WHEEL OF LIFE

The bhavacakra (Sanskrit; Pāli: bhavacakka; Tibetan: srid pa'i 'khor lo) is a symbolic representation of saṃsāra (or cyclic existence) found on the outside walls of Tibetan Buddhist temples and monasteries in the Indo-Tibetan region. In the Mahayana Buddhism, it is believed that the drawing was designed by the Buddha himself in order to help ordinary people understand Buddhist teachings.

The bhavacakra is popularly referred to as the wheel of life, and may also be glossed as wheel of cyclic existence or wheel of becoming.

ORIGIN

Legend has it that the historical Buddha himself created the first depiction of the bhavacakra, and the story of how he gave the illustration to King Rudrāyaṇa appears in the anthology of Buddhist narratives called the Divyāvadāna.

The bhavacakra is painted on the outside walls of nearly every Tibetan Buddhist temple in Tibet and India. Dzongsar Jamyang Khyentse Rinpoche states:

One of the reasons why the Wheel of Life was painted outside the monasteries and on the walls (and was really encouraged even by the Buddha himself) was to teach this very profound Buddhist philosophy of life and perception to more simple-minded farmers or cowherds. So these images on the Wheel of Life are just to communicate to the general audience.

EXPLANATION OF THE DIAGRAM

OVERVIEW

The meanings of the main parts of the diagram are:

- The images in the hub of the wheel represent the three poisons of ignorance, attachment and aversion.

- The second layer represents karma.

- The third layer represents the six realms of samsara.

- The fourth layer represents the twelve links of dependent origination.

- The fierce figure holding the wheel represents impermanence.

- The moon above the wheel represents liberation from samsara or cyclic existence.

- The Buddha pointing to the moon indicates that liberation is possible.

- Symbolically, the three inner circles, moving from the center outward, show that the three poisons of ignorance, attachment, and aversion give rise to positive and negative actions; these actions and their results are called karma. Karma in turn gives rise to the six realms, which represent the different types of suffering within samsara.

- The fourth and outer layer of the wheel symbolizes the twelve links of dependent origination; these links indicate how the sources of suffering - the three poisons and karma - produce lives within cyclic existence.

- The fierce being holding the wheel represents impermanence; this symbolizes that the entire process of samsara or cyclic existence is impermanent, transient, constantly changing. The moon above the wheel indicates liberation. The Buddha is pointing to the moon, indicating that liberation from samsara is possible.

HUB: THE THREE POISONS

In the hub of the wheel are three animals: a pig, a snake, and a bird. They represent the three poisons of ignorance, aversion, and attachment, respectively. The pig stands for ignorance; this comparison is based on the Indian concept of a pig being the most foolish of animals, since it sleeps in the dirtiest places and eats whatever comes to its mouth. The snake represents aversion or anger; this is because it will be aroused and strike at the slightest touch. The bird represents attachment (also translated as desire or clinging). The particular bird used in this diagram represents an Indian bird that is very attached to its partner. These three animals represent the three poisons, which are the core of the bhavacakra. From these three poisons, the whole cycle of existence evolves.

In many drawings of the wheel, the snake and bird are shown as coming out of the mouth of the pig, indicating that aversion and attachment arise from ignorance. The snake and bird are also shown grasping the tail of the pig, indicating that they in turn promote greater ignorance.

Under the influence of the three poisons, beings create karma, as shown in the next layer of the circle.

SECOND LAYER: KARMA

The second layer of the wheel shows two-half circles:

- One half-circle (usually light) shows contented people moving upwards to higher states, possibly to the higher realms.

- The other half-circle (usually dark) shows people in a miserable state being led downwards to lower states, possibly to the lower realms.

- These images represent karma, the law of cause and effect. The light half-circle indicates people experiencing the results of positive actions. The dark half-circle indicates people experiencing the results of negative actions.

Ringu Tulku states:

We create karma in three different ways, through actions that are positive, negative, or neutral. When we feel kindness and love and with this attitude do good things, which are beneficial to both ourselves and others, this is positive action. When we commit harmful deeds out of equally harmful intentions, this is negative action. Finally, when our motivation is indifferent and our deeds are neither harmful or beneficial, this is neutral action. The results we experience will accord with the quality of our actions.

Propelled by their karma, beings take rebirth in the six realms of samsara, as shown in the next layer of the circle.

THIRD LAYER: THE SIX REALMS OF SAMSARA

OVERVIEW

The third layer of the wheel is divided into six sections that represent the six realms of samsara. These six realms are divided into three higher realms and three lower realms.

The three higher realms are shown in the top half of the circle; the higher realms consist of the god realm, the demi-god realm and the human realm. The god realm is shown in the top middle and the human realm and demi-god realms are on either side of the god realm.

The three lower realms are shown in the bottom half of the circle; the lower realms consist of the hell realm, the animal realm and the hungry ghost realm. The hell realm is shown in the bottom middle of the circle, with the animal realm and hungry ghost realm on either side of the hell realm.

WHAT IS SAMSARA?

The six realms are six different types of rebirth that beings can enter into, each representing different types of suffering. Samsara, or cyclic existence, refers to the process of cycling through one rebirth after another.

Patrul Rinpoche states:

The term samsara, the wheel or round of existence, is used here to mean going round and round from one place to another in a circle, like a potter's wheel, or the wheel of a water mill. When a fly is trapped in a closed jar, no matter where it flies, it can not get out. Likewise, whether we are born in the higher or lower realms, we are never outside samsara. The upper part of the jar is like the higher realms of gods and men, and the lower part like the three unfortunate realms. It is said that samsara is a circle because we turn round and round, taking rebirth in one after another of the six realms as a result of our own actions, which, whether positive or negative, are tainted by clinging.

A BRIEF DESCRIPTION OF THE SIX REALMS

Six realms of existence are identified in the Buddhist teachings: gods, demi-gods, humans, animals, hungry ghosts and hells. These realms can be understood on a psychological level, or as aspects of Buddhist cosmology.

These six realms can be divided into three higher realms and three lower realms. The three higher realms are:

GOD REALM: the gods lead long and enjoyable lives full of pleasure and abundance, but they spend their lives pursuing meaningless distractions and never think to practice the dharma. When death comes to them, they are completely unprepared; without realizing it, they have completely exhausted their good karma (which was the cause for being reborn in the god realm) and they suffer through being reborn in the lower realms.

DEMI-GODS REALM: the demi-gods have pleasure and abundance almost as much as the gods, but they spend their time fighting among themselves or making war on the gods. When they make war on the gods, they always lose, since the gods are much more powerful. The demi-gods suffer from constant fighting and jealousy, and from being killed and wounded in their wars with each other and with the gods.

HUMAN REALM: humans suffer from hunger, thirst, heat, cold, separation from friends, being attacked by enemies, not getting what they want, and getting what they don't want. They also suffer from the general sufferings of birth, old age, sickness and death. Yet the human realm is considered to be the most suitable realm for practicing the dharma, because humans are not completely distracted by pleasure (like the gods or demi-gods) or by pain and suffering (like the beings in the lower realms).

The three lower realms are:

ANIMAL REALM: wild animals suffer from being attacked and eaten by other animals; they generally lead lives of constant fear. Domestic animals suffer from being exploited by humans; for example, they are slaughtered for food, overworked, and so on.

HUNGRY GHOST REALM: hungry ghosts suffer from extreme hunger and thirst. They wander constantly in search of food and drink, only to be miserably frustrated any time they come close to actually getting what they want. For example, they see a stream of pure, clear water in the distance, but by the time they get there the stream has dried up. Hungry ghosts have huge bellies and long, thin necks. On the rare occasions that they do manage to find something to eat or drink, the food or water burns their neck as it goes down to their belly, causing them intense agony.

HELL REALM: hell beings endure unimaginable suffering for eons of time. There are actually eighteen different types of hells, each inflicting a different kind of torment. In the hot hells, beings suffer from unbearable heat and continual torments of various kinds. In the cold hells, beings suffer from unbearable cold and other torments.

Generally speaking, each realm is said to be the result of one of the six main negative emotions: pride, jealousy, desire, ignorance, greed, and anger. Dzongsar Khyentse states:

So we have six realms. Loosely, you can say when the perception comes more from aggression, you experience things in a hellish way. When your perception is filtered through attachment, grasping or miserliness, you experience the hungry ghost realm. When your perception is filtered through ignorance, then you experience the animal realm. When you have a lot of pride, you are reborn in the god realm. When you have jealousy, you are reborn in the asura (demi-god) realm. When you have a lot of passion, you are reborn in the human realm.

Among the six realms, the human realm is considered to offer the best opportunity to practice the dharma. Dzongsar Khyentse states:

If we need to judge the value of these six realms, the Buddhists would say the best realm is the human realm. Why is this the best realm? Because you have a choice ... The gods don't have a choice. Why? They're too happy. When you are too happy you have no choice. You become arrogant. The hell realm: no choice, too painful. The human realm: not too happy and also not too painful. When you are not so happy and not in so much pain, what does that mean? A step closer to the normality of mind, remember? When you are really, really excited and in ecstasy, there is no normality of mind. And when you are totally in pain, you don't experience normality of mind either. So someone in the human realm has the best chance of acquiring that normality of mind. And this is why in Buddhist prayers you will always read: ideally may we get out of this place, but if we can't do it within this life, may we be reborn in the human realm, not the others.

Sometimes, the wheel is represented as only having five realms because the God realm and the Demi-god realm are combined into a single realm.

In some representations of the wheel, there is a buddha or bodhisattva depicted within each realm, trying to help sentient beings find their way to nirvana.

SANSKRIT TERMS FOR THE SIX REALMS

The Sanskrit terms for the six realms are:

Deva realm: God realm

Asura realm: Demi-god realm

Manuṣya realm: Human realm

Tiryagyoni realm: Animal realm

Preta realm: Hungry Ghost realm

Naraka realm: Hell realm

OUTER RIM: THE TWELVE LINKS

The outer rim of the wheel is divided into twelve sections that represent the Twelve Nidānas. As previously stated, the three inner layers of the wheel show that the three poisons lead to karma, which leads to the suffering of the six realms. The twelve links of the outer rim show how this happens - by presenting the process of cause and effect in detail.

These twelve links can be understood to operate on an outer or inner level.

On the outer level, the twelve links can be seen to operate over several lifetimes; in this case, these links show how our past lives influence our current lifetime, and how our actions in this lifetime influence our future lifetimes.

On the inner level, the twelve links can be understood to operate in every moment of existence in an interdependent manner. On this level, the twelve links can be applied to show the effects of one particular action.

By contemplating on the twelve links, one gains greater insight into the workings of karma; this insight enables us to begin to unravel our habitual way of thinking and reacting.

The twelve causal links, paired with their corresponding symbols, are:

- Avidyā lack of knowledge – a blind person, often walking, or a person peering out

- Saṃskāra constructive volitional activity – a potter shaping a vessel or vessels

- Vijñāna consciousness – a man or a monkey grasping a fruit

- Nāmarūpa name and form (constituent elements of mental and physical existence) – two men afloat in a boat

- Ṣaḍāyatana six senses (eye, ear, nose, tongue, body, and mind) – a dwelling with six windows

- Sparśa contact – lovers consorting, kissing, or entwined

- Vedanā pain – an arrow to the eye

- Tṛṣṇa thirst – a drinker receiving drink

- Upādāna grasping – a man or a monkey picking fruit

- Bhava coming to be – a couple engaged in intercourse, a standing, leaping, or reflective person

- Jāti being born – woman giving birth

- Jarāmaraṇa old age and death – corpse being carried

THE FIGURE HOLDING THE WHEEL: IMPERMANENCE

The wheel is being held by a fearsome figure who represents impermanence. The 14th Dalai Lama states: The fierce being holding the wheel symbolizes impermanence, which is why the being is a wrathful monster, though there is no need for it to be drawn with ornaments and so forth ... Once I had such a painting drawn with a skeleton rather than a monster, in order to symbolize impermanence more clearly.

This figure is most commonly depicted as Yama, the lord of death. Regardless of the figure depicted, the inner meaning remains the same–that the entire process of cyclic existence (samsara) is transient; everything within this wheel is constantly changing.

Yama has the following attributes:

- He wears a crown of five skulls that symbolize the impermanence of the five aggregates. (The skulls are also said to symbolize the five poisons.)

- He has a third eye that symbolizes the wisdom of understanding impermanence.

- He is sometimes shown adorned with a tiger skin, which symbolizes fearfulness. (The tiger skin is typically seen hanging beneath the wheel.)

- His four limbs (that are clutching the wheel) symbolize the sufferings of birth, old age, sickness, and death.

THE MOON: LIBERATION

Above the wheel is an image of the moon; the moon represents liberation from the sufferings of samsara.

Thubten Chodron states:

The moon is nirvana [i.e. liberation]. Nirvana is the cessation of all the unsatisfactory experiences and their causes in such a way that they can no longer occur again. It's the removal, the final absence, the cessation of those things, their non-arising. The Buddha is pointing us to that.

Chögyam Trungpa states:

The truth of cessation is a personal discovery. It is not mystical and does not have any connotations of religion or psychology. It is simply your experience ... Likewise, cessation is not just a theoretical discovery, but an experience that is very real to you–a sudden gain. It is like experiencing instantaneous good health: you have no cold, no flu, no aches, and no pains in your body. You feel perfectly well, absolutely refreshed and wakeful! Such an experience is possible.

Some drawings may show an image of a "pure land" to indicate liberation, rather than a moon.

THE BUDDHA POINTING TO THE MOON: THE PATH TO LIBERATION

The upper part of the drawing also shows an image of the Buddha pointing toward the moon; this represents the path to liberation.

Thubten Chodron states:

So the Buddha's gesture is like the path to enlightenment. It's not that the Buddha is the cause of nirvana. The Buddha is a cooperative condition of our nirvana. He indicates the path to us, he points out to us what to practice and what to abandon in order to be liberated. When we follow the path, we get the result, which is nirvana.

Chögyam Trungpa states:

The nature of the path is more like an exploration or an expedition than following a path that has already been built. When people hear that they should follow the path, they might think that a ready-make system exists, and that individual expressions are not required. They may think that one does not have to surrender or give or open. But when you actually begin to tread on the path, you realize that you have to clear out the jungle and all the trees, underbrush, and obstacles growing in front of you. You have to bypass tigers and elephants and poisonous snakes.

Mark Epstein states:

The entire Wheel of Life is but a representation of the possibility of transforming suffering by changing the way we relate to it. As the Buddha taught in his final exhortation to his faithful attendant Ananda, it is only through becoming a "lamp unto yourself" that enlightenment can be won. Liberation from the Wheel of Life does not mean escape, the Buddha implied. It means clear perception of oneself, of the entire range of the human experience ...

According to the Buddhist tradition, the Buddha told his followers:

I have shown you the path that leads to liberation

But you should know that liberation depends upon yourself.

INSCRIPTION

Drawings of the Bhavacakra usually contain an inscription consisting of a few lines of text that explain the process that keeps us in samara and how to reverse that process.

PSYCHOLOGICAL INTERPRETATION

From a psychological point of view, different karmic actions contribute to one's metaphorical existence in different realms, or rather, different actions reinforce personal characteristics described by the realms.

Mark Epstein states:

The core question of Buddhist practice, after all, is the psychological one of "Who am I?" Investigating this question requires exploration of the entire wheel. Each realm becomes not so much a specific place but rather a metaphor for a different psychological state, with the entire wheel becoming a representation of neurotic suffering.

WITHIN THE THERAVADA TRADITION

T. B. Karunaratne states:

Though in Theravāda literature there is no mention of an actual pictorial execution of a "Wheel of Life," yet the concept of comparing Dependent Origination to a wheel is not unknown. In the Path of Purification (Visuddhimagga), the famous commentator Buddhaghosa Acariya says:

"It is the beginningless round of rebirths that is called the 'Wheel of the round of rebirths' (saṃsāracakka). Ignorance (avijjā) is its hub (or nave) because it is its root. Ageing-and-death (jarā-maraṇa) is its rim (or felly) because it terminates it. The remaining ten links (of the Dependent Origination) are its spokes (i.e. karma formations [saṅkhāra] up to process of becoming [bhava])."

