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- Hue, South Vietnam troopers search a truck loaded with fleeing refugees, ostensibly looking for deserting military defenders of the old Imperial capital. Hue seems to have settled back into a semblance of order following the arrival of a new military commander for the region. The mood in Hue now seems to be one of quiet expectation mixed with very cautious optimism, and most of the refugees have already fled. leaving Hue to resemble a ghost town. --- Image by © Bettmann/CORBIS
Pickle waiting for me to throw her toy for her to play with. not good for outdoor photography so took her indoors
Repas post-entraînement. Bonne nuit 😚 #gymlife#fitspo#eatforabs#eatclean#healthy#gymaddict#bodybuilding#allnatural #expectation#determination#fitness #fitnessaddict#lifestyle
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expectation on board. You are allowed to use this image on your website. If you do, please link back to my site as the source: creditscoregeek.com/
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Mike Cohen
St. Aloysius Gonzaga rejected his family's expectation that he would join the military life; instead he decided on the religious life. He made a vow of chastity at the age of 9, and, to safeguard himself from possible temptation, he would keep his eyes persistently downcast in the presence of women.
He got a bit overzealous with self-discipline and self-denial, at one point beating himself with a leather dog leash, but when he joined the Jesuits, his spiritual director, St. Robert Bellarmine straightened him out, giving Aloysius regular hours of prayer and simple acts of self-control.
When the plague struck Rome in January 1591, the Jesuits were sent to work in the hospitals, which was tough for Aloysius since he was naturally squeamish. He overcame this, however, and went into the streets of Rome and carried the ill and the dying to the hospital on his back. Within a few weeks, he got the plague himself and died at the age of 23.
He is usually depicted looking at a crucifix or holding lilies, and sometimes with skull, whip, or crown.
Statue in St. John Cantius Catholic Church in Wilno, MN
Lucio Fontana 'Spatial Concept - Expectation (Concetto Spaziale-Attesa', 1965, Milwaukee Museum of Art, Milwaukee, Wisconsin
A timeless portrait celebrating the beauty and strength of motherhood. The soft studio lighting highlights her serene expression and the graceful curve of her journey to new life. A powerful ode to the miracle of creation.
Such is Muse’s ability at hurdling expectation, ‘The Resistance’’s pre-hype hasn’t revolved around if they’ll top the Wembley Stadium-crushing success of ‘Black Holes And Revelations’, but how. Their career so far has been one stratospheric leap after another; the sub-Radiohead stomp of debut album ‘Showbiz’ offering little insight into the intergalactically stupendous one-two-three of the records that followed – with each, the ambition got bigger, the songs got better and the live shows, well, they featured a bunch of floating ballet dancers. Muse, a band for whom no idea is too over-the-top, have truly established themselves as the most brilliantly thrilling rock band of our times, a hyperbole-worthy Led Zep for the noughties. ‘The Resistance’, though, shows that they’re not entirely infallible, an album that explores ideas they’ve already toyed with rather than introducing new ones.
‘Uprising’, the glorious sound of Marilyn Manson mechanical animalising Battles’ ‘Atlas’, is an apt introduction; much of ‘The Resistance’’s rockier landscape sounds like it’s been shaped by the neo-glam robo-Bowie riffarama of Brian Warner’s bunch. ‘Unnatural Selection’ and ‘MK Ultra’ are both gloriously new-wave, the trio sounding like Freddie Mercury fronting QOTSA on the former and an operatic System Of A Down on the latter, whilst ‘Resistance’ resembles the piano line from ‘Starlight’ being airlifted into the middle of ‘Where The Streets Have No Name’ – and that’s before its prurient howl of a chorus truly takes off. There are a few missteps, though; ‘Undisclosed Desires’ – did Matt Bellamy get that title from an episode of Red Shoe Diaries? – sounds like Bowie’s ‘China Girl’ bump’n’grinding with, umm, The Backstreet Boys, whilst the bouncealong piano psyche-pop of ‘I Belong To You’ jars in its contrived simplicity.
