It can be compared to the randomness of a number coming up from throwing a dice. It may appear random and without a direct cause, but it isn’t. Because if we knew all the complicated and variable factors involved – such as the exact orientation of the dice as it leaves the hand, the velocity of the throw and the amount of spin etc., we could predict the number in advance.
So, just because, in some instances, direct causes are too incredibly complex to accurately predict the result, doesn’t mean there is no cause.
Quantum effects - The smoke and mirrors trick.
www.flickr.com/photos/truth-in-science/35908166441
Evolution, multi-million year timescale refured.
Rapid strata formation - field evidence.
www.flickr.com/photos/truth-in-science/albums/72157635944...
Dr James Tour - 'The Origin of Life' - Abiogenesis decisively refuted.
youtu.be/B1E4QMn2mxk
maps.secondlife.com/secondlife/Sol%20Existence/215/130/42
Welcome to the Village on ::Sol Existence::. The quaint village was created for all to visit and explore. There are quite a few places that might make a great backdrop for photos including beach, pond, gardens, shops or just a spot to relax for a bit.
Anthroposophy, a philosophy founded by Rudolf Steiner, postulates the existence of an objective, intellectually comprehensible spiritual world accessible to direct experience through inner development. More specifically, it aims to develop faculties of perceptive imagination, inspiration and intuition through cultivating a form of thinking independent of sensory experience, and to present the results thus derived in a manner subject to rational verification. In its investigations of the spiritual world, anthroposophy aims to attain the precision and clarity attained by the natural sciences in their investigations of the physical world.
Anthroposophical ideas have been applied practically in many areas including Steiner/Waldorf education, special education (most prominently through the Camphill Movement), agriculture, medicine, ethical banking, organizational development, and the arts.
Architecture
The First Goetheanum, designed by Steiner in 1920, Dornach, Switzerland.
Steiner himself designed around thirteen buildings, many of them significant works in a unique, organic—expressionist architectural style. Foremost among these are his designs for the two Goetheanum buildings in Dornach, Switzerland. Thousands of further buildings have been built by later generations of anthroposophic architects.
Architects who have been strongly influenced by the anthroposophic style include Imre Makovecz in Hungary, Hans Scharoun and Joachim Eble in Germany, Erik Asmussen in Sweden, Kenji Imai in Japan, Thomas Rau, Anton Alberts and Max van Huut in Holland, Christopher Day and Camphill Architects in the UK, Thompson and Rose in America, Denis Bowman in Canada, and Walter Burley Griffin and Gregory Burgess in Australia.
One of the most famous contemporary buildings by an anthroposophical architect is ING House, an ING Bank building in Amsterdam, which has received several awards for its ecological design and approach to a self-sustaining ecology as an autonomous building and example of sustainable architecture. Designed by Ton Alberts, as remarked by Akbar ! :-)
Valerian I, 253 – 260
Aureus, Samosata after 255, AV 3.75 g. IMP C P LIC VALERIANVS AVG Laureate, draped and cuirassed bust r. Rev. VICTORIAE Victory in galloping biga r.; in exergue, AVGG. C 239 var. (without drapery and cuirass). RIC 276. Calicó 3449 (this reverse die).
Very rare, in exceptional condition for the issue and one of the finest
aurei of Valerian in existence. Virtually as struck and almost Fdc
Provenance
Sold by Leu Numismatik, auction 91, Zurich, 10-11 May 2004, lot 642.
Sold by Numismatica Genevensis S.A., Alain Baron expert, auction IV, Geneva, 11-12 December 2006, lot 228.
Publius Licinius Valerianus was born around 190 AD into a wealthy senatorial family. He showed considerable talent as a politician and served as consul during the reign of Severus Alexander. During the years 238-250 AD, he held a series of important civilian and military posts as the Roman Empire plunged into an era of civil war, invasion, pestilence, and economic collapse. In AD 253, he was commander of the Rhine garrison when he and his army were summoned to Rome by the embattled emperor Trebonianus Gallus to defend his regime against the usurper Aemilian. While Valerian was en route, Gallus was murdered by his own troops and Aemilian seized the throne. In a pattern typical of the age, Valerian’s troops proclaimed him emperor and he, in turn, marched against Aemilian, who suffered the same fate as Gallus. Valerian’s elevation was quickly approved by the Senate. He appointed his son Gallienus as co-ruler and sent him to defend the crumbling Rhine frontier while Valerian focused on a deepening crisis in the east. The Goths had commandeered some Roman ships and were plundering Asia Minor at will while, at the same time, Shapur I, king of resurgent Sasanian Persia, had crossed the eastern frontier and sacked Antioch. After taking stern measures against those he considered subversives, including Christians (against whom he mounted a major persecution), Valerian mustered a large legionary force and marched east in AD 255. After forcing the Goths to retreat, he spent the next four years campaigning in the Syrian desert in a fruitless effort to force Shapur into a decisive battle. In 260 AD, with his army weakened by pestilence and exhaustion, Valerian agreed to a peace parlay with Shapur. But on his approach, he and his bodyguards were seized and taken prisoner by Shapur. This was an unprecedented calamity and marked the Empire's darkest hour. Gallienus was unwilling or unable to come to his rescue, and Valerian remained in ignominious captivity for many years, where he endured such humiliations as being forced to serve as Shapur's footstool. After his death, Valerian’s skin was flayed and stuffed, the effigy being presented to later Roman envoys as an object lesson.
NAC91, 46
Existence is no more than the precarious attainment of relevance in an intensely mobile flux of past, present, and future.
Susan Sontag
The 2018 London Design Biennale at Somerset House was on the theme 'Emotional States'. The Saudi Arabia entry was called 'Being and Existence'. Lulwah Al Homoud used lights and mirrors to create kaleidoscopic geometric patterns based on the Arabic alphabet.
All Rights reserved by Kazi Sudipto .
"""Join my Facebook page Kazi Sudipto Photography For more updates :) And you also can add me on Facebook :) """
North Farnham Church in Virginia's Northern Neck has had a long and rough existence. It is a colonial-era church, built about 1737, and the exterior walls remain as examples of -- in the words of one source -- "colonial masonry at its finest"; the interior and roof have had to be recreated, because of the noted rough existence (see historical marker, below). Like other colonial churches, which had been part of the Church of England, disestablishment after the American Revolution left the church vacant for some time. It was damaged by in a skirmish during the War of 1812, and during the American Civil War it was used by Union troops as a stable. Restored after the Civil War, the church was gutted by fire in 1887, and finally restored again in the 1920s (exact dates differ; the stone in the gable wall gives 1922 as the restoration date, the church's website says restoration was completed in 1921, and the sign below says 1924). It remains an active Episcopal Church (see second sign, below), also like many of Virginia's colonial-era churches. The Flemish bond brickwork of the church's exterior looks amazingly good, but some of the ravages of time can be seen in the close-up of bricks in the water table of the lower portion of the walls (preceding photo). North Farnham Church was added to the National Register of Historic Places in 1973. According to Virginia Historic Landmarks (3rd ed., p. 396), in its early years, the congregation included members of two prominent Virginia families, the Carters and the Tayloes, residents of two other nearby historic properties, Sabine Hall and Mount Airy, respectively.
Getting a good, clear shot of this beautiful old church is made difficult by the wires that pass close to the church on the right, and the guy wires for one of the utility poles that are anchored very close to the front walk; I decided not to attempt cloning out the unavoidable wires in this shot, but at least framed it to omit the poles & guy wires.
What is the cover photo?
The cover photo is from my special passport for visiting Mecca only, issued when I was fourteen years old. My somber visage reflects the ordeals of my youth when I never expected any future beyond my bleak existence.
Why did you choose that font?
The font chosen for chapter headings is called Mason. Many have asked why I chose a Christian looking font for a Muslim book. Few people are aware of the historical relationship between the two religions. The architecture of medieval 7th and 8th century European cathedrals, particularly the arches and latticework, was inspired by Islamic mosques. This font symbolizes the common ground of cultures and suggests to the reader that the story of the book is deeper than just my life. It goes deep down to a culture that has turned into a medieval cult.
What is the significance of the Yellow, Dark Gray and Red website color?
The color palette of the site was purposely chosen. Yellow is the color of hate and sickness in Persian culture. To convey their anger or hate toward someone, people give that individual yellow roses or flowers. Since it is impolite to refuse a gift, it is a message to the recipient to change his or her manner.
Also, there is a fire ceremony that, despite being banned by the Iranian government, Persians hold dear and still perform privately every year on the Persian New Year, the last Wednesday of winter. Bushes are set on fire and people jump on them, chanting, "My yellowness to you; your redness to me.
"In this ceremony, red represents health and yellow represents sickness. In Persian culture, red is the color of war, bloodshed and Hell.
Gray is the color of inmate's clothing in Iran's prisons. It is also the mandatory color of the long raincoat uniform that schoolgirls must wear. Black is the color of the chadors and headscarves the Iranian government forces women to wear in public. Also, it is the color of mourning in Islam and it is scripted for mourning in religious books.
What is the symbol used on the cover page and throughout the web site?
Currently, the Iranian flag carries the shield-like logo displayed on the cover page of Living in Hell book and through out the book and the site. It is a stylistic Arabic word that the government of Iran translates as God or Allah.
What are the myths behind Iran's flag colors? When did the first flag of Iran appear as a national symbol?
The current flag has had the same color palette of Green, White and Red since the 18th century. These have been the official colors for the Qajar, Pahlavi and current regime, each of which added its' logo to the flag. For Pahlavi, the logo was a lion (symbol of courage) holding a sword, standing before a setting sun as if he is crowned with a golden light. Currently, the same flag carries the shield-like logo displayed on the first page of my book, Living in Hell. It is a stylistic Arabic word that the government of Iran translates as God or Allah.
The Green, White and Yellow are mythical colors; Green for prosperity, White for peace and Red for war and courage. All together, it means, 'We stand united, in prosperity, peace and war as one nation.'