WIKIPEDIA

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“There are patterns which emerge in one's life, circling and returning anew, an endless variation of a theme”

― Jacqueline Carey, Kushiel's Chosen

Flexaret VI Standard / Meopta Belar 80mm f3.5

Fijifilm Pro400H

Rollei Digibase C-41 RTU 25℃ 15min

EPSON GT-X980

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.

The Hollywood Studio Club was a chaperoned dormitory, sometimes referred to as a sorority, for young women involved in the motion picture business from 1916 to 1975. Located in the heart of Hollywood, Los Angeles, California, the Studio Club was run by the YWCA and housed some 10,000 women during its 59-year existence. It was the home at various times to many Hollywood celebrities, including Marilyn Monroe, Ayn Rand, Donna Reed, Kim Novak, Maureen O'Sullivan, Rita Moreno, Barbara Eden, and Sharon Tate. The building was designed in the Italian Renaissance Revival architectural style by noted California architect Julia Morgan, who also designed Hearst Castle. The Studio Club closed in 1975, and the building was used as a YWCA-run Job Corps dormitory until April 30, 2012.[3] It was listed in the National Register of Historic Places in 1979 and remains the property of the YWCA Greater Los Angeles.

The Hollywood Studio Club was formed in 1916. It began with a group of young women trying to break into the movies who gathered in the basement of the Hollywood Public Library to read plays.[4] A librarian, Mrs. Eleanor Jones, worried about the young women living in cheap hotels and rooming houses with no place to study or practice their craft. Mrs. Jones solicited help from the local YWCA, and a hall was established as a meeting place.[4] Hollywood studios and businessmen donated money to rent an old house on Carlos Avenue with space for 20 women. Mrs. Cecil B. DeMille and Mary Pickford were active in the club's operations, and Pickford later recalled, "Mrs. DeMille spent every day doing something for the club. And the motion picture industry supported us."[4] A newspaper article in 1919 described the club this way: "The club is more of a sorority, with delightful picture 'atmosphere,' than anything else, and the same happy atmosphere will pervade the new home. A dominant note is the refining touch of home life and sense of protection, with assurance of assistance, not only in material way when need arises, but in one's work, as well. Financially, many desperate cases among young women have been tided over by the Hollywood Studio Club."[5] Between 1923 and 1925, a widely publicized fundraising campaign was held to build the new Hollywood Studio Club.[7][8] Contributions were received from Famous Players-Lasky ($10,000), Metro Goldwyn and Carl Laemmle ($5,000 each), Warner Bros. ($3,000), and Christie Comedies ($2,000).[9] In March 1923, aviator and movie star Andree Peyre conducted an aerial acrobatic exhibition and airplane race over Hollywood to help raise funds for the new home.[10] In February 1925, a final $5,000 donation from silent screen star Norma Talmadge allowed the group to begin construction.[11] The organization hired architect Julia Morgan to design the new building, and a ground-breaking ceremony took place in June 1925 with Mary Pickford and Morgan in attendance.[12]

The new Hollywood Studio Club opened in May 1926, having been built at a cost of $250,000. The building was opened at a ceremony attended by 2,500 people, "including many of the celebrities of the motion picture world," with dedication ceremonies in the afternoon and "dancing at midnight."[13] Julia Morgan designed the Studio Club in a Mediterranean style with interiors decorated in "pistache green, rose coral, and tan."[6] The large building has three sections—a central section with connecting wings on each side. The entrance to the center section is marked by a loggia, three archways with decorative quoins.[14] There is also a painted frieze above the main entrance.[14] The building includes several recurring elements from Morgan's Mediterranean style buildings, including full-length arched windows, balconies with iron balustrades, and decorative brackets.[14] A writer in California Graphic said "this beautiful and spacious new building is but one more jewel in the crown of Achieved Results which this progressive and cultural little city is wearing so proudly and shows its ever increasing desire to give unstinted moral and financial support to every progressive endeavor."[6]

The rooms at the Studio Club had nameplates on the doors identifying individuals who made subscriptions of at least $1000 to the building fund. There were rooms named for Douglas Fairbanks, Howard Hughes, Gloria Swanson, Jackie Coogan, and Harold Lloyd.[4][8]

The only qualification needed for admittance to the Studio Club was that the applicant had to be seeking a career in the motion picture business, whether as an actress, singer, script girl, cutter, writer, designer, dancer or secretary.[15] Some referred to it as a sorority, and the Studio Club also offered classes in various aspects of the performing arts, as well as hosting dances, teas, dinners and occasional plays, fashion shows and stunt nights. The club also provided residents with two meals a day, sewing machines, hair driers, laundry equipment, typewriters, theater literature, practice rooms, stage and sundeck.[16] Former resident Rosemary Breckler recalled, "At the Studio Club, when we had a date, he waited anxiously and almost reverently downstairs, and then, dressed like princesses, we floated down those gorgeous stairs."[17] A newspaper article in 1946 described the club this way: "The Hollywood Studio Club has been thought by the unknowing to be a house filled with glamour girls constantly receiving boxes of long-stemmed roses. On the other hand it has been classified as a rescue home for wayward girls. It is neither of these. The club is a comfortable sorority house possessing many of the freedoms and comforts of a man's club. It has grown in 24 years from the home for 22 girls and a white mouse into the home of 100 girls with another 100 servicewomen equally at home in the adjoining guest house."[18] Another article in 1959 referred to the club as a "colony" of students and described the atmosphere this way: "You may hear the wail of a clarinet, the vocal exercise of a balladeer ... and seen in a quiet corner, the silent gestures of a rehearsing ingenue with a script. But most of all there are clustered groups recounting their day – of pounding pavements, hearing of jobs, lamenting and blessing their luck and philosophizing."[19] In 2000, Susan Spano wrote in the Los Angeles Times: "The handsome Italianate building, designed in 1926 by architect Julia Morgan (of Hearst Castle fame), still evokes the good old days when a mother could send her daughter to Hollywood to become a star without worrying that her offspring would go astray."[3] However, the Studio Club was not free from scandal. Actress and former Studio Club resident Virginia Sale recalled, "One woman, older than the rest of us, was murdered in front of the club by a boyfriend. He was an ex-serviceman or something like that. And he then killed himself."[4] By the mid-1960s, times had changed, and the idea of a chaperoned dormitory had become dated. In 1964, the club expanded its membership to include studio secretaries, dancers, models and others working broadly in the talent field.[20] The club was losing money, and the YWCA Greater Los Angeles considered using it for executive offices or selling it until a petition drive by residents persuaded the YWCA Greater Los Angeles to keep the facility open.[20] By 1971, the club was forced to open its doors as a regular hotel for transient women and stopped serving meals, but it still lost money.[4] Changes in the fire code also took a toll, as modifications needed to bring the structure up to fire code were estimated at $60,000. In 1975, the Studio Club closed its doors. At the time of the closure, the Los Angeles Times wrote:

They are tales of happier times, when the Studio Club was a haven for all those young girls – nearly 10,000 of them – who had come to Hollywood from little towns across the country to seek fame in the motion picture business. Some of them made it. Most of them didn't. While they were here, though, the club tried to be what it said it was, a substitute home for the one each had left. Today, the Studio Club is gone. The building on Lodi Place just a few blocks from Sunset and Vine closed last week, a victim of changing times and new fire codes. 'It's out of vogue to live in a club atmosphere,' said actress Dorothy Malone, a Studio Club alumna from the mid-'40s. 'They never allowed men in the rooms and girls didn't live with their boyfriends then,' she explained.[4] The city of Los Angeles began using it in 2018 as a 64-bed crisis housing facility for women.[21]

Camera: Nikon 35ti

Film: Ferrania Solaris 100@iso 100

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.

The Theosophical Society, founded in New York in 1875, includes a Rosicrucian current that sees the Rosy Cross as ‘the divine light of self-knowledge’ (Franz Hartmann, 1838-1912). Yet there are no commentaries specifically dedicated to the Chymical Wedding in the theosophical literature. Like Helena Blavatsky (1831-1891), the co-founder of the Theosophical Society, the Austrian theosopher Rudolf Steiner (1861-1925) was convinced that the mysteries of the Rosy Cross were ‘solely passed on through oral tradition’ (1906). Steiner became the Secretary General of the German branch of the Theosophical Society in 1902. He expected to discover authentic Rosicrucian rituals when he joined the Freemasons as his mentor Goethe had. But like the theosophers, he observed that the true spirit of the Rosy Cross was no longer to be found in the secret societies of his day. In 1906, the ‘Rosy Cross of the Theosophical Society’ began presenting the ‘Mystery of Golgotha’ as an entirely unique event in the history of mankind, at odds with the Theosophical Society’s custom of granting equal importance to all religions. In 1917, ten years after leaving Annie Besant’s Esoteric School and five years after founding the Anthroposophical Society, Steiner published a study on the Chymical Wedding in Berlin. The present article shows that this written commentary was a means for him to situate himself in the continuity of the Rosicrucian tradition of esoteric Christianity while introducing his own theosophy, which he called ‘anthroposophy’ or ‘spiritual science’, as the heir of the authentic Rosicrucians. The reference to the authoritative text allowed him to illustrate and justify his former assertions on 1) the actual existence of Christian Rosenkreuz and the Rosicrucian order, 2) the seven stages of Rosicrucian initiation, 3) Rosicrucianism as the best way of initiation for modern European man, 4) the “etheric vision” of Christ based on the action of Christian Rosencreuz’s “etheric body”. These ideas influenced a number of Western esotericists, including Neville Meakin (†1912), Max Heindel (1865-1919) and Jan van Rijckenborgh (1896-1968).

1 Chymical Wedding by Christian Rosencreutz has been the subject of an important reception1 within certain modern Western esoteric currents2, in particular since the end of the 19th century. In a context of criticism of positivism and enthusiasm for spiritualism from the United States, occultism was on the rise in Europe around 1900, and the Rosicrucians were a fashionable subject. In France, for example, the Martinist writer Joseph Péladan (1858-1918) organized between 1892 and 1897, in Parisian art galleries, several Salons de la Rose-Croix in which symbolist artists known as the Belgian painter Fernand Khnopff took part. . In this contribution, I will focus mainly on the period from 1875 – the date of the founding of the Theosophical Society in New York by the Russian occultist Helena Blavatsky, Colonel Henry Steel Olcott and a few others – to 1917, the year of the publication in Berlin of the Commentary on the Chemical Wedding of Christian Rose-Croix by the Austrian occultist Rudolf Steiner. The aim will be to understand Steiner's commentary from the inside, to reconstitute its internal logic from an emic perspective3, and to perceive in doing so the construction of the Rosicrucian myth specific to this esoteric4 vision of the world that is anthroposophy. . It will also be a question of resituating this commentary in the theosophical literature which preceded it and of bringing to light its influence on later esoteric literature.

Theosophical literature and the Chemical Weddings (1877-1902)

5 Franz Hartmann: Unter den Adepten und Rosenkreuzern (Leipzig n.d.). Berlin 1963, p. 96.

2The Theosophical Society is an international association teaching a religious syncretism of occultist and esoteric inspiration with a strong oriental flavor, particularly Buddhist and Hindu. Theosophical literature does not include a commentary dedicated specifically to the Chemical Wedding, but rather scattered reflections emphasizing the importance of Rosicrucianism as a Western path of self-knowledge leading to the knowledge of God. The German theosophist Franz Hartmann (1838-1912) states for example: “Es wird uns klar sein, daß es den Rosenkreuzern nicht so sehr um intellektuelle Forschung und Vielwisserei, als vielmehr um die göttliche Selbsterkenntnis zu tun war und um die Kraft des wahren Glaubens , der zu dieser Gotteserkenntnis führt. 5 The Theosophical Society does not regard any religion as superior to others; all express, according to her, an aspect of a universal truth. According to the famous motto of the Society, “there is no religion superior to truth”. According to Helena P. Blavatsky, the true spirit of the Rose-Croix no longer animates the Rosicrucians of her time:

6 Helena Petrovna Blavatsky: Isis unveiled. Key to the Mysteries of Ancient Science and Theology (...)

The Rose-Croix Brothers, mysterious practitioners of the Middle Ages, still exist, but only in name. They may 'shed tears over the grave of their revered Master Hiram Abiff', but they will search in vain for the true place 'where the acacia branch was placed'. The dead letter remains alone, the spirit has fled.6

3 This spirit is, according to her, much more preserved in literature – and Blavatsky explicitly quotes the famous initiatory novel by the British novelist Edward Bulwer-Lytton Zanoni7 – than in the various lodges and groups claiming Rosicrucianism in his time in Europe and in the USA. None seem to find favor in his eyes. We can think of the Societas Rosicruciana in Anglia, a Rosicrucian order founded in London in 1865 by master masons William J. Hughan and Robert W. Little, or L'Aube Dorée, The Hermetic Order of the Golden Dawn, a secret society (whose rituals are inspired by the Golden Rose-Cross, at least for the distribution of degrees) founded in London in 1888 by Samuel Liddell Mathers and William Wynn Westcott, both members of the Societas Rosicruciana in Anglia. Note that Westcott later became theosophist. These groups multiplied at the end of the 19th century. In France, the Kabbalistic Order of the Rose-Croix founded in 1888 by Stanislas de Guaita (1861-1897) and Joséphin Péladan (1858-1918) had the role of perfecting the training of Martinists and included the French doctor and occultist Gérard Anaclet Vincent Encausse (1865-1916), known as Papus, among its members. In Germany, the Ordo Templi Orientis (O.T.O.), a para-Masonic organization oriented towards magic, was animated by a member of the Societas Rosicruciana in Germania, the German-English occultist Theodor Reuß, who in 1902 obtained the right, with the German theosophist Franz Hartmann, to practice the Ancient and Accepted Scottish Rite and the Rite of Memphis-Misraïm.