The album’s climactic opus – to give them their full names, ‘Exogenesis: Symphony Part I (Overture)’, ‘Exogenesis: Symphony Part II (Cross Pollination)’ and ‘Exogenesis: Symphony Part III (Redemption)’ – is a work of true greatness, an ebb and flow of strings building slowly around the three-piece until it overshadows them, Muse’s grandiose virtuosity holding its own against an orchestral tidal wave until it ends with one of their warmest, most human moments yet. Yep, at this point, it’s hard to remember that only six tracks before this, they sounded like The Backstreet Boys – ‘Exogenesis…’ is a streak of utter brilliance across ‘The Resistance’’s beguiling, inconsistent sky, an album that shows not that Muse have run out of ideas, but maybe that they have too many to know what to do with them all.
Niall Doherty
There are places where the reasonable expectation of personal space which your average American accepts, shrinks drastically.
Elevators are obvious places. But, what about wide open spaces?
How close can one approach a photographic subject, while they remain unaware and are simply carrying through with their habits?
We have expectations of privacy that are varied and staggered, but one thing that's absolute is that there are more photographic devices in the world than ever before.
Instead of studying a character from afar, for example with a telephoto lens, as if they are wildlife, what intimacy can you capture at a range normally not accepted, or even expected?
I am in your space.
There are places where the reasonable expectation of personal space which your average American accepts, shrinks drastically.
Elevators are obvious places. But, what about wide open spaces?
How close can one approach a photographic subject, while they remain unaware and are simply carrying through with their habits?
We have expectations of privacy that are varied and staggered, but one thing that's absolute is that there are more photographic devices in the world than ever before.
Instead of studying a character from afar, for example with a telephoto lens, as if they are wildlife, what intimacy can you capture at a range normally not accepted, or even expected?
From "Yo, you like music?"
To "What's your phone number, ladies?" in only two minutes.
And they give it to him...
I am in your space.
"In expectation of the coming of our Lord Jesus, Here lyeth the body of Sir Robert Hitcham- Knight. Born at Levington in the county of Suffolk. Scholar in the Free-school at Ipswich and sometime of Pembroke Hall in Cambridge; and after of Grays Inn. Attorney to Queen Anne in the first year of King James, then knighted, and afterward made the King's senior servant at law, and often judge of assizes. Aged 64 years. Died the 15th of August. ANNO 1636.
The Children not yet born, with gladness shall Thy pious actions into memory call;
And thou shalt live as long as there shall be, Either poor, or any use of charity.
Sir Robert Hitcham c1572-1636 was the son of Robert Hitcham, yeoman of Nacton and Joan Gillet. He was educated at the Free School at Levington near Ipswich and later Pembroke College, Cambridge studying law,
Becoming a prominent lawyer in London, He MP and Attorney General to Anne of Denmark, wife of James l who knighted him in 1604 . He was Serjeant at Law and King's Senior Sergeant-at-law to Charles l .
He retired to Suffolk and in1635 bought Framlingham Castle and manor for £14,000 from Theophilus Howard, 2nd Earl of Suffolk , He bought a house in Ipswich and spent the rest of his bachelor days in that town.
On his death he left the castle and estates to Pembroke College, Cambridge which still owns the castle and remains lord of the manor and patron of the living of the church.
His will stated that the castle, save for the outer walls, be demolished and the stone used to build a work house, 12 almshouses and a schoolhouse. . His sister’s son Robert Butts inherited an estate at Levington where almshouses were also to be built. .
An endowment of £20 was left to Framlingham church for the reading of prayers twice a day and £50 was to be divided among the poor of Nacton. His epitaph of 1638 proclaimed:
en.wikipedia.org/wiki/Robert_Hitcham
www.historyofparliamentonline.org/volume/1604-1629/member... - Church of St Michael Framlingham Suffolk
There are places where the reasonable expectation of personal space which your average American accepts, shrinks drastically.
Elevators are obvious places. But, what about wide open spaces?
How close can one approach a photographic subject, while they remain unaware and are simply carrying through with their habits?