The word Persia, however, was deleted from Iranian culture not by the current regime but by the Pahlavi dynasty.
Cyrus the Great used the first Persian flag in 559 B.C. It featured a Golden Eagle, the symbol of the Persian Empire. A very famous flag from the Sassanid dynasty belonged to a national hero named Darafsh Kaviani, a simple metal worker who became a Persian hero fighting the evil 'Ahreeman' and a king who did not hesitate to kill indiscriminately to save his own life and kingdom. His flag is the loosely translate for the word 'Derafsh' The flag, of woven fabric, was predominately black on which was superimposed a Yellow, Purple, Red and White banner on a standard. It became the symbol of courage and was used from 224 A.D., to 651 A.D. by countless Persian kings and emperors, particularly in the battle against the Arab invasion of Persia.
Is it Persia or Iran?
Persia was the name present day Iran carried for over 2600 years. Iran is the name given to Persia by Reza Shah in 1935 as one of his moves to bring Persia into the twentieth century. He took many positive steps toward the future of Iran. He wanted education for the people, especially women.
That year he opened the first public schools and modern European-style universities. Education became mandatory for every individual and every child had to go to school. Previously, only those studying to become a cleric learned to read and write. He stressed equality for women and in 1936 ordered women to remove their veils and promised that they could walk the streets in European dress under his protection and without fear. He kept his promise.
Shaking hands is a Persian Greeting...
From the stone walls of the ruined city of Persepolis by Alexander the Great, it appears that Persians were the first nation to shake hands. Other societies at the time would hug, kiss or grasp each other's forearm.
Shaking hands became the signature and word of Persian gentlemen for centuries in business and other affairs. Today, however, shaking handshake business deals are few and far between.
When is Persian New Year and what are its' roots?
The Persian New Year, called 'Norooz', is based on the solar system. Hakim Omar-e Khayyam, the renowned fifth century poet and mathematician, measured the exact rotation of earth around the sun and calculated the time when Earth enters a new year.
However, the origins of Norooz started even earlier in the time of Jamshid, a famous emperor of ancient Persia. Legend has it that he built a glass carriage and was lifted by demons.
Another legend has it that he rode away on a large bed covered with Persian rugs and carried by eagles, above which he held meat to keep them flying. He flew from Damavand to Babylon. When he returned to the ground, he called the day 'Norooz', a New Day, and it has been so called ever since.
Stories of Persian poetry tell us that Jamshid was a good king until his one day flying excursion. He taught his people to weave and to mine, created a strong army and divided people to four classes. After his lift off from earth, he seemed different and later paid with his life. After returning to the earth, he called himself not a king or an emperor but a God. He died shortly thereafter by a mosquito entering his nasal passages. It is scripted in Islamic books that he would have not been killed had he not placed himself in God's position.
To prepare for Norooz, people often start spring-cleaning about a month before the New Year. On the last Wednesday of the year, in an ancient ceremony passed down from Jamshid, we all jump on the burning bush fire, chanting "My yellowness to you and your redness to me." Meaning, I give you my sickness and difficulty and receive your vivacious red, healthy color.
Variations of this ritual are also practiced among other tribes. Some jump on the fire, some use the smoke for religious proposes and some even walk on it to cleanse their body and soul.
Persians were originally Zoroastrians before converting to Islam. Zoroaster was a prophet sent by God. For them, fire was the symbol of God All Mighty, who, in Persian, is called 'Ahoramazda.'
Norooz starts by planting greenery and flowers everywhere. A powdery of 'Sabzeh', or green grains, such as beans or flower seeds is displayed in almost every Persian household.
For the New Year, everyone goes to the hairdresser, freshens up and, preferably, dons new clothing, if they have it. If not, clean clothing is a must.
There would be a table decorated with seven edible ingredients that starts with 'S'. In Persian literature, it is called Haft Seen (or Seven S's.) Prayers, greetings and good wishes are chanted around the table at the moment of New Year.
The symbolic dishes consist of:
'Sabzeh' is (greenery) or sprouts, usually wheat or lentil, representing rebirth.
'Samanu' is a dish in which common wheat sprouts are transformed and given new life as a sweet, creamy pudding and represents the ultimate sophistication of Persian cooking.
'Seeb' are apples and represent health and beauty.
'Senjed' the sweet, dry fruit of the Lotus tree, represents love. It has been said that when a lotus tree is in full bloom, its fragrance and its fruit make people fall in love and become oblivious to all else.
'Seer', or garlic in Persian, represents medicine.
'Serkeh', or vinegar, represents age and patience
'Somaq' sumac berries represent the color of sunrise; with the appearance of the sun, Good conquers Evil.
'Sonbol' the hyacinth flower with its strong fragrance heralding the coming of spring.
Other elements presented are 'Sekkeh', or coins (gold, silver, or regular coins), representing prosperity and wealth.
Other elements and symbols are also on the table.
A basket of painted eggs represents fertility. (This is much too similar to Easter bunny eggs.)
A Seville orange floating in a bowl of water represents the earth floating in space.
A goldfish in a bowl represents life and the end of astral year-picas.
A mirror, which represents the images and reflections of Creation as we celebrate anew the ancient Persian traditions and beliefs that creation took place on the first day of spring.
On either side of the mirror are two candlesticks holding a flickering candle for each child in the family. The candles represent enlightenment and happiness.
Most Persian families have fish and rice as the New Year's dinner. Fish was one of the first foods on the Jesus' table. It is a symbol of Prosperity for the year.
The number seven has been sacred in Iran since ancient times. The seven dishes stand for the seven angelic heralds of life-rebirth, health, happiness, prosperity, joy, patience, and beauty.
It is customary for the family to gather around the Haft Seen spread a few hours before the New Year and recite verses from the Holy Koran and poems from Hafez famous poetry book.
At the exact moment of the New Year, the oldest person in the family continues the traditions by hugging and wishing each member well and offering sweets, pastries, and coins. Of course, that varies from family to family and people of different religions.
After the New Year minute, everyone in the family hugs and kisses each other. Many make friends with people who didn't call them friend in the past year. Starting a New Year with a New Behavior is highly encouraged in Persian culture. During the 12 days of New Year holiday, elders spend time with the younger generations.
The gift basket depends on the wealth of the family. Money is often given as a gift for kids. For the adults, Persian Sweets, fruit or flowers are among the common gifts exchanged. Some give gold coin jewelry and Persian carpets for the newly married couples. Parents give their children money or what they have wanted all year long. New Year is for children; adults don't exchange gifts as often.
The Norooz celebration lasts 12 days. It starts the minute earth finishes a turn around the Sun, which happens to be around March 21 of each year, with the exception of leap year. On the 13th day, Persians go on a picnic to take the ghosts of the past year outside their homes and leave them there. They take their greenery pods along to leave it where they had their picnic. It is all a continuation of a highly regarded, mystical, cultural ceremony inherited from the Jamshid and highly cherished in the hearts of millions of Persians.
After the 13th day, everything goes back to normal till the early following February
clothing, accessories, casual, cute, fashion, womens, mesh, unisex, doll, kawaii, ulzzang, gacha, jewelry, gift, shoes, slocca, cosmetics, lingerie, appliers, slink
Taken at *BOOM* Clothing Co. cute clothes for sexy girls since 2007, Existence (98, 74, 22)
The Town of Scunthorpe, In North Lincolnshire, owes its existence almost entirely to the steel industry - without it, the Town would moist definitely not be as populous as it is (around 76,000), but would be a group of five villages:- Scunthorpe, Frodingham, Crosby, Brumby and Ashby.
Local "Black Band" iron ore was first extracted in the area in 1860 by Rowland Winn. Just two years later the Dawes Brothers started work on an Ironworks, with the first production in 1864.
At its peak, the steel industry employed 27,000 people, though nowadays the plant, owned by Indian company Tata, employs only around 4,500. As seen in this picture, the skyline is dominated by the cooling towers and blast furnaces of the works - there are four blast furnaces, known locally as The Four Queens. Each is named - Queen Mary, Queen Bess, Queen Anne & Queen Victoria.
Camera: Nikon F5
Lens: Nikkor 70-300mm zoom
Film: Kodak Ektar 100
Astral projection (or astral travel), is a term used in esotericism to describe an intentional out-of-body experience (OBE) that assumes the existence of a subtle body called an "astral body" through which consciousness can function separately from the physical body and travel throughout the astral plane. The idea of astral travel is ancient and occurs in multiple cultures. The modern terminology of "astral projection" was coined and promoted by 19th-century Theosophists. It is sometimes reported in association with dreams and forms of meditation.Some individuals have reported perceptions similar to descriptions of astral projection that were induced through various hallucinogenic and hypnotic means (including self-hypnosis). There is no scientific evidence that there is a consciousness whose embodied functions are separate from normal neural activity or that one can consciously leave the body and make observations of the physical universe, and astral projection has been characterized as a pseudoscience.
According to the classical, medieval, renaissance Hermeticism, Neoplatonism, and later Theosophist and Rosicrucian thought, the astral body is an intermediate body of light linking the rational soul to the physical body while the astral plane is an intermediate world of light between Heaven and Earth, composed of the spheres of the planets and stars. These astral spheres were held to be populated by angels, demons, and spirits. The subtle bodies, and their associated planes of existence, form an essential part of the esoteric systems that deal with astral phenomena. In the neo-platonism of Plotinus, for example, the individual is a microcosm ("small world") of the universe (the macrocosm or "great world"). "The rational soul...is akin to the great Soul of the World" while "the material universe, like the body, is made as a faded image of the Intelligible". Each succeeding plane of manifestation is causal to the next, a world-view known as emanationism; "from the One proceeds Intellect, from Intellect Soul, and from Soul - in its lower phase, or that of Nature - the material universe". Often these bodies and their planes of existence are depicted as a series of concentric circles or nested spheres, with a separate body traversing each realm. The idea of the astral figured prominently in the work of the nineteenth-century French occultist Eliphas Levi, whence it was adopted and developed further by Theosophy, and used afterwards by other esoteric movements.