Rudolf Steiner, the “Rose-Croix” of the Theosophical Society (1902-1906)

8 Gary Lachmann: Rudolf Steiner, a biography. Paris 2009.

9 Rudolf Steiner: Mein Lebensgang. Eine nicht vollendete Autobiography [1925], Rudolf Steiner Gesam (...)

10 Hartmann: Unter den Adepten, quoted by Friedrich Lienhard: Unter dem Rosenkreuz: ein Hausbuch aus (...)

4It was also in 1902 that Rudolf Steiner, an Austrian born in 1861 in a small village in Croatia (which was then part of the Austro-Hungarian Empire), became Secretary General of the German section of the Theosophical Society, multiplying the conferences across Germany and beyond8. Steiner states in his autobiography that he became close to the Theosophists because, like them, he was convinced of the existence of a “spiritual world”9. At the beginning of the 20th century, Steiner gave less importance to the Rosicrucian manifestos than to an oral Rosicrucian tradition which would have remained intact within secret societies. He asserted in December 1906 that nothing of authentic Rosicrucianism would be found in the Rosicrucian writings of the early seventeenth century. Steiner endorses the argument of theosophists like Franz Hartmann who describe the essence of the authentic Rose-Croix as "the divine light of self-knowledge"10 and who are convinced that the mysteries of the Rose-Croix are only transmitted orally:

But you can see how difficult it has always been to get to know Rosicrucianism from the fact that Helmont, Leibniz and others were unable to find out anything about the Rosicrucians. The Rosicrucian initiation is historically traced back to a book from the beginning of the 17th century, which states, among other things, that the Rosicrucians dealt with alchemical things, as well as with other things, for example with higher education and so on. So it is written in the Fama Fraternitatis. / Nothing can be found there either about what really is Rosicrucianism, because the mysteries of the Rosicrucians have only been handed down through oral tradition. What has externally attached itself to the name Rosicrucian is very little suitable for fathoming the nature of the Rosicrucians.11

5 Steiner is also nourished by another tradition, in this case German thought and its “great geniuses”, which, according to him, must fertilize theosophy. Steiner thinks in particular of Goethe, whose thought cannot be grasped, according to him, without a deep understanding of its occult foundation. After having studied philosophy in Vienna and read in particular Kant, Fichte, Schopenhauer and Nietzsche, after having defended in 1891 a doctoral thesis in philosophy at the University of Rostock, Steiner worked in Weimar on the edition of the scientific work of Goethe, and gave numerous lectures on Goethe to members of the Theosophical Society. Thus, in the lecture “Die okkulte Grundlage in Goethes Schaffen” (1905), he refers to Goethe’s poem Die Geheimnisse (1785), which according to him expresses the mysteries of the Rose-Croix12. Steiner takes Goethe for a Rose-Croix initiate. In 1780, the German poet was initiated into Freemasonry in the Amalia lodge in Weimar, and received in 1783 into the Order of the Illuminated under the name of Abaris. Speeches and many poems bear witness to this interest in Freemasons, but also several passages from Wilhelm Meister, from Dichtung und Wahrheit (Poetry and Truth) as well as Das Märchen (The Fairy Tale of the Beautiful Lily)

6 Steiner attempts to revitalize the Rosicrucian tradition not only by relating himself to the Rosicrucian inspiration of Goethe, but also by concretely seeking authentic Rosicrucians and rituals; he thinks he can do this by joining Freemasonry, like his mentor Goethe. It was in 1904-1905 that Steiner began to participate in Masonic activities, hoping to introduce the occult teachings of Theosophy into them. In 1905, he was initiated by Theodor Reuß into the Rite of Misraïm, with his wife – which cost him dearly, as noted by the German historian Helmut Zander14 –, and in 1906 became President of the “Chapter and Mystical Temple” Mystica Aeterna, in Berlin. In January 1906, he obtained permission from Theodor Reuß to bring into this Freemason Chapter as many members of the Theosophical Society (and other people) as he wished15. But he is somewhat wary of Reuß: “Reuß ist kein Mensch, auf den irgendwie zu bauen wäre. […] Wir haben es mit einem ‘Rahmen’, nicht mit mehr in der Wirklichkeit zu tun. Augenblicklich steckt gar nichts hinter der Sache. Die okkulten Mächte haben sich ganz davon zurückgezogen. 16 According to Helmut Zander, there is no historical proof that Steiner belonged to another Masonic society. In 1907, Steiner was appointed Grand Master of the Rite of Misraïm and led initiation ceremonies in this capacity. The First World War, however, marked the end of Steiner's Masonic activities. Between 1902 and 1906, Steiner developed his Christology independently within the Theosophical Society without this posing any particular problem. His relationship with Annie Besant is excellent: he is part of her Esoteric School and comments glowingly on the German translation of his work Esoteric Christianity published in 1903.

The gradual break with the Theosophists and the founding of the Anthroposophical Society (1906-1912)

18 Steiner, “Die drei Einweihungspfade”, lecture given in Basel on September 19, 1906 before (...)

19 Ibid., p. 92: “der größte der Religionslehrer”.

20 On the action of the Buddha, carried out at the request of the servant of Christ, Christian Rose-Croix, see (...)

7 It was in 1906 that Steiner distinguished for the first time three forms of initiation: the Eastern path, which presupposes the absolute obedience of the student to a guru, the Christian path, which would no longer be adapted to modern man due to the evolution of science and culture, and the Rosicrucian path, which would be free from any enslaving master-disciple relationship18. Alongside this hierarchy of initiatic schools, the "mystery of Golgotha" was mentioned for the first time, at the end of 1906, a concept which would become central to Steiner's Christology: Christ, considered as "the greatest religious teacher"19, embodies in an earthly physical body the solar macrocosmic Christ principle. He gives "the greatest impulse that the soul is able to assimilate" by coming from other worlds to unite with the earth. The Christ impulse, what Steiner calls the "mystery of Golgotha", is for him a completely unique and exceptional fact in the history of humanity. It is no coincidence that in several of his lectures, Steiner emphasizes that the life of Christ goes further than that of the Buddha, since it reaches the resurrection while that of the Buddha ends in the transfiguration20. By focusing his thought on the figure of Christ, Steiner approaches European theological traditions which consider Christ as a personal figure; but he distances himself from the theosophists of Adyar who give equal importance to all religions and consider Jesus as a “great initiate” among others. It was in this context that Annie Besant was elected President of the Theosophical Society in 1907. The same year, Steiner left the Esoteric School of Besant to found an independent esoteric school, teaching a Rosicrucian path rooted in a specifically European esoteric tradition. .

8 According to Helmut Zander, it was above all in opposition to Annie Besant that Steiner increasingly sought, from 1906-1907, to situate himself in a Rosicrucian tradition and to “Christologize” his thought21. The fact that in 1903 Steiner did not mention Christian Rose-Croix in his list of great initiates shows, according to Zander, that the Rosicrucian tradition was built gradually. It is also with the aim of building this European tradition that Steiner would have integrated Christian Rose-Croix in a series of reincarnations: Lazare, Hiram Abiff, the Count of Saint-Germain, etc. When Steiner and Besant agreed at the Munich Congress in May 1907, it was decided that Steiner would teach the Western, "Rosicrucian" path, and Besant the Eastern path. According to Zander, this agreement is superficial and hides a settlement of power. The day after the Congress, Steiner begins the cycle of lectures entitled Die Theosophie des Rosenkreuzers in which he emphasizes the superiority of the Rosicrucian path, and therefore, according to the German historian, his personal superiority over Besant. Zander is of the opinion that in these lectures, in particular in the last lecture of the cycle entitled "Theosophy according to the Rosicrucian method", the Rosicrucian reference would be applied like a thin superstructure on specifically Theosophical themes and, given its vague in the occultist circles of his time, would serve as an empty frame that Steiner could fill as he pleased with content from Christian and European esotericism22. This theory only seems partly relevant because the reference to the Rosicrucians is present long before the break with Besant and anchored in the German tradition, in Goethe in particular. From 1903-1904, Steiner presented Christian Rose-Croix and Jesus as the "two great Masters of the West", thus minimizing the influence of the Eastern Masters. In 1906 Steiner described the seven stages of the Rosicrucian path23, also present or explained in other texts, as in the Science of the Occult (1910) for example.

9 The fundamental disagreement concerns the theory of the return of Christ developed by Besant after the Munich Congress and explains that Steinerian Christology developed with increased speed after 1907. In 1908, Steiner clearly asserts the superiority of Christianity: “[… ] das Christentum ist größer als alle Religion! Das ist die Rosenkreuzerweisheit. 24 In 1911 he held conferences on Christian Rosicrucians at the newly created Rosicrucian branch of the Theosophical Society, where the disagreements appeared more and more evident. Unlike the Theosophists, Steiner considers Christian Rose-Croix as a personality who really lived in the 13th century, and the Rosicrucian order as an organization that really existed. The influence of the spiritual entity that is Christian Rose-Croix would be exerted mainly from his “etheric body”25, incarnated or not26. The action of Christ can take place according to Steiner only from the "etheric"27, that is to say from a subtle field of life forces made up of four ethers and located between the material and the astral plane. For Steiner, there can be no return of Christ to the physical plane, as the Theosophists assert. When leaders of the Theosophical Society believe they have found a new Messiah in the person of the young Hindu Jiddu Krishnamurti, Steiner separates definitively from the Theosophical Society to found, at the end of 1912, the Anthroposophical Society.

Rudolf Steiner anthroposophist: the role of the Chemical Weddings in the construction of a Rosicrucian tradition (1912-1917)

28 Rudolf Steiner: The Chemical Wedding of Christian Rose-Croix 1459, recorded by J. V. Andreae, Stud (...)

29 Rudolf Steiner: Die Theosophie des Rosenkreuzers, Vierzehn Vorträge, München 22. May bis 6. June 1 (...)

11 Steiner no doubt chose to comment on the Wedding because it was the Rosicrucian text he knew best31, but that is not the only reason. The importance he attached to this commentary is evident in the fact that, unlike many other things he has said about Christian Rose-Croix at conferences, it is a written study that he wrote himself. This is indicative of a change in initiatory method in modern times:

32 Bettina Gruber: “Überlegungen zu einer Begriffsdiskussion”. In: Moritz Baßler / Hildegard Châtel (...)

33 Aurélie Choné: Rudolf Steiner, Carl Gustav Jung, Hermann Hesse, Passeurs between East and West. (...)

As the written expression of the traditional teaching transmitted from master to disciple, the book increasingly replaces the oral transmission of knowledge within secret societies, and becomes what connects the instructor and the reader, or more precisely, the Real. and the reader. Reading thus becomes the occasion for a practice, that of a conscious relationship. This ‘self-initiation through reading’32 is a characteristic trend of modernity, perceptible as early as the 19th century. It is based on respect for the subject and his autonomy of thought, but in return requires significant self-discipline and a very firm will.33

30 Rudolf Steiner: Das rosenkreutzerische Christentum. Stuttgart 1950.

10 In 1917, five years after the foundation of the Anthroposophical Society, Steiner published in Berlin a study devoted to the Chemical Weddings28. A series of questions does not fail to arise: how to explain that Steiner felt the need to give a commentary on the Weddings when he did not comment on either the Fama or the Confessio? How to explain that he found it necessary to write a study insisting on the importance of this text eleven years after having affirmed that the oral tradition was more important than the Manifestos? Why did you publish this commentary precisely in 1917, more than a century ago, when he had already given several lectures in previous years on the Rosicrucian path, in particular ten years earlier, in 1907, Die Philosophie des Rosenkreuzers29 and in 1911-1912, on Rosicrucian Christianity30? And finally, for what purpose does he write this comment?

12 As secret societies no longer conveyed the authentic message according to Steiner, it no doubt seemed necessary to him, sensing the end of his life approaching, to write down what he knew of this original message. We will show that this written commentary was a means for him, at a time when he needed to affirm the identity of his movement in the face of the theosophists, to situate himself in the continuity of the Western tradition of Christian esotericism and to present anthroposophy as the heiress of the authentic Rosicrucians. If he appeals to an authoritative text, Les Noces Chymiques, it is to illustrate and justify his previous remarks:

on the real existence of Christian Rose-Croix and the Rosicrucian Order,

on the content of the Rosicrucian initiatory path,

on the superiority of the Rosicrucian path at the present time,

on the etheric vision of Christ thanks to the action of Christian Rose-Croix from the "etheric world".

The real existence of Christian Rose-Croix and the Order of the Rose-Croix

34 On this subject, see the article by Stefania Salvadori in this volume.

13 For Steiner, Johann Valentin Andreae (1586-1654) is the author of Les Noces Chymiques and he wrote the work in 1603, thirteen years before its publication in Strasbourg in 1616. It should be noted that these dates are roughly in line with the assertions of the most current researchers. Steiner does not seek to challenge by means of historical arguments the assertions of historians who hold the work to be “a kind of literary deception” (NC, 264). But he considers it impossible that a young man of seventeen had “the maturity required to ridicule the evaporated minds of his time, by presenting them with a phantasmagoria under the name of the Rosicrucian current”. Moreover, the spiritually very high content of Les Noces is not for him contradictory with the young age of the author. In his eyes, Andreae wrote under the dictation of “great intuitive forces” (NC, 269). Later, having become a pietistic theologian, Andreae would have lost this intuition, which explains why he was able to deny his story afterwards. Steiner points out that in transcribing the experiences of Christian Rose-Croix, the young Andreae encountered strong resistance, in this case “events similar to those which led to the Thirty Years’ War” (NC, 8). By comparing this situation to the one he knew himself, at a time when the development of anthroposophy was hampered by opposing forces, he clearly places himself in the continuity of the Rosicrucian current.

14 In his commentary, Steiner begins by explaining how the work should be approached, devoting several pages to the “method”, or rather to the attitude to adopt when faced with the text. Because it is precisely not an intellectual, scientific method in the usual sense of the word. Humility, self-knowledge and purification of the soul are the necessary conditions for the spiritual world to be able, through the text, to speak to the soul in the form of images, symbols, "secret figures" such as those of the Geheime Figuren der Rosenkreuzer35. A rather similar attitude of attentive listening with regard to images (and the products of the unconscious) characterizes the psychology of the depths of C. G. Jung (in particular the active imagination): it is not a question of seeking to understand intellectually the image that presents itself, but rather to let it act, to mature in the soul, to brood over it in oneself, until its meaning becomes clear; this requires great patience and the awareness that, as in any deep esoteric text, the message is never completely unveiled, deeper layers always remaining hidden.

15 The key to Steiner's argument therefore rests on a precise method, which he claims to deduce from the attitude and mode of perception of Christian Rose-Croix himself, as described in the novel. The historical method seems to him inappropriate for clarifying overly complicated controversies. “Spiritual Science” is presented as the most adequate way to deduce from the text itself the authenticity of the experiences described, and therefore the reality of the existence of Christian Rose-Croix as well as of the Rosicrucian current. It is not for him an allegory, but a true story, which confirms what he affirmed in his lectures of 1911 on the historical, and not mythical, figure of Christian Rose-Croix.

The content of the Rosicrucian initiatory school

16 In his commentary of 1917, Steiner explains, through the lived experience of Christian Rose-Croix, the seven stages of the Rosicrucian path which he had already exposed ten years earlier, in Die Theosophie des Rosenkreuzers: the study, the imagination, inspiration, the preparation of the Philosopher's Stone, the correspondences between macrocosm and microcosm, diving into the macrocosm and bliss. The seven days correspond to the stages of the initiatory path of Christian Rose-Croix towards the suprasensible worlds and reflect a process of alchemical transformation which leads him towards his spiritual rebirth.

17 From the first day, it is a question of an “imaginative vision” that Christian Rose-Croix had seven years earlier, which announced to him that he would be invited to the “Chymic Wedding”. Another imagination has him “see” a young woman in a blue dress studded with stars – the “manifestation of an entity from the spirit world” (NC, 195) according to Steiner. Another imagination reveals to him a portal, the threshold of the suprasensible world according to Steiner, and a castle, place of spiritual experience. Then comes the fourth day, with the presentation to the Kings and their decapitation: these symbols are for Steiner “authentic imaginations, in conformity with the laws which govern the evolution of the soul” (NC, 243). The ordeals that kings undergo foreshadow what must happen to Christian Rose-Croix himself. He feels the tragedy of the royal hall “as if his own soul lived it: Decapitation is a stage in his own evolution. (NC, 244) According to Steiner, the whole alchemical process described highlights "the mystery of psychic metamorphosis" (NC, 263), namely "the way in which the forces of knowledge, developed by the organism in the ordinary course of life, are transformed into forces of supersensible investigation. (NC, 253) The term "power of knowledge" is imbued with the philosophy of life (Lebensphilosophie) present at the time of Steiner, but it is a question of directing this vitalism towards a spiritualism by transforming sensitive knowledge in supersensible knowledge, which is possible only on condition "of being penetrated by the forces of death." (NC, 247) Thus Christian Rose-Croix contemplates the death of the "kings" in his soul, namely the death of "his means of knowledge, such as they result from the metamorphosis of the material processes of his organism, without himself intervenes. (NC, 248-249) By passing from natural alchemy to the art of alchemy, he will be able to confer on his ordinary faculties of knowledge a particular character which the processes of organic evolution have removed from them. The purpose of the fifth day is precisely, according to Steiner, to complete the natural alchemy. Christian Rose-Croix directs his gaze towards the “laboratory” of nature, where it “gives birth to the vital element of growth” (NC, 249). In the Tower of Olympus, during the preparation of the Stone of the Sages, the inanimate forces of knowledge are brought to life.