Biblical/Mythical
Carrington, Muldoon, Peterson, and Williams claim that the subtle body is attached to the physical body by means of a psychic silver cord. The final chapter of the Book of Ecclesiastes is often cited in this respect: "Before the silver cord be loosed, or the golden bowl be broken, or the pitcher be shattered at the fountain, or the wheel be broken at the cistern." Scherman, however, contends that the context points to this being merely a metaphor, comparing the body to a machine, with the silver cord referring to the spine. Paul's Second Epistle to the Corinthians is more generally agreed to refer to the astral planes: "I know a man in Christ who fourteen years ago was caught up to the third heaven. Whether it was in the body or out of the body I do not know—God knows." This statement gave rise to the Visio Pauli, a tract that offers a vision of heaven and hell, a forerunner of visions attributed to Adomnan and Tnugdalus as well as of Dante's Divine Comedy.
Ancient Egypt
The ba hovering above the body. This image is based on an original found in The Book of the Dead.
Similar concepts of soul travel appear in various other religious traditions. For example, ancient Egyptian teachings present the soul (ba) as having the ability to hover outside the physical body via the ka, or subtle body.
Taoist
Taoist alchemical practice involves creation of an energy body by breathing meditations, drawing energy into a 'pearl' that is then "circulated". "Xiangzi ... with a drum as his pillow fell fast asleep, snoring and motionless. His primordial spirit, however, went straight into the banquet room and said, "My lords, here I am again." When Tuizhi walked with the officials to take a look, there really was a Taoist sleeping on the ground and snoring like thunder. Yet inside, in the side room, there was another Taoist beating a fisher drum and singing Taoist songs. The officials all said, "Although there are two different people, their faces and clothes are exactly alike. Clearly he is a divine immortal who can divide his body and appear in several places at once. ..." At that moment, the Taoist in the side room came walking out, and the Taoist sleeping on the ground woke up. The two merged into one."
Hinduism
Similar ideas such as the Liṅga Śarīra are found in ancient Hindu scriptures such as, the YogaVashishta-Maharamayana of Valmiki. Modern Indians who have vouched for astral projection include Paramahansa Yogananda who witnessed Swami Pranabananda doing a miracle through a possible astral projection. The Indian spiritual teacher Meher Baba described one's use of astral projection: In the advancing stages leading to the beginning of the path, the aspirant becomes spiritually prepared for being entrusted with free use of the forces of the inner world of the astral bodies. He may then undertake astral journeys in his astral body, leaving the physical body in sleep or wakefulness. The astral journeys that are taken unconsciously are much less important than those undertaken with full consciousness and as a result of deliberate volition. This implies conscious use of the astral body. Conscious separation of the astral body from the outer vehicle of the gross body has its own value in making the soul feel its distinction from the gross body and in arriving at fuller control of the gross body. One can, at will, put on and take off the external gross body as if it were a cloak, and use the astral body for experiencing the inner world of the astral and for undertaking journeys through it, if and when necessary....The ability to undertake astral journeys therefore involves considerable expansion of one's scope for experience. It brings opportunities for promoting one's own spiritual advancement, which begins with the involution of consciousness. Astral projection is one of the Siddhis considered achievable by yoga practitioners through self-disciplined practice. In the epic The Mahabharata, Drona leaves his physical body to see if his son is alive.
Japan
The ikiryō as illustrated by Toriyama Sekien.
In Japanese mythology, an ikiryō (生霊, also read as shōryō, seirei, or ikisudama) is a manifestation of the soul of a living person separately from their body.[30] Traditionally, if someone holds a sufficient grudge against another person, it is believed that a part or the whole of their soul can temporarily leave their body and appear before the target of their hate in order to curse or otherwise harm them, similar to an evil eye. Souls are also believed to leave a living body when the body is extremely sick or comatose; such ikiryō are not malevolent.
Inuit
In some Inuit groups, people with special capabilities, known as angakkuq, are said to travel to (mythological) remote places, and report their experiences and things important to their fellows or the entire community; how to stop bad luck in hunting, cure a sick person etc. things unavailable to people with normal capabilities.
Amazon
The yaskomo of the Waiwai is believed to be able to perform a "soul flight" that can serve several functions such as healing, flying to the sky to consult cosmological beings (the moon or the brother of the moon) to get a name for a new-born baby, flying to the cave of peccaries' mountains to ask the father of peccaries for abundance of game or flying deep down in a river to get the help of other beings.
"Astral" and "etheric"
The expression "astral projection" came to be used in two different ways. For the Golden Dawn and some Theosophists it retained the classical and medieval philosophers' meaning of journeying to other worlds, heavens, hells, the astrological spheres and other imaginal landscapes, but outside these circles the term was increasingly applied to non-physical travel around the physical world. Though this usage continues to be widespread, the term, "etheric travel", used by some later Theosophists, offers a useful distinction. Some experients say they visit different times and/or places: "etheric", then, is used to represent the sense of being "out of the body" in the physical world, whereas "astral" may connote some alteration in time-perception. Robert Monroe describes the former type of projection as "Locale I" or the "Here-Now", involving people and places that actually exist: Robert Bruce calls it the "Real Time Zone" (RTZ) and describes it as the non-physical dimension-level closest to the physical. This etheric body is usually, though not always, invisible but is often perceived by the experient as connected to the physical body during separation by a "silver cord". Some link "falling" dreams with projection. According to Max Heindel, the etheric "double" serves as a medium between the astral and physical realms. In his system the ether, also called prana, is the "vital force" that empowers the physical forms to change. From his descriptions it can be inferred that, to him, when one views the physical during an out-of-body experience, one is not technically "in" the astral realm at all. Other experiments may describe a domain that has no parallel to any known physical setting. Environments may be populated or unpopulated, artificial, natural or abstract, and the experience may be beatific, horrific or neutral. A common Theosophical belief is that one may access a compendium of mystical knowledge called the Akashic records. In many accounts the experiencer correlates the astral world with the world of dreams. Some even report seeing other dreamers enacting dream scenarios unaware of their wider environment. The astral environment may also be divided into levels or sub-planes by theorists, but there are many different views in various traditions concerning the overall structure of the astral planes: they may include heavens and hells and other after-death spheres, transcendent environments, or other less-easily characterized states.
Notable practitioners
Astral projection according to Carrington and Muldoon, 1929
Emanuel Swedenborg was one of the first practitioners to write extensively about the out-of-body experience, in his Spiritual Diary (1747–65). French philosopher and novelist Honoré de Balzac's fictional work "Louis Lambert" suggests he may have had some astral or out-of-body experiences. There are many twentieth-century publications on astral projection, although only a few authors remain widely cited. These include Robert Monroe, Oliver Fox, Sylvan Muldoon, and Hereward Carrington, and Yram.
Robert Monroe's accounts of journeys to other realms (1971–1994) popularized the term "OBE" and were translated into a large number of languages. Though his books themselves only placed secondary importance on descriptions of method, Monroe also founded an institute dedicated to research, exploration and non-profit dissemination of auditory technology for assisting others in achieving projection and related altered states of consciousness.
Robert Bruce, William Buhlman, Marilynn Hughes, and Albert Taylor have discussed their theories and findings on the syndicated show Coast to Coast AM several times. Michael Crichton gives lengthy and detailed explanations and experience of astral projection in his non-fiction book Travels.
In her book, My Religion, Helen Keller tells of her beliefs in Swedenborgianism and how she once "traveled" to Athens:
"I have been far away all this time, and I haven't left the room...It was clear to me that it was because I was a spirit that I had so vividly 'seen' and felt a place a thousand miles away. Space was nothing to spirit!"
The soul's ability to leave the body at will or while sleeping and visit the various planes of heaven is also known as "soul travel". The practice is taught in Surat Shabd Yoga, where the experience is achieved mostly by meditation techniques and mantra repetition. All Sant Mat Gurus widely spoke about this kind of out of body experience, such as Kirpal Singh.
Eckankar describes Soul Travel broadly as movement of the true, spiritual self (Soul) closer to the heart of God. While the contemplative may perceive the experience as travel, Soul itself is said not to move but to "come into an agreement with fixed states and conditions that already exist in some world of time and space". American Harold Klemp, the current Spiritual Leader of Eckankar practices and teaches Soul Travel, as did his predecessors, through contemplative techniques known as the Spiritual Exercises of ECK (Divine Spirit). Edgar Cayce from the US, was popularly known as the “Sleeping Prophet”. He had been practicing astral travel at Washington DC for many years.
In occult traditions, practices range from inducing trance states to the mental construction of a second body, called the Body of Light in Aleister Crowley's writings, through visualization and controlled breathing, followed by the transfer of consciousness to the secondary body by a mental act of will.
Scientific reception
There is no known scientific evidence that astral projection as an objective phenomenon exists.
There are cases of patients having experiences suggestive of astral projection from brain stimulation treatments and hallucinogenic drugs, such as ketamine, phencyclidine, and DMT.
Robert Todd Carroll writes that the main evidence to support claims of astral travel is anecdotal and comes "in the form of testimonials of those who claim to have experienced being out of their bodies when they may have been out of their minds." Subjects in parapsychological experiments have attempted to project their astral bodies to distant rooms and see what was happening. However, such experiments haven't produced clear results.
According to Bob Bruce of the Queensland Skeptics Association, astral projection is "just imagining", or "a dream state". Bruce writes that the existence of an astral plane is contrary to the limits of science. "We know how many possibilities there are for dimensions and we know what the dimensions do. None of it correlates with things like astral projection." Bruce attributes astral experiences such as "meetings" alleged by practitioners to confirmation bias and coincidences.
Psychologist Donovan Rawcliffe has written that astral projection can be explained by delusion, hallucination and vivid dreams. Arthur W. Wiggins, writing in Quantum Leaps in the Wrong Direction: Where Real Science Ends...and Pseudoscience Begins, said that purported evidence of the ability to astral travel great distances and give descriptions of places visited is predominantly anecdotal. In 1978, Ingo Swann provided a test of his alleged ability to astral travel to Jupiter and observe details of the planet. Actual findings and information were later compared to Swann's claimed observations; according to an evaluation by James Randi, Swann's accuracy was "unconvincing and unimpressive" with an overall score of 37 percent. Wiggins considers astral travel an illusion, and looks to neuroanatomy, human belief, imagination and prior knowledge to provide prosaic explanations for those claiming to experience it.
en.wikipedia.org/wiki/Astral_projection
An out-of-body experience (OBE or sometimes OOBE) is a phenomenon in which a person perceives the world from a location outside their physical body. An OBE is a form of autoscopy (literally "seeing self"), although this term is more commonly used to refer to the pathological condition of seeing a second self, or doppelgänger. The term out-of-body experience was introduced in 1943 by G. N. M. Tyrrell in his book Apparitions,[1] and was adopted by researchers such as Celia Green, and Robert Monroe, as an alternative to belief-centric labels such as "astral projection" or "spirit walking". OBEs can be induced by traumatic brain injuries, sensory deprivation, near-death experiences, dissociative and psychedelic drugs, dehydration, sleep disorders, dreaming, and electrical stimulation of the brain, among other causes. It can also be deliberately induced by some.One in ten people has an OBE once, or more commonly, several times in their life. Psychologists and neuroscientists regard OBEs as dissociative experiences occurring along different psychological and neurological factors.Those experiencing OBEs sometimes report (among other types of immediate and spontaneous experience) a preceding and initiating lucid-dream state. In many cases, people who claim to have had an OBE report being on the verge of sleep, or being already asleep shortly before the experience. A large percentage of these cases refer to situations where the sleep was not particularly deep (due to illness, noises in other rooms, emotional stress, exhaustion from overworking, frequent re-awakening, etc.). In most of these cases subjects perceive themselves as being awake; about half of them note a feeling of sleep paralysis. Another form of spontaneous OBE is the near-death experience (NDE). Some subjects report having had an OBE at times of severe physical trauma such as near-drownings or major surgery. Near-death experiences may include subjective impressions of being outside the physical body, sometimes visions of deceased relatives and religious figures, and transcendence of ego and spatiotemporal boundaries. Typically the experience includes such factors as: a sense of being dead; a feeling of peace and painlessness; hearing of various non-physical sounds, an out-of-body experience; a tunnel experience (the sense of moving up or through a narrow passageway); encountering "beings of light" and a God-like figure or similar entities; being given a "life review", and a reluctance to return to life. Writers in the fields of parapsychology and occultism have written that OBEs are not psychological, and that a soul, spirit or subtle body can detach itself out of the body and visit distant locations. Out-of-the-body experiences were known during the Victorian period in spiritualist literature as "travelling clairvoyance". In old Indian scriptures, such a state of consciousness is also referred to as Turiya, which can be achieved by deep yogic and meditative activities, during which a yogi may be liberated from the duality of mind and body, allowing them to intentionally leave the body and then return to it. The body carrying out this journey is called "Vigyan dehi" ("Scientific body"). The psychical researcher Frederic Myers referred to the OBE as a "psychical excursion". An early study that described alleged cases of OBE was the two-volume Phantasms of the Living, published in 1886 by the psychical researchers Edmund Gurney, Myers, and Frank Podmore. The book was largely criticized by the scientific community because the anecdotal reports in almost every case lacked evidential substantiation.
A 19th-century illustration of Robert Blair's poem The Grave, depicting the soul leaving the body
The theosophist Arthur Powell (1927) was an early author to advocate the subtle body theory of OBEs. Sylvan Muldoon (1936) embraced the concept of an etheric body to explain the OBE experience. The psychical researcher Ernesto Bozzano (1938) had also supported a similar view describing the phenomena of the OBE experience in terms of bilocation in which an "etheric body" can release itself from the physical body in rare circumstances. The subtle body theory was also supported by occult writers such as Ralph Shirley (1938), Benjamin Walker (1977), and Douglas Baker (1979). James Baker (1954) wrote that a mental body enters an "intercosmic region" during the OBE.Robert Crookall supported the subtle body theory of OBEs in several publications. The paranormal interpretation of OBEs has not been supported by all researchers within the study of parapsychology. Gardner Murphy (1961) wrote that OBEs are "not very far from the known terrain of general psychology, which we are beginning to understand more and more without recourse to the paranormal". In the 1970s, Karlis Osis conducted many OBE experiments with the psychic Alex Tanous. In one series of these experiments, he was asked whilst in an OBE state whether he could identify coloured targets that were placed in remote locations. Osis reported that there were 114 hits in 197 trials. However, the controls for the experiments have been criticized and, according to Susan Blackmore, the final result was not particularly significant since 108 hits would have been expected by chance alone. Blackmore noted that the results provide "no evidence for accurate perception in the OBE". In April 1977, a patient from Harborview Medical Center known as Maria claimed to have experienced an out-of-body experience. During her OBE she claimed to have floated outside her body and outside the hospital. Maria later told her social worker Kimberly Clark that during the OBE she had observed a tennis shoe on the third floor window ledge to the north side of the building. Clark then went to the north wing of the building and by looking out of the window could see a tennis shoe on one of the ledges. Clark published the account in 1984. The story has since been used in many paranormal books as evidence that a spirit can leave the body. In 1996, Hayden Ebbern, Sean Mulligan and Barry Beyerstein visited the Medical Center to investigate Clark's story. They placed a tennis shoe on the same ledge and found that it was visible from within the building and could easily have been observed by a patient lying in bed. They also discovered that the tennis shoe was easy to observe from outside the building and suggested that Maria may have overheard a comment about it during her three days in the hospital and then incorporated it into her OBE. They concluded "Maria's story merely reveals the naiveté and the power of wishful thinking" from OBE researchers seeking a paranormal explanation. Clark did not publish the description of the case until seven years after it happened, casting doubt on the story. Richard Wiseman has said that although the story is not evidence for anything paranormal it has been "endlessly repeated by writers who either couldn't be bothered to check the facts, or were unwilling to present their readers with the more skeptical side of the story." Clark responded to the accusations made in a separate paper. In 1999, at the 1st International Forum of Consciousness Research in Barcelona, research-practitioners Wagner Alegretti and Nanci Trivellato presented preliminary findings of an online survey on the out-of-body experience answered by internet users interested in the subject; therefore, not a sample representative of the general population.
1,007 (85%) of the first 1,185 respondents reported having had an OBE. 37% claimed to have had between two and ten OBEs. 5.5% claimed more than 100 such experiences. 45% of those who reported an OBE said they successfully induced at least one OBE by using a specific technique. 62% of participants claiming to have had an OBE also reported having enjoyed nonphysical flight; 40% reported experiencing the phenomenon of self-bilocation (i.e. seeing one's own physical body whilst outside the body); and 38% claimed having experienced self-permeability (passing through physical objects such as walls). The most commonly reported sensations experienced in connection with the OBE were falling, floating, repercussions e.g. myoclonia (the jerking of limbs, jerking awake), sinking, torpidity (numbness), intracranial sounds, tingling, clairvoyance, oscillation and serenity.
Another reported common sensation related to OBE was temporary or projective catalepsy, a more common feature of sleep paralysis. The sleep paralysis and OBE correlation was later corroborated by the Out-of-Body Experience and Arousal study published in Neurology by Kevin Nelson and his colleagues from the University of Kentucky in 2007.[98] The study discovered that people who have out-of-body experiences are more likely to suffer from sleep paralysis.
Also noteworthy, is the Waterloo Unusual Sleep Experiences Questionnaire that further illustrates the correlation.
Ultracontemporary art works / periode Venice Biennale 2019
www.emergencyrooms.org/biennalist.html
www.emergencyrooms.org/formats.html
more here about the Biennale :
Ralph Rugoff has declared: «May You Live in Interesting Times will no doubt include artworks that reflect upon precarious aspects of existence today, including different threats to key traditions, institutions and relationships of the “post-war order.” But let us acknowledge at the outset that art does not exercise its forces in the domain of politics. Art cannot stem the rise of nationalist movements and authoritarian governments in different parts of the world, for instance, nor can it alleviate the tragic fate of displaced peoples across the globe (whose numbers now represent almost one percent of the world’s entire population).»
ALBANIA
Maybe the cosmos is not so extraordinary
Commissioner: Ministry of Culture Republic of Albania. Curator: Alicia Knock.
Exhibitor: Driant Zeneli.
ALGERIA***
Time to shine bright
Commissioner/Curator: Hellal Mahmoud Zoubir, National Council of Arts and Letters Ministry of Culture. Exhibitors: Rachida Azdaou, Hamza Bounoua, Amina Zoubir, Mourad Krinah, Oussama Tabti.
Venue: Fondamenta S. Giuseppe, 925
ANDORRA
The Future is Now / El futur és ara
Commissioner: Eva Martínez, “Zoe”. Curators: Ivan Sansa, Paolo De Grandis.
Exhibitor: Philippe Shangti.
Venue: Istituto Santa Maria della Pietà, Castello 3701
ANTIGUA & BARBUDA
Find Yourself: Carnival and Resistance
Commissioner: Daryll Matthew, Minister of Sports, Culture, National Festivals and the Arts. Curator: Barbara Paca with Nina Khrushcheva. Exhibitors: Timothy Payne, Sir Gerald Price, Joseph Seton, and Frank Walter; Intangible Cultural, Heritage Artisans and Mas Troup.
Venue: Centro Culturale Don Orione Artigianelli, Dorsoduro 919
ARGENTINA
El nombre de un país / The name of a country
Commissioner: Sergio Alberto Baur Ambasciatore. Curator: Florencia Battiti. Exhibitor: Mariana Telleria.
Venue: Arsenale
ARMENIA (Republic of)
Revolutionary Sensorium
Commissioner: Nazenie Garibian, Deputy Minister. Curator: Susanna Gyulamiryan.