18 The seventh day describes the accomplishment of the alchemical work and the promotion of Christian Rose-Croix to the rank of “Knight of the Stone of Gold”. The man whose forces of the soul – thought, feeling, will – are transformed, is as if born again: he becomes the “father” of his own faculties of knowledge. It is a true gnosis in the sense of knowledge, the birth of new forces of supersensible knowledge. This also explains the Steinerian interpretation of the end of the story: Christian Rose-Croix expects to expiate the "fault" of having succumbed to the temptation by looking at Venus naked on the fifth day, and to be condemned to the charge of guardian; but this is not the case, because this guardian turns out in fact to be only a part of himself that he is able to distinguish from himself; and here we are almost approaching a Jungian interpretation of The Wedding , except that the existence of a spiritual world is clearly posed in Steiner: “He becomes the guardian of his own psychic life; but this office in no way prevents him from maintaining free relations with the world of the spirit. (NC, 260-261)

The Rosicrucian path, the initiatory school most suited to modern Europeans

19 Steiner also explains in his commentary on the Marriage why the Rosicrucian way is the most suitable for modern Western man.

20 First, it does not involve blindly following a guru as in the Eastern path as Steiner imagines it, or having absolute faith in the personality of Jesus Christ as in the Christian path. The Rosicrucian path gives less importance to feelings than to facts that can be observed and studied. The first stage of the journey, study, demonstrates the importance of a scientific approach. Steiner emphasizes that Christian Rose-Croix was versed in the knowledge provided by the study of the “Liberal Sciences and Arts” of his time and that he sought to unite knowledge and faith. This is also, according to Steiner, the objective of anthroposophy and as he can situate it in the continuity of the Rosicrucian current: neither religion nor philosophy, the Science of the mind (Geisteswissenschaft) aims to know the worlds suprasensibles with the same rigor as science studies the phenomena of the physical, sensible world.

36 Steiner: “The mission of Christian Rose-Croix, his character and his task. The mission of Gautama Bu (...)

21 This is only possible through the knowledge of nature, the very object of natural alchemy. In his commentary on the Wedding, Steiner clearly opposes the paths of mysticism and alchemy: “The alchemist seeks a knowledge of nature which opens the way to a true knowledge of man. (NC, 214) as the mystic turns inward. According to Steiner, it is quite revealing that the Rosicrucian current was born in the 15th century – a very dark period marked, according to him, by the appearance of the materialist current, which played a major role in scientific theories, especially in matters astronomy; with the beginnings of modern science – Copernicus (1473-1543), Galileo (1564-1642), Kepler (1571-1630), etc. – developed, according to him, “a vision of the world which saw in the macrocosm only an immense machinery composed of material globes”36. A new science must bring the necessary corrective to this materialistic tendency; and Steiner sees it represented in the Weddings through the figure of the Virgin whose name is Alchemy: "this suprasensible science comes from the spiritual worlds whereas the knowledge of the Seven 'Liberal Arts' is acquired on the sensible plane" (NC, 236).

22 In the same spirit, Agrippa von Nettesheim (1487-1535) and Paracelsus (1493-1541) sought, according to Steiner, to explore the laws of nature and access the superior worlds from the natural sciences, through the study of the five elements . The alchemist learns to know his soul as well as nature and discovers that the same forces act there. This is the fifth stage of the Rosicrucian path, the correspondences between macro- and microcosm. The contemplation of natural processes like dissolution and putrefaction becomes meditation, fervent prayer, and arouses a sense of devotion. According to Steiner, the sanctity of nature is at the center of Les Noces, the mission of Christian Rose-Croix being to discover the spirit in nature. As a Knight of the Stone of Gold, he will have to live in accordance with the two mottos inscribed on the medal he receives, as well as the other Knights, on the seventh day: "Art is the servant of nature" and “Nature is the daughter of time. (NC, 259)

37 Antoine Faivre: Access to Western esotericism. Paris vol. I 1986, vol. II, 1996.

23 Steiner presents the Science of the Spirit as the heir to the Rosicrucian current in that it seeks to rediscover the religious character that the study of nature had in the Middle Ages, to reveal the spiritual reality behind the veil of nature. At the same time, he seeks to show the evolution of the Rosicrucian teaching. Mainly based on the natural sciences in the Middle Ages, in connection with alchemy, it became in its time "Science of the mind" in connection with the natural sciences in the Goethean sense of the term. The great Rosicrucian meditation on the symbol of the cross surrounded by seven roses, described for example in 1910 in Die Geheimwissenschaft (Science of the Occult), is deeply linked to living Nature, one of the criteria of esotericism according to Antoine Faivre37, since it is first of all a question of representing a plant which opens out, its roots which plunge into the darkness, its stem which rises towards the light. It involves the transformation of the forces of life into spiritual forces by a process of transmutation of the "etheric" into supersensible energy: this inner alchemy constitutes the very essence of the new Rosicrucian mysteries according to Steiner.

38 Johann Valentin Andreae: The Chemical Wedding of Christian Rose-Croix. In: Bernard Gorceix: The bi (...)

24 Finally, Steiner wishes to show through the experiences of Christian Rose-Croix and his companions that the Rosicrucian initiation is a personal path at the service of society: “The presence of such men in the social order will be a leaven for those who it and will help clean it up. (NC, 261) On reading Les Noces, it clearly appears that Christian Rose-Croix will play a special role because he is led to see more marvels38 than his companions who "only perceive what is shown to them, without the intervention of their personal will. (NC, 230) By continuing to serve as a guardian after receiving the supreme reward, he does not return to his solitary life, out of the world; he sees himself obliged to link spiritual life and social life in the service of others (karma-yoga, one would say in the Indian tradition), which is characteristic of a modern initiation. Steiner situates anthroposophy in the continuity of this tradition by insisting on education for freedom and by showing the importance of the concrete societal applications of its ideas in fields as diverse as pedagogy, agriculture, medicine and science. 'architecture.

25 In his commentary on Les Noces, Steiner particularly insists on the visions and imaginations of Christian Rose-Croix, which would be produced by the action of his “etheric body”. On Easter Friday, Christian's supersensible perception allows him to have the vision of the woman in the blue dress: "This activity of the etheric body can be compared to the bringing into action of a radiant light. (NC, 195-196) It is this activity that every human being is called upon to develop thanks to a daily meditative practice allowing the metamorphosis of his soul and the development of faculties of supersensible perception. Through this central practice in the Rosicrucian initiation as Steiner understands it, the student feels the influence of the etheric body of Christian Rose-Croix and can perceive the appearance of Christ in his own etheric body, that is, say realize the Christ in himself, the inner Christ, without going through a guru or other spiritual master. According to Steiner, all of humanity would be called to live this experience of the road to Damascus, and not only the circle of Rosicrucian initiates. The mission of the "Science of the Spirit" would be to divulge the Rosicrucian mystery to as many people as possible today.

39 On this subject, see Véronique Liard's contribution: “Carl Gustav Jung and the Chymic Weddings. Alc (...)

40 I refer here to chapter 10 of C. G. Jung's Psychological Types: Psychologische Typen. Zurich (...)

41 However, this interpretation should be qualified. Indeed, experience plays a very important role (...)

26We can see a certain affinity between the Steinerian commentary and the Jungian reading39 of the Wedding: in both cases, the initiatory journey of Christian Rose-Croix expresses the “mystery of psychic metamorphosis” (NC, 263). The big difference comes from the way of thinking of Jung and Steiner, and their opposite attitude towards reality. From a Jungian perspective,40 one could perhaps qualify Steiner’s philosophical temperament as “extroverted” and that of Jung as “introverted” (this is moreover how he saw himself); indeed, the anthroposophist links his thought closely to real objects while the founder of depth psychology is above all concerned with his inner world. Steiner is an idealist in that the spiritual world has for him a character of truth and absolute in the same way as the objects which are in front of him, without possible contestation, while for Jung, nourished by Kant, thought partially derives from subjectivity, which places all metaphysics beyond the reach of human understanding and establishes an empirical approach to reality. Jung needs to look within himself for landmarks to evolve in his inner world, without resorting to metaphysics to name things outside of him; he tends to see in him realities which, for the extrovert, are external.

42 We can think in particular of biodynamic agriculture – the processes of decomposition, putr (...)

43 See the third stage of the conjunction described at the end of Carl Gustav Jung: Mysterium conjunct (...)

44 On the comparison of these paths, see Aurélie Choné: Rudolf Steiner, Carl Gustav Jung, Herman (...)

27 Steiner considers the mystical path (introverted attitude according to the Jungian typology) unsuited to the materialistic modern age, and considers the alchemical path (extroverted attitude according to the Jungian typology) which passes through the knowledge of nature, as the most appropriate today. today. Could this be the reaction of an extrovert who does not understand the other attitude? Jung also uses alchemy, but more in the psychological sense of an inner psychic transformation; he emphasizes the writings that translate external experiences into symbolic processes revealing the archetypes of the collective unconscious, which he wants to find in order to shed light on his journey and that of his patients. But if Jung seems to be more interested in the interior side (oratory) and Steiner in the operative side of alchemy42 (laboratory), the fact remains that the psychiatrist also integrates a much broader dimension through the notion of unus mundus43, and that the anthroposophist pays great attention to inner processes, emphasizing the passage from natural alchemy to the Science of the mind. Anthroposophy, which seeks to develop our perception of the supersensible world, and depth psychology, which aims to approach the Self in order to reach the totality of our being, have important similarities in the journey they offer towards greater freedom. and autonomy.

28 If Les Noces has caught the attention of such different thinkers, it is undoubtedly because this writing offers a fine example of a balanced appreciation between the two points of view. The oratory is as important there as the laboratory. There is both the experimental side (Tower of Olympus) and the importance of moral purification (weighing test, vault of Venus). Extroverts tend to make it a laboratory affair by denying the other side, while introverts stress the projection of psychic contents onto matter and make it a process of individuation, neglecting the experimental side which is very vague in the definitions of the materials, which vary from one to another. But the secret undoubtedly lies in the right balance between extroversion and introversion, science and faith, laboratory and oratory.

Assessment and posterity of the anthroposophical reception of Les Noces until today

29 All the arguments deployed in Steiner’s extremely dense Commentary combine to demonstrate that the Weddings are “an objective relationship of an authentic quest” (NC, 263). Steiner felt the need to give a commentary on the Wedding - rather than on the Fama or the Confessio - because this story contains a wealth of images and symbols which make visible, in the form of evocative imaginations, the passage from sensitive to supersensitive. This commentary aims to anchor Steiner's theosophy, which he calls anthroposophy, in the Rosicrucian tradition of esoteric Christianity. Steiner thus stands out from the Theosophical Society and Eastern initiation by proposing a “Rosicrucian initiation” adapted to modern man in that it brings together faith and science, knowledge and contemplation of nature. Starting from the Manifesto, he seeks to prove what he has asserted in previous conferences and to give greater authority to his words through the exegesis of the source text itself. In doing so, he presents himself as the successor to the Rosicrucian current, which is supposed to express the quintessence of the great previous religions, and therefore the cutting edge of all spiritual teachings.

30 His reception of Les Noces will find an important echo in the anthroposophical milieu, among students and close friends like Michael Bauer46 (1871-1929), who was a member of his esoteric School. Today, the Rosicrucian reference is still very present among anthroposophists. According to the Dutch writer Jelle van der Meulen, for example, Steiner was initiated by Christian Rose-Croix47. The links between Anthroposophy and Rosicrucianism have been studied by engineer Viktor Stracke (1903-1991) and physician Peter Selg (1963- )48. Les Noces gave rise to a new commentary by Bastiaan Baan, director of the seminary of the Fellowship of Christians in North America, and former Waldorf school teacher. Overall, the interpretation of Les Noces is the object of a deepening in two main directions: meditation50 and cosmology51.

52 The outer order of the Stella Matutina was known as the Mystic Rose or Order of the M.R. i (...)

53 Crispian Villeneuve: Rudolf Steiner in Britain: A Documentation of His Ten Visits, 1902‑25, vol. 1 (...)

54 The Table Round (Ordo Tabulae Rotundae) is a neo-Arthurian mystical order that Felkin also exported (...)

55 Zander: Anthroposophy in Deutschland. t. I, p. 844.

56 See the contribution of Sébastien Gregov in this volume.

31 We also mention the influence of Steiner on the English doctor Robert Felkin, who in 1903 created the magical order Stella Matutina (Morning Star)52 in England, a splinter group from the Golden Dawn, and on Neville Meakin53, a member of the Stella Matutina. They saw in him an authentic representative of the Rosicrucian tradition, the missing link in the chain of the Rose-Croix dating back to the 17th century. Known by the initials EOL (Ex oriente Lux), Grand Master of the neo-Arthurian Order Ordo Tabulae Rotundae54, Meakin met Steiner in 1910 and 1912, received the initiation of adeptus minor in the Chapter Mystica aeterna and embarked in 1911 for Constantinople, traveling in the footsteps of the pilgrimage described in the Fama Fraternitatis. Steiner's ideas on the real existence of Christian Rose-Croix and his Order, as well as on the different incarnations of Christian Rose-Croix, will influence Max Heindel (1865-1919), who was vice-president of theosophy of Adyar in California in 1904-1905 and student of the Esoteric School of Steiner in 1907-1908. In 1909 Heindel created the Rosicrucian Fellowship in California. Steiner would accuse him in 1913 of having plagiarized several of his lectures55. Finally, let us mention the obvious influence of the Steinerian reading of the Wedding on the Dutch Rosicrucian Jan van Rijckenborgh, a former disciple of Heindel who founded the Lectorium Rosicrucianum in the 1920s.

journals.openedition.org/rg/679

Dehydrated Gingerroot comes in whole and powdered form. It is very healthy and useful for baking, marinades and sauces. Once you find ginger creeping into your cooking, you will be surprised at the subtle way it has of incorporating itself into more and more of your culinary repertoire.

Ginger is yet another spice whose existence has made itself known since man’s earliest recorded history. Ginger was often sought for its healing values and is mentioned in the Aryurveda, the Hindu manual of the science of medicine, written in the fifth century BC. The Koran also mentions ginger in 76:15-17: “Round amongst them [the righteous in Paradise] are passed vessels of silver and goblets of glass ... a cup, the admixture of which is ginger.” In Chinese cooking, ginger commands an almost mystical reverence, based foremost on its strong past in medicinal healing, but also on the spiritual part ginger once played in communication with the gods during early religious ceremonies. In Chinese cuisine, which of course varies with the large expanse of land China covers, it is interesting that ginger plays a major part in the balance of food in almost all parts of the country, serving as a yang (hot) ingredient. If you are familiar with fresh ginger, you know that this is not merely a philosophical description. The Chinese use the balance of harmony, the yin and yang, in all aspects of their life, including cooking. Many yin (cooling) dishes are balanced with the yang of ginger, most often resulting in both a spiritually and nutritionally balanced meal. We seem to unknowingly juxtapose ingredients like this in Western cooking. The fact that the results are similar, without our consciously paying attention in the manner that the Chinese do, probably says something about the overall nature of man’s need for a balance no matter what the individual’s spiritual bent. The Chinese primarily use fresh ginger in their cooking. The two major exceptions are both powdered spice blends: curry (borrowed from the cultures of neighbors to the south of China) and Five Spice powder (a very tasty spice mixture frequently used in Chinese cooking); both use powdered ginger. Around 5,000 years ago when spice caravans left India for the Middle East, ginger in its fresh form would not last throughout the long trip. It was dried after picking, and then sent to Arab and Persian cultures, where ginger was used primarily as a spice. Although initially these Middle Eastern cultures used dried ginger because it was the only form available, today one still finds that dried ginger is preferred in Middle Eastern cooking. The dried spice can be stored indefinitely. When needed, simply soak for one hour to rehydrate, and use as if fresh. This rehydrated ginger can be grated into a paste, or you can grate the dry root to get the type of ginger powder necessary for your baking needs. The majority of ginger imported into this country comes from Cochin, India but it is inferior in quality to the top grade of Chinese ginger, known as China Number One. Another reason to buy our dried ginger is that you rarely find China number One for sale fresh. There are several Caribbean islands which are reported to have the finest ginger of all, but rarely are we able to import what little they grow into the US due to their large production of ginger ale and ginger beer. Our powdered ginger is ground fresh weekly, as its lemony fresh aroma will attest.