Exhibitors: "ArtlabYerevan" Artistic Group (Gagik Charchyan, Hovhannes Margaryan, Arthur Petrosyan, Vardan Jaloyan) and Narine Arakelian.
Venue: Palazzo Zenobio – Collegio Armeno Moorat-Raphael, Dorsoduro 2596
AUSTRALIA
ASSEMBLY
Commissioner: Australia Council for the Arts. Curator: Juliana Engberg. Exhibitor: Angelica Mesiti.
Venue: Giardini
AUSTRIA
Discordo Ergo Sum
Commissioner: Arts and Culture Division of the Federal Chancellery of Austria.
Curator: Felicitas Thun-Hohenstein. Exhibitor: Renate Bertlmann.
Venue: Giardini
AZERBAIJAN (Republic of )
Virtual Reality
Commissioner: Mammad Ahmadzada, Ambassador of the Republic of Azerbaijan.
Curators: Gianni Mercurio, Emin Mammadov. Exhibitors: Zeigam Azizov, Orkhan Mammadov, Zarnishan Yusifova, Kanan Aliyev, Ulviyya Aliyeva.
Venue: Palazzo Lezze, Campo S. Stefano, San Marco 2949
BANGLADESH (People’s Republic of)
Thirst
Commissioner: Liaquat Ali Lucky. Curators: Mokhlesur Rahman, Viviana Vannucci.
Exhibitors: Bishwajit Goswami, Dilara Begum Jolly, Heidi Fosli, Nafis Ahmed Gazi, Franco Marrocco, Domenico Pellegrino, Preema Nazia Andaleeb, Ra Kajol, Uttam Kumar karmaker.
Venue: Palazzo Zenobio – Collegio Armeno Moorat-Raphael, Dorsoduro 2596
BELARUS (Republic of)
Exit / Uscita
Commissioner: Siarhey Kryshtapovich. Curator: Olga Rybchinskaya. Exhibitor: Konstantin Selikhanov.
Venue: Spazio Liquido, Sestiere Castello 103, Salizada Streta
BELGIUM
Mondo Cane
Commissioner: Fédération Wallonie-Bruxelles. Curator: Anne-Claire Schmitz.
Exhibitor: Jos de Gruyter & Harald Thys.
Venue: Giardini
BOSNIA and HERZEGOVINA
ZENICA-TRILOGY
Commissioner: Senka Ibrišimbegović, Ars Aevi Museum for Contemporary Art Sarajevo.
Curators: Anja Bogojević, Amila Puzić, Claudia Zini. Exhibitor: Danica Dakić.
Venue: Palazzo Francesco Molon Ca’ Bernardo, San Polo 2184/A
BRAZIL
Swinguerra
Commissioner: José Olympio da Veiga Pereira, Fundação Bienal de São Paulo.
Curator: Gabriel Pérez-Barreiro. Exhibitor: Bárbara Wagner & Benjamin de Burca.
Venue: Giardini
BULGARIA
How We Live
Commissioner: Iaroslava Boubnova, National Gallery in Sofia. Curator: Vera Mlechevska.
Exhibitors: Rada Boukova , Lazar Lyutakov.
Venue: Palazzo Giustinian Lolin, San Marco 2893
CANADA
ISUMA
Commissioner: National Gallery of Canada. Curators: Asinnajaq, Catherine Crowston, Josée Drouin-Brisebois, Barbara Fischer, Candice Hopkins. Exhibitors: Isuma (Zacharias Kunuk, Norman Cohn, Paul Apak, Pauloosie Qulitalik).
Venue: Giardini
CHILE
Altered Views
Commissioner: Varinia Brodsky, Ministry of Cultures, Arts and Heritage.
Curator: Agustín Pérez. Rubio. Exhibitor: Voluspa Jarpa.
Venue: Arsenale
CHINA (People’s Republic of)
Re-睿
Commissioner: China Arts and Entertainment Group Ltd. (CAEG).
Curator: Wu Hongliang. Exhibitors: Chen Qi, Fei Jun, He Xiangyu, Geng Xue.
Venue: Arsenale
CROATIA
Traces of Disappearing (In Three Acts)
Commissioner: Ministry of Culture of the Republic of Croatia. Curator: Katerina Gregos.
Exhibitor: Igor Grubić.
Venue: Calle Corner, Santa Croce 2258
CUBA
Entorno aleccionador (A Cautionary Environment)
Commissioner: Norma Rodríguez Derivet, Consejo Nacional de Artes Plásticas.
Curator: Margarita Sanchez Prieto. Exhibitors: Alejandro Campins, Alex Hérnandez, Ariamna Contino and Eugenio Tibaldi. Venue: Isola di San Servolo
CYPRUS (Republic of)
Christoforos Savva: Untimely, Again
Commissioner: Louli Michaelidou. Curator: Jacopo Crivelli Visconti. Exhibitor: Christoforos Savva.
Venue: Associazione Culturale Spiazzi, Castello 3865
CZECH (Republic) and SLOVAK (Republic)
Stanislav Kolíbal. Former Uncertain Indicated
Commissioner: Adam Budak, National Gallery Prague. Curator: Dieter Bogner.
Exhibitor: Stanislav Kolibal.
Venue: Giardini
DOMINICAN (Republic) *
Naturaleza y biodiversidad en la República Dominicana
Commissioner: Eduardo Selman, Minister of Culture. Curators: Marianne de Tolentino, Simone Pieralice, Giovanni Verza. Exhibitors: Dario Oleaga, Ezequiel Taveras, Hulda Guzmán, Julio Valdez, Miguel Ramirez, Rita Bertrecchi, Nicola Pica, Marraffa & Casciotti.
Venue: Palazzo Albrizzi Capello, Cannaregio 4118 – Sala della Pace
EGYPT
khnum across times witness
Commissioner: Ministry of Culture. Curator: Ahmed Chiha.
Exhibitors: Islam Abdullah, Ahmed Chiha, Ahmed Abdel Karim.
Venue: Giardini
ESTONIA
Birth V
Commissioner: Maria Arusoo, Centre of Contemporary Arts of Estonia. Curators: Andrew Berardini, Irene Campolmi, Sarah Lucas, Tamara Luuk. Exhibitor: Kris Lemsalu.
Venue: c/o Legno & Legno, Giudecca 211
FINLAND (Alvar Aalto Pavilion)
A Greater Miracle of Perception
Commissioner: Raija Koli, Director Frame Contemporary Art Finland.
Curators: Giovanna Esposito Yussif, Bonaventure Soh Bejeng Ndikung, Christopher Wessels. Exhibitors: Miracle Workers Collective (Maryan Abdulkarim, Khadar Ahmed, Hassan Blasim, Giovanna Esposito Yussif, Sonya Lindfors, Bonaventure Soh Bejeng Ndikung, Outi Pieski, Leena Pukki, Lorenzo Sandoval, Martta Tuomaala, Christopher L. Thomas, Christopher Wessels, Suvi West).
Venue: Giardini
FRANCE
Deep see blue surrounding you / Vois ce bleu profond te fondre
Commissioner: Institut français with the Ministry for Europe and Foreign Affairs and the Ministry of Culture. Curator: Martha Kirszenbaum. Exhibitor: Laure Prouvost.
Venue: Giardini
GEORGIA
REARMIRRORVIEW, Simulation is Simulation, is Simulation, is Simulation
Commissioner: Ana Riaboshenko. Curator: Margot Norton. Exhibitor: Anna K.E.
Venue: Arsenale
GERMANY
Commissioner: ifa (Institut für Auslandsbeziehungen) on behalf of the Federal Foreign Office, Germany. Curator: Franciska Zólyom. Exhibitor: Natascha Süder Happelmann.
Venue: Giardini
GHANA ***
Ghana Freedom
Commissioner: Ministry of Tourism, Arts and Culture. Curator: Nana Oforiatta Ayim.
Exhibitors: Felicia Abban, John Akomfrah, El Anatsui, Lynette Yiadom Boakye, Ibrahim Mahama, Selasi Awusi Sosu.
Venue: Arsenale
GREAT BRITAIN
Cathy Wilkes
Commissioner: Emma Dexter. Curator: Zoe Whitley. Exhibitor: Cathy Wilkes.
Venue: Giardini
GREECE
Mr Stigl
Commissioner: Syrago Tsiara (Deputy Director of the Contemporary Art Museum - Metropolitan Organization of Museums of Visual Arts of Thessaloniki - MOMus).
Curator: Katerina Tselou. Exhibitors: Panos Charalambous, Eva Stefani, Zafos Xagoraris.
Venue: Giardini
GRENADA
Epic Memory
Commissioner: Susan Mains. Curator: Daniele Radini Tedeschi.
Exhibitors: Amy Cannestra, Billy Gerard Frank, Dave Lewis, Shervone Neckles, Franco Rota Candiani, Roberto Miniati, CRS avant-garde.
Venue: Palazzo Albrizzi-Capello (first floor), Cannaregio 4118
GUATEMALA
Interesting State
Commissioner: Elder de Jesús Súchite Vargas, Minister of Culture and Sports of Guatemala. Curator: Stefania Pieralice. Exhibitors: Elsie Wunderlich, Marco Manzo.
Venue: Palazzo Albrizzi-Capello (first floor), Cannaregio 4118
HAITI
THE SPECTACLE OF TRAGEDY
Commissioner: Ministry of Culture and Communication.
Curator: Giscard Bouchotte. Exhibitor: Jean Ulrick Désert.
Venue: Circolo Ufficiali Marina, Calle Seconda de la Fava, Castello 2168
HUNGARY
Imaginary Cameras
Commissioner: Julia Fabényi, Museo Ludwig – Museo d’arte contemporanea, Budapest.
Curator: Zsuzsanna Szegedy-Maszák. Exhibitor: Tamás Waliczky.
Venue: Giardini
ICELAND
Chromo Sapiens – Hrafnhildur Arnardóttir / Shoplifter
Commissioner: Eiríkur Þorláksson, Icelandic Ministry of Education, Science and Culture.
Curator: Birta Gudjónsdóttir. Exhibitor: Hrafnhildur Arnardóttir / Shoplifter.
Venue: Spazio Punch, Giudecca 800
INDIA
Our time for a future caring
Commissioner: Adwaita Gadanayak National Gallery of Modern Art.
Curator: Roobina Karode, Director & Chief Curator, Kiran Nadar Museum of Art. Exhibitors: Atul Dodiya, Ashim Purkayastha, GR Iranna, Jitish Kallat, Nandalal Bose, Rummana Hussain, Shakuntala Kulkarni.
Venue: Arsenale
INDONESIA
Lost Verses
Commissioner: Ricky Pesik & Diana Nazir, Indonesian Agency for Creative Economy.
Curator: Asmudjo Jono Irianto. Exhibitors: Handiwirman Saputra and Syagini Ratna Wulan.
Venue: Arsenale
IRAN (Islamic Republic of)
of being and singing
Commissioner: Hadi Mozafari, General Manager of Visual Arts Administration of Islamic Republic of Iran. Curator: Ali Bakhtiari.
Exhibitors: Reza Lavassani, Samira Alikhanzadeh, Ali Meer Azimi.
Venue: Fondaco Marcello, San Marco 3415
IRAQ
Fatherland
Commissioner: Fondazione Ruya. Curators: Tamara Chalabi, Paolo Colombo.
Exhibitor: Serwan Baran.
Venue: Ca’ del Duca, Corte del Duca Sforza, San Marco 3052
IRELAND
The Shrinking Universe
Commissioner: Culture Ireland. Curator: Mary Cremin. Exhibitor: Eva Rothschild.
Venue: Arsenale
ISRAEL
Field Hospital X
Commissioner: Michael Gov, Arad Turgeman. Curator: Avi Lubin. Exhibitor: Aya Ben Ron.
Venue: Giardini
ITALY
Commissioner: Federica Galloni, Direttore Generale Arte e Architettura Contemporanee e Periferie Urbane, Ministero dei Beni e delle Attività Culturali. Curator: Milovan Farronato.
Exhibitors: Enrico David, Liliana Moro, Chiara Fumai.
Venue: Padiglione Italia, Tese delle Vergini, Arsenale
IVORY COAST
The Open Shadows of Memory
Commissioner: Henri Nkoumo. Curator: Massimo Scaringella. Exhibitors: Ernest Dükü, Ananias Leki Dago, Valérie Oka, Tong Yanrunan.
Venue: Castello Gallery, Castello 1636/A
JAPAN
Cosmo-Eggs
Commissioner: The Japan Foundation. Curator: Hiroyuki Hattori. Exhibitors: Motoyuki Shitamichi, Taro Yasuno, Toshiaki Ishikura, Fuminori Nousaku.
Venue: Giardini
KIRIBATI
Pacific Time - Time Flies
Commissioner: Pelea Tehumu, Ministry of Internal Affairs. Curators: Kautu Tabaka, Nina Tepes. Exhibitors: Kaeka Michael Betero, Daniela Danica Tepes, Kairaken Betio Group; Teroloang Borouea, Neneia Takoikoi, Tineta Timirau, Teeti Aaloa, Kenneth Ioane, Kaumai Kaoma, Runita Rabwaa, Obeta Taia, Tiribo Kobaua, Tamuera Tebebe, Rairauea Rue, Teuea Kabunare, Tokintekai Ekentetake, Katanuti Francis, Mikaere Tebwebwe, Terita Itinikarawa, Kaeua Kobaua, Raatu Tiuteke, Kaeriti Baanga, Ioanna Francis, Temarewe Banaan, Aanamaria Toom, Einako Temewi, Nimei Itinikarawa, Teniteiti Mikaere, Aanibo Bwatanita, Arin Tikiraua.
Venue: European Cultural Centre, Palazzo Mora, Strada Nuova 3659
KOREA (Republic of)
History Has Failed Us, but No Matter
Commissioner: Arts Council Korea. Curator: Hyunjin Kim. Exhibitors: Hwayeon Nam, siren eun young jung, Jane Jin Kaisen.
Venue: Giardini
KOSOVO (Republic of)
Family Album
Commissioner: Arta Agani. Curator: Vincent Honore. Exhibitor: Alban Muja.
Venue: Arsenale
LATVIA
Saules Suns
Commissioner: Dace Vilsone. Curators: Valentinas Klimašauskas, Inga Lāce.
Exhibitor: Daiga Grantiņa.
Venue: Arsenale
LITHUANIA
Sun & Sea (Marina)
Commissioner: Rasa Antanavičıūte. Curator: Lucia Pietroiusti.
Exhibitors: Lina Lapelyte, Vaiva Grainyte and Rugile Barzdziukaite.
Venue: Magazzino No. 42, Marina Militare, Arsenale di Venezia, Fondamenta Case Nuove 2738c
LUXEMBOURG (Grand Duchy of)
Written by Water
Commissioner: Ministry of Culture of Luxembourg.
Curator: Kevin Muhlen. Exhibitor: Marco Godinho.
Venue: Arsenale
NORTH MACEDONIA (Republic of )
Subversion to Red
Commissioner: Mira Gakina. Curator: Jovanka Popova. Exhibitor: Nada Prlja.
Venue: Palazzo Rota Ivancich, Castello 4421
MADAGASCAR ***
I have forgotten the night
Commissioner: Ministry of Communication and Culture of the Republic of Madagascar. Curators: Rina Ralay Ranaivo, Emmanuel Daydé.
Exhibitor: Joël Andrianomearisoa.
Venue: Arsenale
MALAYSIA ***
Holding Up a Mirror
Commissioner: Professor Dato’ Dr. Mohamed Najib Dawa, Director General of Balai Seni Negara (National Art Gallery of Malaysia), Ministry of Tourism, Arts and Culture of Malaysia. Curator: Lim Wei-Ling. Exhibitors: Anurendra Jegadeva, H.H.Lim, Ivan Lam, Zulkifli Yusoff.
Venue: Palazzo Malipiero, San Marco 3198
MALTA
Maleth / Haven / Port - Heterotopias of Evocation
Commissioner: Arts Council Malta. Curator: Hesperia Iliadou Suppiej. Exhibitors: Vince Briffa, Klitsa Antoniou, Trevor Borg.
Venue: Arsenale
MEXICO
Actos de Dios / Acts of God
Commissioner: Gabriela Gil Verenzuela. Curator: Magalí Arriola. Exhibitor: Pablo Vargas Lugo.
Venue: Arsenale
MONGOLIA
A Temporality
Commissioner: The Ministry of Education, Culture, Science and Sports of Mongolia.
Curator: Gantuya Badamgarav. Exhibitor: Jantsankhorol Erdenebayar with the participation of traditional Mongolian throat singers and Carsten Nicolai (Alva Noto).
Venue: Bruchium Fermentum, Calle del Forno, Castello 2093-2090
MONTENEGRO
Odiseja / An Odyssey
Commissioner: Nenad Šoškić. Curator: Petrica Duletić. Exhibitor: Vesko Gagović.
Venue: Palazzo Malipiero (piano terra), San Marco 3078-3079/A, Ramo Malipiero
MOZAMBIQUE (Republic of)
The Past, the Present and The in Between
Commissioner: Domingos do Rosário Artur. Curator: Lidija K. Khachatourian.
Exhibitors: Gonçalo Mabunda, Mauro Pinto, Filipe Branquinho.
Venue: Palazzo Mora, Strada Nova, 3659
NETHERLANDS (The)
The Measurement of Presence
Commissioner: Mondriaan Fund. Curator: Benno Tempel. Exhibitors: Iris Kensmil, Remy Jungerman. Venue: Giardini
NEW ZEALAND
Post hoc
Commissioner: Dame Jenny Gibbs. Curators: Zara Stanhope and Chris Sharp.
Exhibitor: Dane Mitchell.
Venue: Palazzina Canonica, Riva Sette Martiri
NORDIC COUNTRIES (FINLAND - NORWAY - SWEDEN)
Weather Report: Forecasting Future
Commissioner: Leevi Haapala / Museum of Contemporary Art Kiasma / Finnish National Gallery, Katya García-Antón / Office for Contemporary Art Norway (OCA), Ann-Sofi Noring / Moderna Museet. Curators: Leevi Haapala, Piia Oksanen. Exhibitors: Ane Graff, Ingela Ihrman, nabbteeri.
Venue: Giardini
PAKISTAN ***
Manora Field Notes
Commissioner: Syed Jamal Shah, Pakistan National Council of the Arts, PNCA.
Curator: Zahra Khan. Exhibitor: Naiza Khan.
Venue: Tanarte, Castello 2109/A and Spazio Tana, Castello 2110-2111
PERU
“Indios Antropófagos”. A butterfly Garden in the (Urban) Jungle
Commissioner: Armando Andrade de Lucio. Curator: Gustavo Buntinx. Exhibitors: Christian Bendayán, Otto Michael (1859-1934), Manuel Rodríguez Lira (1874-1933), Segundo Candiño Rodríguez, Anonymous popular artificer.
Venue: Arsenale
PHILIPPINES
Island Weather
Commissioner: National Commission for Culture and the Arts (NCCA) / Virgilio S. Almario.
Curator: Tessa Maria T. Guazon. Exhibitor: Mark O. Justiniani.
Venue: Arsenale
POLAND
Flight
Commissioner: Hanna Wroblewska. Curators: Łukasz Mojsak, Łukasz Ronduda.
Exhibitor: Roman Stańczak.
Venue: Giardini
PORTUGAL
a seam, a surface, a hinge or a knot
Commissioner: Directorate-General for the Arts. Curator: João Ribas. Exhibitor: Leonor Antunes.
Venue: Fondazione Ugo e Olga Levi Onlus, Palazzo Giustinian Lolin, San Marco 2893
ROMANIA
Unfinished Conversations on the Weight of Absence
Commissioner: Attila Kim. Curator: Cristian Nae. Exhibitor: Belu-Simion Făinaru, Dan Mihălțianu, Miklós Onucsán.