From the intro (written by Natalie J McCarthy) of She Took Her Own Picture..

There are approximately 3.3 billion women in the world, all of whom doubtlessly live a split existence: the person viewed by others, molded according to culture, and created for display to the rest of the world, and the true self, the woman who exists in, of, and for herself. When Laurel Fiszer started posting her photos on flickr.com a few years ago, she certainly did not imagine plunging into an existential debate. Instead, she noticed that female self-portrait photographers were often seen as narcissistic princesses who had to defend their work against an onslaught of criticism—most of which was not directed toward the photograph’s technical merits. When Laurel founded the Female Self Portrait Artists’ Support Group, her primary goal was to create a place online where female photographers could share self-portraits and receive constructive criticism in a supportive, encouraging, and non-judgmental environment.

Since its founding, the Group has grown to include hundreds of women from all over the globe--all of whom share a passion for interpreting, inventing and reinventing themselves through pictures. Despite this commonality, the artists come from different countries and cultures, demonstrate diverse worldviews in their photos, and have distinct artistic motivations. Members of the Group hail from Latin America, Europe, North America, Oceania, and the Caribbean. Some within the Group are professional photographers with an accomplished body of work; others only recently picked up a camera and are working out their own sense of focus, light, and composition. Moreover, not every artist is catapulted into self-portraiture for the same reason. Many do it for lack of other models. Other women appreciate the creative control that self-portraiture affords them, and some embark on a self-portrait series as a form of therapy, self-discovery, or self-empowerment. Still more women photograph themselves as a feminist statement; for them, self-portraiture is a way of removing themselves from a male-artist/female-object paradigm. These cultural, geographic, and artistic differences do more than add to the diversity of the Group; they more importantly highlight the diversity and complexity of all women, not just photographers, and not just women with access to computers, internet connections, and digital cameras. The Group’s photographic campaigns about women’s issues, such as domestic abuse and mental health, highlight each photographer’s quest to portray not only herself, but also her place within the world’s collective of women.

This overarching female experience is evident in group members’ common need to defend their work. The artists in this collection have stood up against all-too-common misconceptions of self-portraiture: Only an egomaniac would photograph themselves! You’re so self-absorbed! On the other side of the critical spectrum, female self-portrait artists often hear that photos of pretty girls are not art; rather, they are magazine ads, fashion spreads, pornography or eye candy. These criticisms present female self-portrait artists with an exciting and powerful opportunity: the chance to categorically refute antiquated notions of the woman’s role as an art object, and to create a new, empowered vision of the female model.

She Took Her Own Picture is certainly constructed upon this feminist foundation. However, while this book brings to light women’s own empowered visions of self, it also presents a collection of first-rate photography. At the end of the day, the Female Self Portrait Artists’ Support Group is a collective of women photographers who strengthen their friendship by sharing inspired, artistic, and well-executed photographs. With She Took Her Own Picture they bring you into their circle of friends and share their art with you.

This is not the front cover, this is merely an advertisement, a little sampler of what you will see in the finished product. Stay tuned.

Existence has been variously defined by sources. In common usage, it is the world one is aware or conscious of through one's senses, and that persists independently in one's absence. Other definitions describe it as everything that 'is', or more simply, everything. Some define it to be everything that most people believe in. Aristotle relates the concept to causality.

inspired by @mariesoaerial shot "plier"

"A arte é essencialmente a afirmação, a dádiva e a deidificação da existência."

-- Friedrich Nietzsche

----

“Art is essentially the affirmation, the blessing, and the deification of existence”

-- Friedrich Nietzsche

Canon F-1 + NFD1.2/50 + Agfa vista plus 100

8/14/2013

Return to Forever is a jazz fusion group founded and led by keyboardist Chick Corea. Through its existence, the band has cycled through a number of different members, with the only consistent band mate of Corea's being bassist Stanley Clarke. However in 1972, after having become a disciple of Scientology, Corea decided that he wanted to better ;communicate; with the audience. This essentially translated into his performing a more popularly accessible style of music, since avant-garde jazz enjoyed a relatively small audience.

First group (1972-1973) The first edition of Return to Forever performed primarily Latin-oriented music. Clarke himself became involved in Scientology through Corea, but eventually left the sect in the early 1980s.

Their first album, titled simply Return to Forever, was recorded for ECM Records in 1972 and was initially released only in Europe. Their second album, Light as a Feather (1973), was released by Polydor and included the song, Spain, which also became quite well-known.

Jazz rock era (1973-1976) guitarist Bill Connors, drummer Steve Gadd and percussionist Mingo Lewis were added.. Lenny White (who had played with Corea in Miles Davis's band) then replaced Gadd and Lewis on drums and percussion, and the group's third album, Hymn of the Seventh Galaxy (1973), was then rerecorded.

The nature of the group's music had by now completely changed into jazz-rock, Their music was still relatively melodic, relying on strong themes, but the traditional jazz element was by this time almost entirely absent- replaced by a more direct, rock oriented approach. Over-driven, distorted guitar had also become prominent in the band's new sound, and Clarke had by then switched almost completely to electric bass guitar. A replacement on vocals was not hired, and all the songs were now instrumentals. This change did not lead to a decrease in the band's commercial fortunes however, Return to Forever's jazz rock albums instead found their way onto US pop album charts.

While their second jazz rock album, Where Have I Known You Before, (1974) was similar in style to its immediate predecessor, Corea now played synthesizers in addition to electric keyboards (including piano), and Clarke's playing had evolved considerably- now using flange and fuzz-tone effects, and with his now signature style beginning to emerge. the then 19-year-old guitar prodigy Al Di Meola, who had also played on the album recording sessions joined.

Their following album, No Mystery (1975), was recorded with the same line-up as "Where Have I Known You Before", but the style of music had become more varied. The first side of the record consisted primarily of jazz-funk, while the second side featured Corea's acoustic title track and a long composition with a strong Spanish influence. On this and the following album, each member of the group composed at least one of the tracks. No Mystery went on to win the Grammy Award for Best Jazz Performance by a Group.

The final album by this longest-lasting lineup of the group was Romantic Warrior (1976), which had by this time left Polydor for Columbia Records. This album would go on to become the best selling of all Return to Forever's efforts, eventually reaching gold disc status. Romantic Warrior continued their experiments in the realms of jazz-rock and related musical genres, and was lauded by critics for both the technically demanding style of its compositions as well as for its accomplished musicianship.

After the release of Romantic Warrior and Return To Forever's subsequent tour in support (as well as having in addition signed a multi-million dollar contract with CBS), Corea shocked Clarke by deciding to change the lineup of the group and to not include either White or Di Meola

Final album (1977)

The final incarnation of Return to Forever featured a four piece horn section and Corea's wife Gayle singing vocals, but recorded only one studio album, Musicmagic (1977).After Musicmagic, Chick Corea officially disbanded the group.

Reunion (2008) The classic Return to Forever line-up of Corea, Clarke, White, and Di Meola reunited for a tour of the United States that began in the summer of 2008. 2011 tour From February 2011, the group commences a world tour in Australia. The line-up, billed as Return to Forever IV, is Chick Corea, Stanley Clarke, Lenny White, Frank Gambale and Jean-Luc Ponty.

First group (1972-1973) The first edition of Return to Forever performed primarily Latin-oriented music. This initial band consisted of singer (and occasional percussionist) Flora Purim, her husband Airto Moreira on drums and percussion, Corea's longtime musical co-worker Joe Farrell on saxophone and flute, and the young Stanley Clarke on bass. Within this first line-up in particular, Clarke played acoustic double bass in addition to electric bass. Corea's electric piano formed the basis of this group's sound, but Clarke and Farrell were given ample solo space themselves. While Purim's vocals lent some commercial appeal to the music, many of their compositions were also instrumental and somewhat experimental in nature. The music was composed by Corea with the exception of the title track of the second album which was written by Stanley Clarke. Lyrics were often written by Corea's friend Neville Potter, and were quite often scientology themed- though this is not readily apparent to those not involved in Scientology itself. Clarke himself became involved in Scientology through Corea, but eventually left the sect in the early 1980s.

Their first album, titled simply Return to Forever, was recorded for ECM Records in 1972 and was initially released only in Europe. Their second album, Light as a Feather (1973), was released by Polydor and included the song, Spain, which also became quite well-known.

Jazz rock era (1973-1976) guitarist Bill Connors, drummer Steve Gadd and percussionist Mingo Lewis were added. However, Gadd was unwilling to tour with the band and risk his job as an in-demand session drummer. Lenny White (who had played with Corea in Miles Davis's band) replaced Gadd and Lewis on drums and percussion, and the group's third album, Hymn of the Seventh Galaxy (1973), was then rerecorded (the first recording, featuring Gadd on drums, was never released and has since disappeared).

The nature of the group's music had by now completely changed into jazz-rock, Their music was still relatively melodic, relying on strong themes, but the traditional jazz element was by this time almost entirely absent- replaced by a more direct, rock oriented approach. Over-driven, distorted guitar had also become prominent in the band's new sound, and Clarke had by then switched almost completely to electric bass guitar. A replacement on vocals was not hired, and all the songs were now instrumentals. This change did not lead to a decrease in the band's commercial fortunes however, Return to Forever's jazz rock albums instead found their way onto US pop album charts.

While their second jazz rock album, Where Have I Known You Before, (1974) was similar in style to its immediate predecessor, Corea now played synthesizers in addition to electric keyboards (including piano), and Clarke's playing had evolved considerably- now using flange and fuzz-tone effects, and with his now signature style beginning to emerge. After Bill Connors left the band to concentrate on his solo career, the group also hired new guitarists. Although Earl Klugh played guitar for some of the group's live performances, he was soon replaced by the then 19-year-old guitar prodigy Al Di Meola, who had also played on the album recording sessions.

Their following album, No Mystery (1975), was recorded with the same line-up as "Where Have I Known You Before", but the style of music had become more varied. The first side of the record consisted primarily of jazz-funk, while the second side featured Corea's acoustic title track and a long composition with a strong Spanish influence. On this and the following album, each member of the group composed at least one of the tracks. No Mystery went on to win the Grammy Award for Best Jazz Performance by a Group.

The final album by this longest-lasting "classic" lineup of the group was Romantic Warrior (1976), which had by this time left Polydor for Columbia Records. This album would go on to become the best selling of all Return to Forever's efforts, eventually reaching gold disc status. "Romantic Warrior" continued their experiments in the realms of jazz-rock and related musical genres, and was lauded by critics for both the technically demanding style of its compositions as well as for its accomplished musicianship.

After the release of Romantic Warrior and Return To Forever's subsequent tour in support (as well as having in addition signed a multi-million dollar contract with CBS), Corea shocked Clarke by deciding to change the lineup of the group and to not include either White or Di Meola

Final album (1977)

The final incarnation of Return to Forever featured a four piece horn section and Corea's wife Gayle singing vocals, but recorded only one studio album, Musicmagic (1977).After Musicmagic, Chick Corea officially disbanded the group.

Reunion (2008)

The classic Return to Forever line-up of Corea, Clarke, White, and Di Meola reunited for a tour of the United States that began in the summer of 2008. 2011 tour

From February 2011, the group commences a world tour in Australia. The line-up, billed as Return to Forever IV, is Chick Corea, Stanley Clarke, Lenny White, Frank Gambale and Jean-Luc Ponty

Where does one find the courage ?

to lean on broken dreams

How does one see more clearly ?

than the things that he has seen

more dark than most of them know

always with non belief

yet knowing all the while

that the valley held

more secrets

behind it's deep dark sheaf

but reddish dawn loomed

and drove the dark away

we thanked the rising sun

for holding back the gloom

smelled the wet grass

clean air and heard the birds

A new day was arriving

and if you were feeling well

it boded happiness.

Return to Forever is a jazz fusion group founded and led by keyboardist Chick Corea. Through its existence, the band has cycled through a number of different members, with the only consistent band mate of Corea's being bassist Stanley Clarke. However in 1972, after having become a disciple of Scientology, Corea decided that he wanted to better ;communicate; with the audience. This essentially translated into his performing a more popularly accessible style of music, since avant-garde jazz enjoyed a relatively small audience.

First group (1972-1973) The first edition of Return to Forever performed primarily Latin-oriented music. Clarke himself became involved in Scientology through Corea, but eventually left the sect in the early 1980s.

Their first album, titled simply Return to Forever, was recorded for ECM Records in 1972 and was initially released only in Europe. Their second album, Light as a Feather (1973), was released by Polydor and included the song, Spain, which also became quite well-known.

Jazz rock era (1973-1976) guitarist Bill Connors, drummer Steve Gadd and percussionist Mingo Lewis were added.. Lenny White (who had played with Corea in Miles Davis's band) then replaced Gadd and Lewis on drums and percussion, and the group's third album, Hymn of the Seventh Galaxy (1973), was then rerecorded.

The nature of the group's music had by now completely changed into jazz-rock, Their music was still relatively melodic, relying on strong themes, but the traditional jazz element was by this time almost entirely absent- replaced by a more direct, rock oriented approach. Over-driven, distorted guitar had also become prominent in the band's new sound, and Clarke had by then switched almost completely to electric bass guitar. A replacement on vocals was not hired, and all the songs were now instrumentals. This change did not lead to a decrease in the band's commercial fortunes however, Return to Forever's jazz rock albums instead found their way onto US pop album charts.

While their second jazz rock album, Where Have I Known You Before, (1974) was similar in style to its immediate predecessor, Corea now played synthesizers in addition to electric keyboards (including piano), and Clarke's playing had evolved considerably- now using flange and fuzz-tone effects, and with his now signature style beginning to emerge. the then 19-year-old guitar prodigy Al Di Meola, who had also played on the album recording sessions joined.

Their following album, No Mystery (1975), was recorded with the same line-up as "Where Have I Known You Before", but the style of music had become more varied. The first side of the record consisted primarily of jazz-funk, while the second side featured Corea's acoustic title track and a long composition with a strong Spanish influence. On this and the following album, each member of the group composed at least one of the tracks. No Mystery went on to win the Grammy Award for Best Jazz Performance by a Group.

The final album by this longest-lasting lineup of the group was Romantic Warrior (1976), which had by this time left Polydor for Columbia Records. This album would go on to become the best selling of all Return to Forever's efforts, eventually reaching gold disc status. Romantic Warrior continued their experiments in the realms of jazz-rock and related musical genres, and was lauded by critics for both the technically demanding style of its compositions as well as for its accomplished musicianship.

After the release of Romantic Warrior and Return To Forever's subsequent tour in support (as well as having in addition signed a multi-million dollar contract with CBS), Corea shocked Clarke by deciding to change the lineup of the group and to not include either White or Di Meola

Final album (1977)

The final incarnation of Return to Forever featured a four piece horn section and Corea's wife Gayle singing vocals, but recorded only one studio album, Musicmagic (1977).After Musicmagic, Chick Corea officially disbanded the group.

Reunion (2008) The classic Return to Forever line-up of Corea, Clarke, White, and Di Meola reunited for a tour of the United States that began in the summer of 2008. 2011 tour From February 2011, the group commences a world tour in Australia. The line-up, billed as Return to Forever IV, is Chick Corea, Stanley Clarke, Lenny White, Frank Gambale and Jean-Luc Ponty.

First group (1972-1973) The first edition of Return to Forever performed primarily Latin-oriented music. This initial band consisted of singer (and occasional percussionist) Flora Purim, her husband Airto Moreira on drums and percussion, Corea's longtime musical co-worker Joe Farrell on saxophone and flute, and the young Stanley Clarke on bass. Within this first line-up in particular, Clarke played acoustic double bass in addition to electric bass. Corea's electric piano formed the basis of this group's sound, but Clarke and Farrell were given ample solo space themselves. While Purim's vocals lent some commercial appeal to the music, many of their compositions were also instrumental and somewhat experimental in nature. The music was composed by Corea with the exception of the title track of the second album which was written by Stanley Clarke. Lyrics were often written by Corea's friend Neville Potter, and were quite often scientology themed- though this is not readily apparent to those not involved in Scientology itself. Clarke himself became involved in Scientology through Corea, but eventually left the sect in the early 1980s.

Their first album, titled simply Return to Forever, was recorded for ECM Records in 1972 and was initially released only in Europe. Their second album, Light as a Feather (1973), was released by Polydor and included the song, Spain, which also became quite well-known.

Jazz rock era (1973-1976) guitarist Bill Connors, drummer Steve Gadd and percussionist Mingo Lewis were added. However, Gadd was unwilling to tour with the band and risk his job as an in-demand session drummer. Lenny White (who had played with Corea in Miles Davis's band) replaced Gadd and Lewis on drums and percussion, and the group's third album, Hymn of the Seventh Galaxy (1973), was then rerecorded (the first recording, featuring Gadd on drums, was never released and has since disappeared).

The nature of the group's music had by now completely changed into jazz-rock, Their music was still relatively melodic, relying on strong themes, but the traditional jazz element was by this time almost entirely absent- replaced by a more direct, rock oriented approach. Over-driven, distorted guitar had also become prominent in the band's new sound, and Clarke had by then switched almost completely to electric bass guitar. A replacement on vocals was not hired, and all the songs were now instrumentals. This change did not lead to a decrease in the band's commercial fortunes however, Return to Forever's jazz rock albums instead found their way onto US pop album charts.

While their second jazz rock album, Where Have I Known You Before, (1974) was similar in style to its immediate predecessor, Corea now played synthesizers in addition to electric keyboards (including piano), and Clarke's playing had evolved considerably- now using flange and fuzz-tone effects, and with his now signature style beginning to emerge. After Bill Connors left the band to concentrate on his solo career, the group also hired new guitarists. Although Earl Klugh played guitar for some of the group's live performances, he was soon replaced by the then 19-year-old guitar prodigy Al Di Meola, who had also played on the album recording sessions.

Their following album, No Mystery (1975), was recorded with the same line-up as "Where Have I Known You Before", but the style of music had become more varied. The first side of the record consisted primarily of jazz-funk, while the second side featured Corea's acoustic title track and a long composition with a strong Spanish influence. On this and the following album, each member of the group composed at least one of the tracks. No Mystery went on to win the Grammy Award for Best Jazz Performance by a Group.

The final album by this longest-lasting "classic" lineup of the group was Romantic Warrior (1976), which had by this time left Polydor for Columbia Records. This album would go on to become the best selling of all Return to Forever's efforts, eventually reaching gold disc status. "Romantic Warrior" continued their experiments in the realms of jazz-rock and related musical genres, and was lauded by critics for both the technically demanding style of its compositions as well as for its accomplished musicianship.

After the release of Romantic Warrior and Return To Forever's subsequent tour in support (as well as having in addition signed a multi-million dollar contract with CBS), Corea shocked Clarke by deciding to change the lineup of the group and to not include either White or Di Meola

Final album (1977)

The final incarnation of Return to Forever featured a four piece horn section and Corea's wife Gayle singing vocals, but recorded only one studio album, Musicmagic (1977).After Musicmagic, Chick Corea officially disbanded the group.

Reunion (2008)

The classic Return to Forever line-up of Corea, Clarke, White, and Di Meola reunited for a tour of the United States that began in the summer of 2008. 2011 tour

From February 2011, the group commences a world tour in Australia. The line-up, billed as Return to Forever IV, is Chick Corea, Stanley Clarke, Lenny White, Frank Gambale and Jean-Luc Ponty

Made using Stable Diffusion. I'm using Stable Diffusion to make conceptual illustrations for a grimoire of digital Platonic paganism. You can download it as a free PDF here: ericsteinhart.com/paganism/paganism-home.html

Return to Forever is a jazz fusion group founded and led by keyboardist Chick Corea. Through its existence, the band has cycled through a number of different members, with the only consistent band mate of Corea's being bassist Stanley Clarke. However in 1972, after having become a disciple of Scientology, Corea decided that he wanted to better ;communicate; with the audience. This essentially translated into his performing a more popularly accessible style of music, since avant-garde jazz enjoyed a relatively small audience.

First group (1972-1973) The first edition of Return to Forever performed primarily Latin-oriented music. Clarke himself became involved in Scientology through Corea, but eventually left the sect in the early 1980s.

Their first album, titled simply Return to Forever, was recorded for ECM Records in 1972 and was initially released only in Europe. Their second album, Light as a Feather (1973), was released by Polydor and included the song, Spain, which also became quite well-known.

Jazz rock era (1973-1976) guitarist Bill Connors, drummer Steve Gadd and percussionist Mingo Lewis were added.. Lenny White (who had played with Corea in Miles Davis's band) then replaced Gadd and Lewis on drums and percussion, and the group's third album, Hymn of the Seventh Galaxy (1973), was then rerecorded.

The nature of the group's music had by now completely changed into jazz-rock, Their music was still relatively melodic, relying on strong themes, but the traditional jazz element was by this time almost entirely absent- replaced by a more direct, rock oriented approach. Over-driven, distorted guitar had also become prominent in the band's new sound, and Clarke had by then switched almost completely to electric bass guitar. A replacement on vocals was not hired, and all the songs were now instrumentals. This change did not lead to a decrease in the band's commercial fortunes however, Return to Forever's jazz rock albums instead found their way onto US pop album charts.

While their second jazz rock album, Where Have I Known You Before, (1974) was similar in style to its immediate predecessor, Corea now played synthesizers in addition to electric keyboards (including piano), and Clarke's playing had evolved considerably- now using flange and fuzz-tone effects, and with his now signature style beginning to emerge. the then 19-year-old guitar prodigy Al Di Meola, who had also played on the album recording sessions joined.

Their following album, No Mystery (1975), was recorded with the same line-up as "Where Have I Known You Before", but the style of music had become more varied. The first side of the record consisted primarily of jazz-funk, while the second side featured Corea's acoustic title track and a long composition with a strong Spanish influence. On this and the following album, each member of the group composed at least one of the tracks. No Mystery went on to win the Grammy Award for Best Jazz Performance by a Group.

The final album by this longest-lasting lineup of the group was Romantic Warrior (1976), which had by this time left Polydor for Columbia Records. This album would go on to become the best selling of all Return to Forever's efforts, eventually reaching gold disc status. Romantic Warrior continued their experiments in the realms of jazz-rock and related musical genres, and was lauded by critics for both the technically demanding style of its compositions as well as for its accomplished musicianship.

After the release of Romantic Warrior and Return To Forever's subsequent tour in support (as well as having in addition signed a multi-million dollar contract with CBS), Corea shocked Clarke by deciding to change the lineup of the group and to not include either White or Di Meola

Final album (1977)

The final incarnation of Return to Forever featured a four piece horn section and Corea's wife Gayle singing vocals, but recorded only one studio album, Musicmagic (1977).After Musicmagic, Chick Corea officially disbanded the group.

Reunion (2008) The classic Return to Forever line-up of Corea, Clarke, White, and Di Meola reunited for a tour of the United States that began in the summer of 2008. 2011 tour From February 2011, the group commences a world tour in Australia. The line-up, billed as Return to Forever IV, is Chick Corea, Stanley Clarke, Lenny White, Frank Gambale and Jean-Luc Ponty.

First group (1972-1973) The first edition of Return to Forever performed primarily Latin-oriented music. This initial band consisted of singer (and occasional percussionist) Flora Purim, her husband Airto Moreira on drums and percussion, Corea's longtime musical co-worker Joe Farrell on saxophone and flute, and the young Stanley Clarke on bass. Within this first line-up in particular, Clarke played acoustic double bass in addition to electric bass. Corea's electric piano formed the basis of this group's sound, but Clarke and Farrell were given ample solo space themselves. While Purim's vocals lent some commercial appeal to the music, many of their compositions were also instrumental and somewhat experimental in nature. The music was composed by Corea with the exception of the title track of the second album which was written by Stanley Clarke. Lyrics were often written by Corea's friend Neville Potter, and were quite often scientology themed- though this is not readily apparent to those not involved in Scientology itself. Clarke himself became involved in Scientology through Corea, but eventually left the sect in the early 1980s.

Their first album, titled simply Return to Forever, was recorded for ECM Records in 1972 and was initially released only in Europe. Their second album, Light as a Feather (1973), was released by Polydor and included the song, Spain, which also became quite well-known.

Jazz rock era (1973-1976) guitarist Bill Connors, drummer Steve Gadd and percussionist Mingo Lewis were added. However, Gadd was unwilling to tour with the band and risk his job as an in-demand session drummer. Lenny White (who had played with Corea in Miles Davis's band) replaced Gadd and Lewis on drums and percussion, and the group's third album, Hymn of the Seventh Galaxy (1973), was then rerecorded (the first recording, featuring Gadd on drums, was never released and has since disappeared).

The nature of the group's music had by now completely changed into jazz-rock, Their music was still relatively melodic, relying on strong themes, but the traditional jazz element was by this time almost entirely absent- replaced by a more direct, rock oriented approach. Over-driven, distorted guitar had also become prominent in the band's new sound, and Clarke had by then switched almost completely to electric bass guitar. A replacement on vocals was not hired, and all the songs were now instrumentals. This change did not lead to a decrease in the band's commercial fortunes however, Return to Forever's jazz rock albums instead found their way onto US pop album charts.

While their second jazz rock album, Where Have I Known You Before, (1974) was similar in style to its immediate predecessor, Corea now played synthesizers in addition to electric keyboards (including piano), and Clarke's playing had evolved considerably- now using flange and fuzz-tone effects, and with his now signature style beginning to emerge. After Bill Connors left the band to concentrate on his solo career, the group also hired new guitarists. Although Earl Klugh played guitar for some of the group's live performances, he was soon replaced by the then 19-year-old guitar prodigy Al Di Meola, who had also played on the album recording sessions.

Their following album, No Mystery (1975), was recorded with the same line-up as "Where Have I Known You Before", but the style of music had become more varied. The first side of the record consisted primarily of jazz-funk, while the second side featured Corea's acoustic title track and a long composition with a strong Spanish influence. On this and the following album, each member of the group composed at least one of the tracks. No Mystery went on to win the Grammy Award for Best Jazz Performance by a Group.

The final album by this longest-lasting "classic" lineup of the group was Romantic Warrior (1976), which had by this time left Polydor for Columbia Records. This album would go on to become the best selling of all Return to Forever's efforts, eventually reaching gold disc status. "Romantic Warrior" continued their experiments in the realms of jazz-rock and related musical genres, and was lauded by critics for both the technically demanding style of its compositions as well as for its accomplished musicianship.

After the release of Romantic Warrior and Return To Forever's subsequent tour in support (as well as having in addition signed a multi-million dollar contract with CBS), Corea shocked Clarke by deciding to change the lineup of the group and to not include either White or Di Meola

Final album (1977)

The final incarnation of Return to Forever featured a four piece horn section and Corea's wife Gayle singing vocals, but recorded only one studio album, Musicmagic (1977).After Musicmagic, Chick Corea officially disbanded the group.

Reunion (2008)

The classic Return to Forever line-up of Corea, Clarke, White, and Di Meola reunited for a tour of the United States that began in the summer of 2008. 2011 tour

From February 2011, the group commences a world tour in Australia. The line-up, billed as Return to Forever IV, is Chick Corea, Stanley Clarke, Lenny White, Frank Gambale and Jean-Luc Ponty

The tomb of Walter M. Bullock is located in the small burial grounds at St. John's Episcopal Church in Williamsboro, Vance County, North Carolina. This upward pointing finger is carved on the marker and symbolizes, from what I've discovered, the hope of heavenly existence.

The church was built in 1773 and the only colonial church in North Carolina of frame construction. The church has been carefully restored and is maintained well. It is no longer used for services. It's been placed on the National Register of Historic Places--reference number 71000622

This work is licensed under a Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported License

Nessebar (Несебър) is an ancient town with millennia-old history on a romantic rocky peninsula, connected to the mainland via a narrow isthmus. Valuable monuments from all stages of its long existence are preserved here: remnants of fortress walls from Roman times and the Middle Ages, old Byzantine and Bulgarian churches, antique 18th and 19th century houses. The greatest treasure of the town are the numerous churches.

The Old Town is only 850 m long and 350 m wide. During various periods of its existence, it has lost 1/3 of its territory, eaten away by the sea.

Nessebar is the historic treasury of Bulgaria and in 1956 it was declared and recognized as museum city – archaeological and architectural reservation.

Today the old part of the town is an attractive place for romantic walks along the narrow cobbled streets, among the little shops offering hand crafted souvenirs – pottery, crocheting, and jewelry. The wonderful ancient ambiance is the background for an unforgettable holiday opportunity.

www.visitnessebar.org/nessebar.php

The Holiday House Geographic, is among the most desirable vintage travel trailers in the world. One of only two currently known to be in existence, the body of this trailer was designed by world renowned industrial engineer, Chuck Pelly, designer of the Scarab race car and founder of Designworks USA, which is BMW's California Studio.

David Holmes, President of "Harry & David" fruit company, began producing the Holiday House travel trailers in November of 1959, in Medford, Oregon. These were aluminum and wood constructed trailers as many of their counterparts of this era, however, the Holiday House trailers stood out as distinctive due to their highly progressive and futuristic design.

In 1958 David Holmes enlisted Chuck Pelly to design the Geographic model, also known as Model X, as a super limited production model, which he dubbed the "Trailer For The Rich". The styling was unlike any trailer of it's time. There are thought to have only been parts of 7 of these strikingly futuristic fiberglass trailers ever made with a price tag of almost $8,500. The Holiday House factory burned down in 1962, and the molds that survived were discarded years later.

This 1961 Holiday House Geographic has been completely restored from the frame up with no expense spared, by Flyte Camp, in Bend, OR.

This trailer would make a wonderful addition to any collection, and is fully equipped as a modern luxury travel trailer.

The Holiday House Geographic Serial Number 007:

The exterior was tastefully re-finished with Axalta finishing systems and coatings, in a two-toned champagne and moss green with bronze colored pin-stripping. The entire running system was upgraded with new axels, brakes, wheels, and 10-ply Diamond Back white wall trailer tires. The exterior is completed with a vintage style fabric awning.

The interior features Black Walnut wall skin, cabinetry and black walnut hard wood flooring with custom aluminum detailing. The bathroom/dressing room features Marmoleum flooring, Walnut & Marmoleum countertops and a Stainless Steel shower with a Teak hardwood shower floor insert. Through out the coach original vintage light sconces are combined with LED lighting. Warm LED strip lighting accents the cabinetry, with lighting in cabinet, under cabinet and along the floor in the living area. The kitchen is outfitted with a stainless two burner cook top, a two drawer stainless 3-way fridge, and a stainless sink with a built-in drain board. Stainless kitchen countertops, and luxury upholstery fabric, in moss, accented with high end custom pleated and lined drapery complete the interior finishes. Behind the scenes an LP on-demand hot water heater provides a steady flow of limitless hot water. Off grid the water holding system is made up of a 35 gallon fresh water tank, a 35 gallon black water tank and 40 gallon grey water holding. The 2000 watt Go Power! inverter system is powered by 4 Trojan 6-volt AGM batteries, and is solar capable. There are both 110 outlets, and 12 volt ports throughout the trailer. The A/V system includes a 32” TV, surround sound and a DVD/Bluetooth stereo system. The Air-conditioning system has a heat pump and is tastefully concealed under the front couch. The front L shaped sofa, is 30” deep with pillows removed and can comfortably sleep two. The gaucho couch also extends to sleep two. There is ample storage, with full extension drawers. Aluminum trim and detailing has been added to the bottom of the cabinetry. No detail has been overlooked including the stainless steel front door threshold which has been laser etched with "Geographic".

The icing on the cake was having Chuck Pelly attended the Palm Springs Modernism event in February of this year to see the completed Geographic, and he added his personal signature to the trailer both inside and out!