Venues: Giardini and New Gallery of the Romanian Institute for Culture and Humanistic Research (Campo Santa Fosca, Palazzo Correr, Cannaregio 2214)
RUSSIA
Lc 15:11-32
Commissioner: Semyon Mikhailovsky. Curator: Mikhail Piotrovsky. Exhibitors: Alexander Sokurov, Alexander Shishkin-Hokusai.
Venue: Giardini
SAN MARINO (Republic of)
Friendship Project International
Commissioner: Vito Giuseppe Testaj. Curator: Vincenzo Sanfo. Exhibitors: Gisella Battistini, Martina Conti, Gabriele Gambuti, Giovanna Fra, Thea Tini, Chen Chengwei, Li Geng, Dario Ortiz, Tang Shuangning, Jens W. Beyrich, Xing Junqin, Xu de Qi, Sebastián.
Venue: Palazzo Bollani, Castello 3647; Complesso dell’Ospedaletto, Castello 6691
SAUDI ARABIA
After Illusion بعد توهم
Commissioner: Misk Art Insitute. Curator: Eiman Elgibreen. Exhibitor: Zahrah Al Ghamdi.
Venue: Arsenale
SERBIA
Regaining Memory Loss
Commissioner: Vladislav Scepanovic. Curator: Nicoletta Lambertucci. Exhibitor: Djordje Ozbolt.
Venue: Giardini
SEYCHELLES (Republic of)
Drift
Commissioner: Galen Bresson. Curator: Martin Kennedy.
Exhibitors: George Camille and Daniel Dodin.
Venue: Palazzo Mora, Strada Nova, 3659
SINGAPORE
Music For Everyone: Variations on a Theme
Commissioner: Rosa Daniel, Chief Executive Officer, National Arts Council (NAC).
Curator: Michelle Ho. Exhibitor: Song-Ming Ang.
Venue: Arsenale
SLOVENIA (Republic of)
Here we go again... SYSTEM 317
A situation of the resolution series
Commissioner: Zdenka Badovinac, Director Moderna galerija / Museum of Modern Art, Ljubljana. Curator: Igor Španjol. Exhibitor: Marko Peljhan.
Venue: Arsenale
SOUTH AFRICA (Republic of)
The stronger we become
Commissioner: Titi Nxumalo, Console Generale. Curators: Nkule Mabaso, Nomusa Makhubu. Exhibitors: Dineo Seshee Bopape, Tracey Rose, Mawande Ka Zenzile.
Venue: Arsenale
SPAIN
Perforated by Itziar Okariz and Sergio Prego
Commissioner: AECID Agencia Espanola de Cooperacion Internacional Para El Desarrollo. Ministerio de Asuntos Exteriores, Union Europea y Cooperacion. Curator: Peio Aguirre.
Exhibitors: Itziar Okariz, Sergio Prego.
Venue: Giardini
SWITZERLAND
Moving Backwards
Commissioner: Swiss Arts Council Pro-Helvetia: Marianne Burki, Sandi Paucic, Rachele Giudici Legittimo. Curator: Charlotte Laubard. Exhibitors: Pauline Boudry/Renate Lorenz.
Venue: Giardini
SYRIAN ARAB (Republic)
Syrian Civilization is still alive
Commissioner/Curator: Emad Kashout. Exhibitors: Abdalah Abouassali, Giacomo Braglia, Ibrahim Al Hamid, Chen Huasha, Saed Salloum, Xie Tian, Saad Yagan, Primo Vanadia, Giuseppe Biasio.
Venue: Isola di San Servolo; Chiesetta della Misericordia, Campo dell'Abbazia, Cannaregio
THAILAND
The Revolving World
Commissioner: Vimolluck Chuchat, Office of Contemporary Art and Culture, Ministry of Culture, Thailand. Curator: Tawatchai Somkong. Exhibitors: Somsak Chowtadapong, Panya Vijinthanasarn, Krit Ngamsom.
Venue: In Paradiso 1260, Castello
TURKEY
We, Elsewhere
Commissioner: IKSV. Curator: Zeynep Öz. Exhibitor: İnci Eviner.
Venue: Arsenale
UKRAINE
The Shadow of Dream cast upon Giardini della Biennale
Commissioner: Svitlana Fomenko, First Deputy Minister of Culture. Curators: Open group (Yurii Biley, Pavlo Kovach, Stanislav Turina, Anton Varga). Exhibitors: all artists of Ukraine.
Venue: Arsenale
UNITED ARAB EMIRATES
Nujoom Alghanem: Passage
Commissioner: Salama bint Hamdan Al Nahyan Foundation.
Curators: Sam Bardaouil and Till Fellrath. Exhibitor: Nujoom Alghanem.
Venue: Arsenale
UNITED STATES OF AMERICA
Martin Puryear: Liberty
Commissioner/Curator: Brooke Kamin Rapaport. Exhibitor: Martin Puryear.
Venue: Giardini
URUGUAY
“La casa empática”
Commissioner: Alejandro Denes. Curators: David Armengol, Patricia Bentancur.
Exhibitor: Yamandú Canosa.
Venue: Giardini
VENEZUELA (Bolivarian Republic of)
Metaphore of three windows
Venezuela: identity in time and space
Commissioner/Curator: Oscar Sottillo Meneses. Exhibitors: Natalie Rocha Capiello, Ricardo García, Gabriel López, Nelson Rangelosky.
Venue: Giardini
ZIMBABWE (Republic of)
Soko Risina Musoro (The Tale without a Head)
Commissioner: Doreen Sibanda, National Gallery of Zimbabwe. Curator: Raphael Chikukwa. Exhibitors: Georgina Maxim, Neville Starling , Cosmas Shiridzinomwa, Kudzanai Violet Hwami.
Venue: Istituto Provinciale per L’infanzia “Santa Maria Della Pietà”. Calle della Pietà Castello n. 3701 (ground floor)
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invited artist :
Lawrence Abu Hamdan (Jordan / Beirut)
Njideka Akunyili Crosby (Nigeria / USA),Halil Altındere (Turkey),Michael Armitage (Kenya / UK),Korakrit Arunanondchai (Thailand / USA),Alex Gvojic (USA),Ed Atkins (UK / Germany / Denmark),Tarek Atoui (Lebanon / France),
Darren Bader (USA),Nairy Baghramian (Iran / Germany,
Neïl Beloufa (France),Alexandra Bircken (Germany),Carol Bove (Switzerland / USA,
Christoph Büchel (Switzerland / Iceland,
Ludovica Carbotta (Italy / Barcelona),Antoine Catala (France / USA),Ian Cheng (USA),George Condo (USA
Alex Da Corte (USA),Jesse Darling (UK / Germany),Stan Douglas (Canada),Jimmie Durham (USA / Germany),Nicole Eisenman (France / USA,
Haris Epaminonda (Cyprus / Germany),Lara Favaretto (Italy),Cyprien Gaillard (France / Germany), Gill (India),Dominique Gonzalez-Foerster (France),Shilpa Gupta (India),Soham Gupta (India),Martine Gutierrez (USA),Rula Halawani (Palestine),Anthea Hamilton (UK),Jeppe Hein (Denmark / Germany),Anthony Hernandez (USA),Ryoji Ikeda (Japan / France),Arthur Jafa (USA),Cameron Jamie (USA / France / Germany),Kahlil Joseph (USA),Zhanna Kadyrova (Ukraine),Suki Seokyeong Kang (South Korea),Mari Katayama (Japan),Lee Bul (South Korea),Liu Wei (China),Maria Loboda (Poland / Germany),Andreas Lolis (Albania / Greece),Christian Marclay (USA / London),Teresa Margolles (Mexico / Spain),Julie Mehretu (Ethiopia / USA),Ad Minoliti (Argentina),Jean-Luc Moulène (France),Zanele Muholi (South Africa),Jill Mulleady (Uruguay / USA),Ulrike Müller (Austria / USA),Nabuqi (China),Otobong Nkanga (Nigeria / Belgium),Khyentse Norbu (Bhutan / India),Frida Orupabo (Norway),Jon Rafman (Canada).Gabriel Rico (Mexico),Handiwirman Saputra (Indonesia),Tomás Saraceno (Argentina / Germany),Augustas Serapinas (Lithuania),Avery Singer (USA),Slavs and Tatars (Germany),Michael E. Smith (USA),Hito Steyerl (Germany),Tavares Strachan (Bahamas / USA),Sun Yuan and Peng Yu (China),Henry Taylor (USA),Rosemarie Trockel (Germany),Kaari Upson (USA),Andra Ursuţa (Romania),Danh Vō (Vietnam / Mexico),Kemang Wa Lehulere (South Africa),Apichatpong Weerasethakul (Thailand) and Tsuyoshi Hisakado (Japan),Margaret Wertheim and Christine Wertheim (Australia / USA) ,Anicka Yi (South Korea/ USA),Yin Xiuzhen (China),Yu Ji (China / Austria)
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other Biennale :(Biennials ) :Venice Biennial , Documenta Havana Biennial,Istanbul Biennial ( Istanbuli),Biennale de Lyon ,Dak'Art Berlin Biennial,Mercosul Visual Arts Biennial ,Bienal do Mercosul Porto Alegre.,Berlin Biennial ,Echigo-Tsumari Triennial .Yokohama Triennial Aichi Triennale,manifesta ,Copenhagen Biennale,Aichi Triennale
Yokohama Triennial,Echigo-Tsumari Triennial.Sharjah Biennial ,Biennale of Sydney, Liverpool , São Paulo Biennial ; Athens Biennale , Bienal do Mercosul ,Göteborg International Biennial for Contemporary Art
وینس Venetsiya
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Thierry Geoffroy / Colonel
artfair copenhagen
Book 3 - The evil Latex Empress Shimmerah Full book
Chapter 1 - The new ruler of hell
Chapter 2 - The 3 queens of hell
Chapter 3 - The Lamp of Aladdon
Chapter 4 - The 6 deities of multiverse 0018
Chapter 5 - Her 2rd wish
Chapter 6 - The reapers realm
Chapter 7 - The path of Sliverleaf
Chapter 8 - The djinn's power
Chapter 9 - Selflove
Chapter 10 - The know it all
Chapter 11 - The void of existence and noexistence
Chapter 12 - The crown of controll
Chapter 13 - The jar of Goldglossin
Chapter 14 - Shimmerah's greed.