This may be the only opportunity to own this priceless piece of history. Please contact Flyte Camp with any questions, and for additional detail photos if desired. We accept payment by Cashiers Check if the check is drawn off of an Institution with a Branch in Bend, Oregon. Otherwise, we accept wire transfer. Please let us know if you have any questions regarding payment, or to schedule pickup. Buyer is responsible for all shipping arrangements. Trailer should be picked up within 30 days of auction end. Contact us if you are an international buyer.

Media:

This trailer will be featured on the official 2018 Hot August Nights poster. Hot August Nights is the largest collectable car show in the US, being held August 7-12th, 2018 in Reno, NV.

The Geo was featured on the cover of the June 2018 edition of Vintage Camper Trailers Magazine. The Geographic took the trophy for Best of Modernism at the 2018 Palm Springs Modernism Vintage Travel Trailer Show, and Best Mobile Mansion at the Pismo Coast Rally in May of 2018. The trailer has also been filmed for an upcoming episode of Extreme RVs on the Travel Channel. Please check out footage of the build on the Flyte Camp YouTube Channel.

Photos curtesy of Hal Thomas Photography, Tim Cash of Far From Earth Films, and Anna Scribner of Flyte Camp, LLC.

Credit: Flyte Camp

Source: eBay

There was neither non-existence nor existence then.

There was neither the realm of space nor the sky which is beyond.

What stirred?

Where?

In whose protection?

Was there water, a bottomless sea?

Who really knows?

Who will here proclaim it?

Whence was it produced?

Whence is this creation?

The gods came afterwards, with the creation of this universe.

Who then knows whence it has arisen?

Whence this creation has arisen

perhaps it formed itself, or perhaps it did not

the One who looks down on it,

in the highest heaven, only He knows

or perhaps He does not know.

Rig Veda

Circa 2000 BC

Translation by Wendy Doniger O'Flaherty

This shot was taken by holding a shaving mirror under a tap with the water droplets falling almost parallel to the mirror and just playing around with the flash at fast exposures.

With all the cleavage enhancers coming out, I figured it was due time to make something to show them off. Hoodie comes in 20 different colours and is now available at the BOOM main store on Existence.

Other info to come but basically.....Pants and hoodie from BOOM, Skin, Gen 5 from Aden and hair from Truth. cleavage enhancer by Ayumi and pose by SMP.

State of the Vatican City, is a landlocked sovereign city-state whose territory consists of a walled enclave within the city of Rome, the capital city of Italy. It has an area of approximately 44 hectares (110 acres) (0.44 km2), and a population of just over 800.[5][12]

Vatican City is a city-state that came into existence in 1929. It is distinct from the Holy See, which dates back to early Christianity and is the main episcopal see of 1.147 billion Latin and Eastern Catholic adherents around the globe. Ordinances of Vatican City are published in Italian; official documents of the Holy See are issued mainly in Latin. The two entities even have distinct passports: the Holy See, not being a country, only issues diplomatic and service passports; the state of Vatican City issues normal passports. In both cases the passports issued are very few.

The Lateran Treaty in 1929, which brought the city-state into existence, spoke of it as a new creation (Preamble and Article III), not as a vestige of the much larger Papal States (756-1870) that had previously encompassed central Italy. Most of this territory was absorbed into the Kingdom of Italy in 1860, and the final portion, namely the city of Rome with a small area close to it, ten years later, in 1870.

Vatican City is an ecclesiastical or sacerdotal-monarchical state, ruled by the bishop of Rome—the Pope. The highest state functionaries are all Catholic clergymen of various nationalities. It is the sovereign territory of the Holy See (Sancta Sedes) and the location of the Pope's residence, referred to as the Apostolic Palace.

The Popes have resided in the area that in 1929 became Vatican City since the return from Avignon in 1377. Previously, they resided in the Lateran Palace on the Caelian Hill on the opposite side of Rome, which site Constantine gave to Pope Miltiades in 313. The signing of the agreements that established the new state took place in the latter building, giving rise to the name of Lateran Pacts, by which they are known.

The name "Vatican" is ancient and predates Christianity, coming from the Latin Mons Vaticanus, meaning Vatican Mount. The territory of Vatican City is part of the Mons Vaticanus, and of the adjacent former Vatican Fields where St. Peter's Basilica, the Apostolic Palace, the Sistine Chapel, and museums were built, along with various other buildings. The area was part of the Roman rione of Borgo until 1929. Being separated from the city, on the west bank of the Tiber river, the area was an outcrop of the city that was protected by being included within the walls of Leo IV (847–55), and later expanded by the current fortification walls, built under Paul III (1534–49), Pius IV (1559–65) and Urban VIII (1623–44). When the Lateran Treaty of 1929 that gave the state its present form was being prepared, the boundaries of the proposed territory were influenced by the fact that much of it was all but enclosed by this loop. For some tracts of the frontier, there was no wall, but the line of certain buildings supplied part of the boundary, and for a small part of the frontier a modern wall was constructed. The territory includes St. Peter's Square, distinguished from the territory of Italy only by a white line along the limit of the square, where it touches Piazza Pio XII. St. Peter's Square is reached through the Via della Conciliazione which runs from the Tiber River to St. Peter's. This grand approach was constructed by Benito Mussolini after the conclusion of the Lateran Treaty.

According to the Lateran Treaty, certain properties of the Holy See that are located in Italian territory, most notably Castel Gandolfo and the major basilicas, enjoy extraterritorial status similar to that of foreign embassies. These properties, scattered all over Rome and Italy, house essential offices and institutions necessary to the character and mission of the Holy See.

Castel Gandolfo and the named basilicas are patrolled internally by police agents of Vatican City State and not by Italian police. St. Peter's Square is ordinarily policed jointly by both.

In this originally uninhabited area (the ager vaticanus) on the opposite side of the Tiber from the city of Rome, Agrippina the Elder (14 BC – 18 October AD 33) drained the hill and environs and built her gardens in the early 1st century AD. Emperor Caligula (37-41) started construction of a circus (AD 40) that was later completed by Nero, the Circus Gaii et Neronis, usually called, simply, the Circus of Nero. The Vatican obelisk was originally taken by Caligula from Heliopolis, Egypt to decorate the spina of his circus and is thus its last visible remnant. This area became the site of martyrdom of many Christians after the Great Fire of Rome in AD 64. Ancient tradition holds that it was in this circus that Saint Peter was crucified upside down. Opposite the circus was a cemetery separated by the Via Cornelia. Funeral monuments and mausoleums and small tombs as well as altars to pagan gods of all kinds of polytheistic religions were constructed lasting until before the construction of the Constantinian Basilica of St. Peter's in the first half of the 4th century. Remains of this ancient necropolis were brought to light sporadically during renovations by various popes throughout the centuries increasing in frequency during the Renaissance until it was systematically excavated by orders of Pope Pius XII from 1939 to 1941.

In 326, the first church, the Constantinian basilica, was built over the site that early Roman Catholic apologists (from the first century on) as well as noted Italian archaeologists argue was the tomb of Saint Peter, buried in a common cemetery on the spot. From then on the area started to become more populated, but mostly only by dwelling houses connected with the activity of St. Peter's. A palace was constructed near the site of the basilica as early as the 5th century during the pontificate of Pope Symmachus (reigned 498–514)

Popes in their secular role gradually came to govern neighbouring regions and, through the Papal States, ruled a large portion of the Italian peninsula for more than a thousand years until the mid 19th century, when all of the territory of the Papal States was seized by the newly created Kingdom of Italy. For much of this time the Vatican was not the habitual residence of the Popes, but rather the Lateran Palace, and in recent centuries, the Quirinal Palace, while the residence from 1309–77 was at Avignon in France.

In 1870, the Pope's holdings were left in an uncertain situation when Rome itself was annexed by the Piedmont-led forces which had united the rest of Italy, after a nominal resistance by the papal forces. Between 1861 and 1929 the status of the Pope was referred to as the "Roman Question". They were undisturbed in their palace, and given certain recognitions by the Law of Guarantees, including the right to send and receive ambassadors. But they did not recognize the Italian king's right to rule in Rome, and they refused to leave the Vatican compound until the dispute was resolved in 1929. Other states continued to maintain international recognition of the Holy See as a sovereign entity. In practice Italy made no attempt to interfere with the Holy See within the Vatican walls. However, they confiscated church property in many other places, including, perhaps most notably, the Quirinal Palace, formerly the pope's official residence. Pope Pius IX (1846–78), the last ruler of the Papal States, claimed that after Rome was annexed he was a "Prisoner in the Vatican". This situation was resolved on 11 February 1929 between the Holy See and the Kingdom of Italy.

The treaty was signed by Benito Mussolini on behalf of King Victor Emmanuel III and by Cardinal Secretary of State Pietro Gasparri for Pope Pius XI. The Lateran Treaty and the Concordat established the independent State of the Vatican City and granted Roman Catholicism special status in Italy. In 1984, a new concordat between the Holy See and Italy modified certain provisions of the earlier treaty, including the position of Roman Catholicism as the Italian state religion.

STUTTGART - When COVID-19 began its rapid spread around the globe, it brought with it a whole new set of rules to live by. From physical distancing to obsessive hand washing routines, and the new normal of mask wearing, the virus changed our existence in a matter of weeks. But for those in older generations, COVID-19 is not the first time they have had to stay home for fear of spreading dangerous germs.

From 1916 until 1955, late summer was known as Polio Season. Swimming pools would close and movie theaters would spread guests out to avoid close contacts. Special “polio insurance” was sold to protect newborns as one of the most feared viruses in history began its annual spread across the nation.

Back then, the term “Iron Lung” was well known. Nurses patrolled playgrounds, offering cold milk on ice to lure mothers and children in and observe them for symptoms of polio. If any were present, they could take that child away from their parents to be quarantined in a hospital ward.

Dr. Barabara Roper is a clinical pharmacist at the U.S. Army Health Clinic Stuttgart, and a child of the polio era. While she was not old enough at the time to remember the worst of the virus, she recalls the mission to eradicate it once a successful vaccine was developed.

“It was a very interesting time because parents, who didn’t know a lot about it, were bringing their kids in to be immunized. We would take it on a sugar cube,” said Roper. “We had a vaccine but [Polio] was still on the map at that time.”

The polio vaccine was developed in 1955 and by 1962, polio’s presence in the world was reduced by 90 percent. By the end of the decade, the most feared virus of the 20th century was more of a faint memory for most.

“The herd got vaccinated and that was what was beneficial with polio,” said Roper. “Enough people were willing to get vaccinated that they greatly reduced the spread of the virus long enough to get it under control.”

65 years later, the herd is being asked to get immunized again in the fight against COVID-19, and Roper believes strongly in the science behind the mission.

“We know how to make vaccines and we’ve been doing it successfully for a long time now," she explained. “We’re going to put something into the body, that is not live - so you are not going to really get it - but it can still stimulate the immune system to create a response so that if that virus comes again, it says ‘hey I know that and we need to push that out of here.”

Roper also said that despite what many believe to be a quick turnaround, it is common for medicine to hit the market as fast as the COVID-19 vaccines did.

“Drugs get fast-tracked a lot,” she explained. “Especially if we already know a lot about them or we start seeing results that are overwhelmingly positive. They will actually stop a clinical trial in the middle of it when the data is so robust that it says hey go for it, we need to use this."

Katalin Kariko was a scientist at the University of Pennsylvania, who refused to give up on what most in the scientific community deemed a far-fetched idea, Messenger RNA. After nearly a decade of trial and error, and a demotion for a lack of progress on her research, she finally discovered a break-through that would ultimately lead to the development of both Moderna and BioNTech startups - the latter of which would go on to hire Kariko as their Senior Vice President.

Since BioNTech’s start in 2008, and Moderna’s in 2010, the two companies have been experimenting with several uses for mRNA technology, including the concept of custom cancer vaccines. The point, according to Roper, is that the research wasn’t rushed. It began long before the new coronavirus mutated and began infecting humans.

“There’s a lot of people out there already doing research so they already had background information about this through clinical trials,” said Roper. “Thats why they could get to work and come up with a solution so fast. If it were an idea that they had to generate from step one, it would take much longer.”

When the first doses of the Moderna vaccine were offered to health care and emergency services workers at USAG Stuttgart on Dec. 31, 2020, Roper was one of the first in line to take the jab.

“I really, truly believe in it,” she said. “30,000 people received the vaccine in the trials, that’s a lot of people. So, if you look at the number of people that had a very negative outcome, it was not large.”

Despite her confidence, she understands why others may be cautious due to all the sensationalism and misinformation out there. She urges everyone to check their sources and to reach out to their primary care provider or pharmacist to get guidance and answers.

“They can help you determine what's best for you,” she said, adding that pubmed.gov is a credible source where all clinical trials are published.

Despite her pro-vaccination belief, Roper respects every individual’s right to decide what is best for themselves and strives to provide clear, honest guidance to her patients.

“That’s what pharmacists do, we talk about side effects and give you all the information so you’re well prepared,” she said. “Because we don’t want people to be frightened when anything they weren’t expecting happens.”

Some of the side effects of the COVID-19 vaccine can be soreness, redness and warmth at the injection site said Roper. She added that a small population reported experiencing flu-like symptoms and felt lousy for a few days and admitted to having a headache herself for a day or two after receiving her first dose.

“You may get a response to it but that’s your body doing its job and now you’re going to be prepared and you can fight it off when it comes again,” said Roper. “Yes, there’s a risk that you could be that person who gets a negative reaction. But that’s why we screen on the immunization forms and we ask questions before you get it.”

As a clinical pharmacist, Roper has a continuously evolving knowledge of more than 5,000 drugs on the market and an understanding of how they interact with each other. She is always reading, researching, and learning, to help patients with conditions like diabetes, high-blood pressure, hypertension and asthma, live healthier lives. Now she hopes to use that knowledge to help those afraid of COVID-19, understand the facts and make an informed decision.

“In 2000, when my daughter was born, the autism scare around vaccines was still a hot topic, and so much of that came of published false information. The aftermath was very negative,” Roper said. “That affected a lot of people, but I had a great provider who answered my questions and gave me the real facts, and that changed the dynamics for me. That’s what I always aim to do. Just provide the facts.”

But in a time when facts are far fewer and speculation runs rampant, Roper said she continues to read the research, study the clinical trials, and learn from history.

“I just come back to what we know. Polio was devastating, I mean, people were in iron lungs. It was really scary. Yet, we all but eradicated it through immunizing the herd,” said Roper. “And now we have to do it again. This is how we protect those who are immunocompromised. At the end of the day, the benefits far outweigh the risks.”

A Gandhi stencil in preparation in my workshop.

flickr.com/groups/constructingcoexistence/

Picture by Olivier Horen :

flickr.com/photos/olivierhoren/

Something of a mistake that ended up being a modest hit. The Jaguar XKSS basically came into existence following Jaguar's withdrawal from Motorsport in 1955, and thus several uncompleted D-Type shells were converted into a road going version of the famous racing car.

The result was the XKSS, which took the original bodyshape of the D-Type and made it roadworthy by removing the large fin from the tail, removal of the divider between passenger and driver seats, a full-width, chrome-surrounded windscreen was added; sidescreens were added to both driver and passenger doors; a rudimentary, folding, fabric roof was added for weather protection; chromed bumpers were added front and rear (a styling cue later used on the E-type); XK140 rear light clusters mounted higher on the wings; and thin chrome strips added to the edge of the front light fairings.

Production began in 1957, but a fire at the Browns Lane plant destroyed 9 of the intended 25 cars, with the result of there being only 16 cars in the world. A majority of these cars ended up in the United States, one being owned by Steve McQueen, whilst another was owned by British Entrepreneur James Hull, who recently sold his car collection of 450 vehicles for £100 million at a 2014 auction, the XKSS reportedly going for £4 million.

This particular car I have been told has a story that brings it back from the edge of death. It was bought originally by a Cuban Playboy and exported to the Caribbean Island, but after the Cuban Revolution of 1959 the car disappeared without a trace.

A couple of years ago an enthusiast, convinced it still existed, went to Cuba to find it, and he did, battered and ruined in a scrapheap beneath a pile of other wrecked cars. After buying its remains he shipped it back here to the UK and went through the painstaking process of rebuilding the car, eventually outshopping the fully restored masterpiece in Jaguar Racing Green. It was sold to JD Classics only a year ago and has since been repainted in its original factory grey.

As I was discussing with the sales representative, if cars could talk, imagine the stories they'd tell!

Worn out I stand,

Resolute but not oblivious to my impending defeat.

Lost, without a trace, like a culture long forgotten, as another brazenly destroys my existence.

"Self-destruction!" I have cried repeatedly, but my shoots no longer crawl up the impervious concrete.

I will wither away hopelessly, an insignificant remnant, no more than a pointless wrinkle in time.

Orange cosmos, キバナコスモス

1. The fact or state of existing; being.

2. The fact or state of continued being; life: our brief existence on Earth.

3.

a. All that exists: sang the beauty of all existence.

b. A thing that exists; an entity.

4. A mode or manner of existing: scratched out a meager existence.

5. Specific presence; occurrence: The Geiger counter indicated the existence of radioactivity.

Synonyms: existence, actuality, being

These nouns denote the fact or state of existing: laws in existence for centuries; an idea progressing from possibility to actuality; a point of view gradually coming into being.

Antonym: nonexistence

Andy Biersack of Black Veil Brides, live at the Best Buy Theater NYC 11.23.14..

Check out the gallery on Music Existence: musicexistence.com/blog/2014/11/25/gallery-black-veil-bri...

Church of the Holy Trinity Gidleigh Devon

"Ghiderleia" (the clearing of Gydda ), in the 1086 Domesday Survey , it was at that time held by Godwin the Priest from the Count of Mortain which indicates there was a church in existence at that time or before in Saxon times.

It was later from the time of Henry ll held by the Prouz / Prous family and the ruins of a Norman castle which was their seat, still survives near the church. www.flickr.com/gp/52219527@N00/6G28Lcw321 This elder branch became extinct in the reign of Edward II when Gidley castle and manor passed with its heiress to the Mules family, and from the Mules in like manner to the Damarell family - William Damarell gave this estate to his daughter, the wife of Walter Coade of Morvall in Cornwall, in whose descendants it continued. Of late years it became the property of Bartholomew Gidley www.flickr.com/gp/52219527@N00/5Yr55JmA46 on whose death in mid 18c the estate passed into the family of Rattery . The manor and advowson was then purchased under a decree of the court of chancery by the Rev. Thomas Whipham, vicar of King's Teignton.

The church was completely rebuilt at the end of the 15c. At that time the building would have had a thatched roof which according to records was re-thatched in 1753. The church underwent some reconstruction in the 1600s, the roof slated in the late 1700s and apart from that very little has been changed,

It now comprises a nave continuous with the chancel under a late 15c / early 16c ceiled wagon roof of Devon oak. The chancel has moulded ribs and purlins with some plain ,maybe 19c replacement) carved bosses. The south aisle roof is the same as the nave. The side aisle on the south side is separated from the nave by a three-bay arcade, supported by granite columns.

The west two stage tower now missing its pinnacles has a peal of 5 bells with the three oldest dating from c1450. which are rung from the floor of the church. Four were recorded in 1864;

Bell 1 – “lebs ois plaudit ut me tam sepius audit,” (The people rejoice the more they hear me).

Bell 2 – “Alexander Vagwell Church Warden T & P Exon 1674

Bell 3 – “Ste toma ora pro nobis,” (St. Thomas pray for us).

Bell 4 – “Est michi collatum ihc istud nomen amatum,” (To me is given Jesus that beloved name).

The 5th "Peace" bell was placed in the 1920s as a thanksgiving after the war.

Sadly by the 1970s the bell frame had become seriously unsafe and to avoid a collapse bell ringing stopped and the bells went silent for the next 20 years. Thanks to a concerted local fund raising effort which was boosted by a grant from the Millennium Commission the bell frame and its bells were restored in 1998. At the same time the tower was cleaned and the early plaster and bitumen lining removed the result of which is now a fine view of the tower’s inside. www.flickr.com/gp/52219527@N00/241k0B9KE8 Like many other churches there was some concern as to the strength of the tower and to ensure its stability an iron band was placed around it in the 1800s carried out by a local blacksmith Tom Hill of Throwleigh which is still visible near the top of the tower, www.flickr.com/gp/52219527@N00/45s9vtW337

Over the centuries the 15c screen has undergone various changes, it is thought that for some reason it was taken down and rebuilt sometime in the 1500s. During this process a large cross was removed from it in accordance with the demands of the Reformation. In 1853 the main section of the screen was repainted at which time the colour scheme was changed from gold, white, red and green to simply red, gold and blue. At that time the lower panels were embellished with transfers depicting various saints. www.flickr.com/gp/52219527@N00/ix72qsz721

The 15c font is topped by a wooden cover made in 1843 by Charles Finch, the parish clerk. www.flickr.com/gp/52219527@N00/F3j9X6PmY6

In 1853, John Aggett carved the granite pulpit and lectern and later the reredos in 1868 which was originally installed in Chagford church.

The chancel has recently undergone a scheme of renovation which included the laying of a new floor which made local headlines. During this work a small stone came loose revealing a late medieval crypt inside which were 2 coffins. After lowering a camera through the gap it was realised that one of the coffins was made of what appeared to be lead and of adult size. The other coffin belonged to a child and was made from oak wood. The photographs also revealed that under the chancel screen was an arched doorway and a set of blocked steps which would have led up into the central aisle. At this point it was decided to take the investigation no further and the loose stone was mortared back in-situ. However as work carried on another and much larger hole appeared due to the weight of the workmen and their wheelbarrows. This time the hole was big enough for a person to get through thus allowing access to the crypt when it was discovered that the supposed coffin was in fact made from galvanised metal not lead. Inside this was another coffin made from oak on which was a brass plate which named the occupant as Aurthur (sic) Whipham who lived from 1810 to 1882 who had in 1844 inherited the manor from his father Thomas who had bought it , and also served as rector. It is thought that the child’s coffin belongs to one of his daughters, possibly Carla who died at the age of five months in 1851, (In 1863 the rector, Arthur Whipham, submitted a petition for divorce from his wife on the grounds of her alleged adultery with Philip Rowe, a farmer's son from Berrydown farm, Gidleigh. They were caught in bed together at the rectory by P.C. James Bird of the Devon constabulary).

The pipe organ sits at the back of the south aisle. It was built by Murdoch, Murdoch and Company of London and comprises 5 stops, www.flickr.com/gp/52219527@N00/6SL23Pnb44

The wall that now stands around the church was built sometime in the 1800s and was built from the recycled stone from the local Poor House - It was erected at the behest of the Rural Dean who was appalled that some of the villagers hung their washing on the tombstones to dry

www.google.co.uk/local/place/fid/0x486c55b97d474123:0x802...

Buryed down, a century to a half since.

Pulled up from the cemetery and placed on gravel with a dozenth of others.

At the end of its usefulness and forgotten.

Captured at the end of the Graveyard of Akureyri, my hometown.

State of the Vatican City, is a landlocked sovereign city-state whose territory consists of a walled enclave within the city of Rome, the capital city of Italy. It has an area of approximately 44 hectares (110 acres) (0.44 km2), and a population of just over 800.[5][12]

Vatican City is a city-state that came into existence in 1929. It is distinct from the Holy See, which dates back to early Christianity and is the main episcopal see of 1.147 billion Latin and Eastern Catholic adherents around the globe. Ordinances of Vatican City are published in Italian; official documents of the Holy See are issued mainly in Latin. The two entities even have distinct passports: the Holy See, not being a country, only issues diplomatic and service passports; the state of Vatican City issues normal passports. In both cases the passports issued are very few.

The Lateran Treaty in 1929, which brought the city-state into existence, spoke of it as a new creation (Preamble and Article III), not as a vestige of the much larger Papal States (756-1870) that had previously encompassed central Italy. Most of this territory was absorbed into the Kingdom of Italy in 1860, and the final portion, namely the city of Rome with a small area close to it, ten years later, in 1870.

Vatican City is an ecclesiastical or sacerdotal-monarchical state, ruled by the bishop of Rome—the Pope. The highest state functionaries are all Catholic clergymen of various nationalities. It is the sovereign territory of the Holy See (Sancta Sedes) and the location of the Pope's residence, referred to as the Apostolic Palace.

The Popes have resided in the area that in 1929 became Vatican City since the return from Avignon in 1377. Previously, they resided in the Lateran Palace on the Caelian Hill on the opposite side of Rome, which site Constantine gave to Pope Miltiades in 313. The signing of the agreements that established the new state took place in the latter building, giving rise to the name of Lateran Pacts, by which they are known.

The name "Vatican" is ancient and predates Christianity, coming from the Latin Mons Vaticanus, meaning Vatican Mount. The territory of Vatican City is part of the Mons Vaticanus, and of the adjacent former Vatican Fields where St. Peter's Basilica, the Apostolic Palace, the Sistine Chapel, and museums were built, along with various other buildings. The area was part of the Roman rione of Borgo until 1929. Being separated from the city, on the west bank of the Tiber river, the area was an outcrop of the city that was protected by being included within the walls of Leo IV (847–55), and later expanded by the current fortification walls, built under Paul III (1534–49), Pius IV (1559–65) and Urban VIII (1623–44). When the Lateran Treaty of 1929 that gave the state its present form was being prepared, the boundaries of the proposed territory were influenced by the fact that much of it was all but enclosed by this loop. For some tracts of the frontier, there was no wall, but the line of certain buildings supplied part of the boundary, and for a small part of the frontier a modern wall was constructed. The territory includes St. Peter's Square, distinguished from the territory of Italy only by a white line along the limit of the square, where it touches Piazza Pio XII. St. Peter's Square is reached through the Via della Conciliazione which runs from the Tiber River to St. Peter's. This grand approach was constructed by Benito Mussolini after the conclusion of the Lateran Treaty.

According to the Lateran Treaty, certain properties of the Holy See that are located in Italian territory, most notably Castel Gandolfo and the major basilicas, enjoy extraterritorial status similar to that of foreign embassies. These properties, scattered all over Rome and Italy, house essential offices and institutions necessary to the character and mission of the Holy See.

Castel Gandolfo and the named basilicas are patrolled internally by police agents of Vatican City State and not by Italian police. St. Peter's Square is ordinarily policed jointly by both.

In this originally uninhabited area (the ager vaticanus) on the opposite side of the Tiber from the city of Rome, Agrippina the Elder (14 BC – 18 October AD 33) drained the hill and environs and built her gardens in the early 1st century AD. Emperor Caligula (37-41) started construction of a circus (AD 40) that was later completed by Nero, the Circus Gaii et Neronis, usually called, simply, the Circus of Nero. The Vatican obelisk was originally taken by Caligula from Heliopolis, Egypt to decorate the spina of his circus and is thus its last visible remnant. This area became the site of martyrdom of many Christians after the Great Fire of Rome in AD 64. Ancient tradition holds that it was in this circus that Saint Peter was crucified upside down. Opposite the circus was a cemetery separated by the Via Cornelia. Funeral monuments and mausoleums and small tombs as well as altars to pagan gods of all kinds of polytheistic religions were constructed lasting until before the construction of the Constantinian Basilica of St. Peter's in the first half of the 4th century. Remains of this ancient necropolis were brought to light sporadically during renovations by various popes throughout the centuries increasing in frequency during the Renaissance until it was systematically excavated by orders of Pope Pius XII from 1939 to 1941.

In 326, the first church, the Constantinian basilica, was built over the site that early Roman Catholic apologists (from the first century on) as well as noted Italian archaeologists argue was the tomb of Saint Peter, buried in a common cemetery on the spot. From then on the area started to become more populated, but mostly only by dwelling houses connected with the activity of St. Peter's. A palace was constructed near the site of the basilica as early as the 5th century during the pontificate of Pope Symmachus (reigned 498–514)

Popes in their secular role gradually came to govern neighbouring regions and, through the Papal States, ruled a large portion of the Italian peninsula for more than a thousand years until the mid 19th century, when all of the territory of the Papal States was seized by the newly created Kingdom of Italy. For much of this time the Vatican was not the habitual residence of the Popes, but rather the Lateran Palace, and in recent centuries, the Quirinal Palace, while the residence from 1309–77 was at Avignon in France.

In 1870, the Pope's holdings were left in an uncertain situation when Rome itself was annexed by the Piedmont-led forces which had united the rest of Italy, after a nominal resistance by the papal forces. Between 1861 and 1929 the status of the Pope was referred to as the "Roman Question". They were undisturbed in their palace, and given certain recognitions by the Law of Guarantees, including the right to send and receive ambassadors. But they did not recognize the Italian king's right to rule in Rome, and they refused to leave the Vatican compound until the dispute was resolved in 1929. Other states continued to maintain international recognition of the Holy See as a sovereign entity. In practice Italy made no attempt to interfere with the Holy See within the Vatican walls. However, they confiscated church property in many other places, including, perhaps most notably, the Quirinal Palace, formerly the pope's official residence. Pope Pius IX (1846–78), the last ruler of the Papal States, claimed that after Rome was annexed he was a "Prisoner in the Vatican". This situation was resolved on 11 February 1929 between the Holy See and the Kingdom of Italy.

The treaty was signed by Benito Mussolini on behalf of King Victor Emmanuel III and by Cardinal Secretary of State Pietro Gasparri for Pope Pius XI. The Lateran Treaty and the Concordat established the independent State of the Vatican City and granted Roman Catholicism special status in Italy. In 1984, a new concordat between the Holy See and Italy modified certain provisions of the earlier treaty, including the position of Roman Catholicism as the Italian state religion.

Lucy: Humans consider themselves unique, so they rooted their whole theory of existence on their uniqueness.

in Luc Besson movie: Lucy

So many people question god's existence he had to send out a memo

from the book

STRATEGIES d'EXISTENCE"

www.colonel.dk

from the book

STRATEGIES d'EXISTENCE" by Thierry Geoffroy / Colonel

www.colonel.dk

ISBN877245456949

Rhodos Publishing h

from the book

STRATEGIES d'EXISTENCE" by Thierry Geoffroy / Colonel

www.colonel.dk

ISBN877245456949

Rhodos Publishing house 1996

The marimba's first documentary evidence of existence comes from an account of a performance in front of the cathedral of Santiago de Guatemala, present-day Antigua Guatemala, in 1680. Later, historian Juan Domingo Juarros mentioned and described it in his Compendium of the History of Guatemala. The instrument however may be probably much older, as an attempt at recreating an older West African instrument, and could have been introduced by Afro-Caribbean slaves as early as 1550. The arch marimba was probably the first, followed by a simple instrument with a diatonic row of wood bars played with mallets, with gourd resonators, placed on a wooden a stand. In 1894 came a major breakthrough, when Julián Paniagua Martínez and Sebastián Hurtado developed the chromatic marimba, by adding to the diatonic row of sound bars, comparable to the white keys of the piano, a second row equivalent to the black keys. By the early 20th century, wooden-box resonators had replaced the gourd resonators. Modern marimba bands include a smaller marimba for three players, a larger marimba for four players, plus a drum kit or other percussion and a string bass. Some bands have occasionally employed one or two saxophones, as well as one or two trumpets and a trombone. Much of the older repertoire of salon music was learned and adopted by the marimba bands, while a sizable amount of new dance pieces was newly composed for the marimba by such composers and marimba players as Domingo Bethancourt (1906–82), the Ovalle brothers, the Hurtado brothers, as well as the famous Mariano Valverde (1884–1956), Wotzbelí Aguilar (1897–1940) and Belarmino Molina (1879–1950), to name but a few. Singer Paco Pérez (1917–1951) was catapulted to fame with his waltz "Luna de Xelajú", one of best-known marimba pieces which is regarded by many Guatemalans as a sort of unofficial national anthem.

Wikipedia