Chapter 15 - Beings beyond
Chapter 16 - Time loop
Chapter 11 - The void of existence and noexistence
Shimmerah placed Multordan into a magic ring, establishing its rules and powers. Her multiversal power dwarfed that of powerful rulers. She teleported beyond to the Superverse, altering multiverses to her will as if they were mere dust. She then found herself within a timeless Existence, an endless plane of shimmering black-gold sea. The sky was black, yet light persisted. She flew to its end, only to discover it had no end. There was nothing but this endless plane. She encompassed it, but still, there was nothing. Multordan, from within the ring, stated she was in the Outerverses. A gold pillar then appeared before her. She was not in her true form, as the space was different. A voice from all around said, "What do you seek?" Shimmerah stated, "The components of panpsychism." The voice responded, "To each, you take only evil, which will fall, and through your greed, the Multiverses shall become dark." Shimmerah replied that she did not care. The voice inquired, "Why do you want everything?" Shimmerah said, "Because I want everything, and why should I explain?" She displayed a shiny gold gem and took it. Then she was within a black and pink temple in the Outerverse. There was nothing but a shiny pink gem hovering. A being tried to stop her and said, "Why do you think you have the right to have so much?" Shimmerah giggled, saying, "As I am the most beautiful being there is, all should worship me and only me." She enslaved the being and took the gem.
Next, she came to a warping world, always changing and glowing with powerful runes. She was now aged 14, and time was running backward. She rushed to take the white gem before her age regressed too quickly. As soon as she took it, she was still 14 but no younger. Multordan spoke, saying, "Never again will that age or time be stopped unless you wish it." Next was a crystal realm—no light, no beings, just endless, still, glowing red crystals. Shimmerah was in her true demonic form, her crown ablaze, her horns and eyes glowing red. A voice said, "Here is your true self. The world is full of evil and wickedness. Your selfish greed and pure, narcissistic self-centeredness run deep into your core. You shall still want more, even when all is yours." Shimmerah giggled, searching for the gem, and said, "But I will have all power to make and have whatever more I want." She killed the being and took the gem. Next, she was within a black void of nothing. She could see as there was light without light. She saw white shadows with no beings, and she had no shadow of her own. The being spoke, saying the shadows were souls of those who once lived. "You have no soul, as you are darker than any shadow." She used her powers, and all was gone, and she took the black gem.
Next, she gathered all the gems and, with her power, fused them into one. She was now in what appeared to be a glowing white city, a void of white light, and she became a giant and walked towards it. She knew it was the Void of Existence and Non-Existence. She saw only light, but within it was nothing and everything. She looked into the Void of Existence and Non-Existence as beings came to stop her, but they were nothing, and she turned them to dust. She ranked fourth among all superviruses. She knew her power was unstoppable, as she saw all and none more powerful. She stepped into the Void of Existence and Non-Existence, and all its power flowed into her, she was now the Ultra Goddess Shimmerah.
Powers and Abilities
Shimmerah possesses a vast array of magical abilities, which she has cultivated and amplified over time:
1) Telekinesis: The ability to manipulate objects with her mind.
2) Teleportation: Instantaneous travel from one location to another.
3) Telepathy: The power to read and transmit thoughts.
4) Elemental Manipulation: Control over natural elements, enhanced by the Ring of the 4 Elements.
5) Weather Manipulation: The ability to control weather patterns.
6) Outfit Manipulation: The power to change or create clothing.
7) Intangibility: The ability to pass through solid objects.
8) Umbrakinesis: Manipulation of shadows and darkness, granted by the Ring of Shadows, allowing for stealth and offensive use.
9) Evocation Magic: The summoning of entities or forces.
10) Absorbing Magic: A powerful ability, learned from the Book of Forbidden Knowledge, allowing her to absorb magical energy and power from sources like crystals and entire lands. This power was instrumental in her conquest of the twelve kingdoms and queendoms, where she absorbed the power from all magic crystals in the Queendom of Glossu and subsequently from all lands, making kings and queens her slaves.
11) Lustful Temptation: Her most potent form of seduction, amplified by the Liquid Youth, allowing her to entice others into submission through her beauty and voice.
12) Object Transmutation
13) Meta magic
14) power to bring back the dead
15) Omniscience
16) Sorcery
17) Mass Manipulation
18) Power over holy light and darkness
19) Reality manipulation
20) Age manipulation
21) Lust manipulation
22) Greed manipulation
23) Selfishness manipulation
24) Time manipulation
25) Power manipulation
26) Life manipulation
27) Universal manipulation
28) Existence and Nonexistence manipulation
More about Shimmerah
Name: Shimmerah
Her parents: Queen Veloria and King Zorath
Her sister: Shellyana
Her magic teacher: Mistress Virella
Birthplace: Wealthold city - Capital of Gonzzul
Her queendom: Gonzzul
Continent - The 12 kingdoms and queendoms - when Shimmerah took over it all she renamed it to Shimmerathia
Planet: Dommalex
Height : 5, 11
Age in image: 30 but has gone back to 14 due to a time was running backwards in a specific dimension.
Hair colour: black
Eye colour: light blue - but glow with power
Favourite colours: Black
Sexually: autosexual
Libido: Very high
Personality: narcissistic, vanity, self centered, very self-absorbed, selfish, greedy, avarice, mean, very dominant, power-hungry, Sly, naughty, gold digger, pure-evil
How she see's herself, pretty, sexy, hot, perfect, attractive lustful, beautifully alluring, seductress, divine, powerful, dominant, villainous sexy girl, naughty, provocative.
Favourite fashion: Sexy shiny latex clothing, mostly black.
Favourite clothing, very dominant latex outfits, short-skirts, skin-tight catsuits, corsets, and thigh high boots
Wish in life: To rule all have all, to be all powerful, and all beautiful, perfectly stunning in everyway,
Obsessions: Domination over all everyone and everything, higher beauty, and all power.
In a dystopian 1984, Winston Smith endures a squalid existence in the totalitarian superstate of Oceania under the constant surveillance of the Thought Police. The story takes place in London, the capital city of the territory of Airstrip One (formerly "either England or Britain").
Winston works in a small office cubicle at the Ministry of Truth, rewriting history in accordance with the dictates of the Party and its supreme figurehead, Big Brother. A man haunted by painful memories and restless desires, Winston is an everyman who keeps a secret diary of his private thoughts, thus creating evidence of his thoughtcrime — the crime of independent thought, contrary to the dictates and aims of the Party.
His life takes a fatal turn when he is accosted by a fellow Outer Party worker — a mysterious, bold-looking girl named Julia — and they begin an illicit affair. Their first meeting takes place in the remote countryside where they exchange subversive ideas before having sex. Shortly after, Winston rents a room above a pawn shop (in the supposedly safe proletarian area) where they continue their liaison. Julia — a sensual, free-spirited young woman — procures contraband food and clothing on the black market, and for a brief few months they secretly meet and enjoy an idyllic life of relative freedom and contentment together.
It comes to an end one evening, with the sudden raid of the Thought Police. They are both arrested and it's revealed that there is a telescreen hidden behind a picture on the wall in their room, and that the proprietor of the pawn shop, Mr. Charrington, is a covert agent of the Thought Police. Winston and Julia are taken away to be detained, questioned and brutally "rehabilitated", separately. Winston is brought to the Ministry of Love, where O'Brien, a high-ranking member of the Inner Party whom Winston had previously believed to be a fellow thoughtcriminal and agent of the resistance movement led by the archenemy of the Party, Emmanuel Goldstein, systematically tortured him.
O'Brien instructs Winston about the state's true purpose and schools him in a kind of catechism on the principles of doublethink — the practice of holding two contradictory thoughts in the mind simultaneously. For his final rehabilitation, Winston is brought to Room 101, where O'Brien tells him he will be subjected to the "worst thing in the world", designed specifically around Smith's personal phobias. When confronted with this unbearable horror — which turns out to be a cage filled with wild rats — Winston's psychological resistance finally and irretrievably breaks down, and he hysterically repudiates his allegiance to Julia. Now completely subjugated and purged of any rebellious thoughts, impulses, or personal attachments, Winston is restored to physical health and released.
In the final scene, Winston returns to the Chestnut Tree Café, where he had previously seen the rehabilitated thoughtcriminals Jones, Aaronson and Rutherford (themselves once prominent but later disgraced members of the Inner Party) who have since been "vaporized" and rendered unpersons. While sitting at the chess table, Winston is approached by Julia, who was similarly "rehabilitated". They share a bottle of Victory Gin and impassively exchange a few words about how they have betrayed each other. After she leaves, Winston watches a broadcast of himself on the large telescreen confessing his "crimes" against the state and imploring forgiveness of the populace.
Upon hearing a news report declaring the Oceanian army's utter rout of the enemy (Eurasian)'s forces in North Africa, Winston looks at the still image of Big Brother that appears on the telescreen, then turns away and almost silently says "I love you" - a phrase that he and Julia repeatedly used during their relationship, indicating the possibility that he still loves Julia. However, he could also be declaring his love for Big Brother instead. The novel unambiguously ends with the words: "He loved Big Brother," whereas the movie seems to deliberately allow for either interpretation. Earlier, during Winston's conversation with Julia in the rented room, he stated that "if they can make me change my feelings, they can stop me from loving you, that would be real betrayal". In the final scene, the "real betrayal" has therefore either been committed or averted, depending on whether the "you" that Winston loves is Big Brother or Julia.