We have expectations of privacy that are varied and staggered, but one thing that's absolute is that there are more photographic devices in the world than ever before.
Instead of studying a character from afar, for example with a telephoto lens, as if they are wildlife, what intimacy can you capture at a range normally not accepted, or even expected?
In this instance, I ran through the whole thing with him.
"Do you mind if I snap your photo?"
"It's OK."
"Look right here at the lens, then..."
I am in your space.
You shouldn't expect too much from this therapy.
Peter van Straaten retrospect,
Allard Pierson Museum Amsterdam
Dmitrov | Дмитров, 02-06-2010.
А. Рукавишников (скульптор) и Р. Нарский (архитектор) | Фонтан "Ожидание". Бронза, 2003.
A. Rukavishnikov (sculptor) and R. Narskiy (architector) | Fountain "Expectation". Bronze, 2003.
Dmitrov on Wikipedia (English)
Aleksander Rukavishnikov (English and Russian)
"In expectation of the coming of our Lord Jesus, Here lyeth the body of Sir Robert Hitcham- Knight. Born at Levington in the county of Suffolk. Scholar in the Free-school at Ipswich and sometime of Pembroke Hall in Cambridge; and after of Grays Inn. Attorney to Queen Anne in the first year of King James, then knighted, and afterward made the King's senior servant at law, and often judge of assizes. Aged 64 years. Died the 15th of August. ANNO 1636.
The Children not yet born, with gladness shall Thy pious actions into memory call;
And thou shalt live as long as there shall be, Either poor, or any use of charity.
Sir Robert Hitcham c1572-1636 was the son of Robert Hitcham, yeoman of Nacton and Joan Gillet. He was educated at the Free School at Levington near Ipswich and later Pembroke College, Cambridge studying law,
Becoming a prominent lawyer in London, He MP and Attorney General to Anne of Denmark, wife of James l who knighted him in 1604 . He was Serjeant at Law and King's Senior Sergeant-at-law to Charles l .
He retired to Suffolk and in1635 bought Framlingham Castle and manor for £14,000 from Theophilus Howard, 2nd Earl of Suffolk , He bought a house in Ipswich and spent the rest of his bachelor days in that town.
On his death he left the castle and estates to Pembroke College, Cambridge which still owns the castle and remains lord of the manor and patron of the living of the church.
His will stated that the castle, save for the outer walls, be demolished and the stone used to build a work house, 12 almshouses and a schoolhouse. . His sister’s son Robert Butts inherited an estate at Levington where almshouses were also to be built. .
An endowment of £20 was left to Framlingham church for the reading of prayers twice a day and £50 was to be divided among the poor of Nacton. His epitaph of 1638 proclaimed:
en.wikipedia.org/wiki/Robert_Hitcham
www.historyofparliamentonline.org/volume/1604-1629/member... - Church of St Michael Framlingham Suffolk
This cygnet in a local park didn't hesitate to express its displeasure at my presence. Or rather at my presence without any food, after it and its parents and siblings had dragged themselves from the pond and up a bank in the expectation of edibles.
Lens: Meike 3.5mm with 220° FoV. And yes, those are my legs. And the tip of my finger on the right.
A timeless portrait celebrating the beauty and strength of motherhood. The soft studio lighting highlights her serene expression and the graceful curve of her journey to new life. A powerful ode to the miracle of creation.
In the world there are only three churches built built over the tomb of an "Apostle of Jesus Chrit." At Rome Basilica of St.Peter was built on the tomb of St.Peter. In Spain Cathedral of Santiago de Compostela was built on St.James's tomb. At St Thomas mount the National shrine of St.Thomas was built over the tomb of St.Thomas.
At St. Thomas Mount (Great Mount) a shrine (Gothic church) dedicated to "Our Lady of Expectation" (Mother Mary) was built in 1523 on top of the mount by the Portuguese. During 14th and 15th centuries the church fell in ruins which led the Portuguese to move the saint’s remains to a new tomb and constructed a new church. However, the church was demolished again in 1893 and a new cathedral was constructed in 1896. Again, the church was raised to the status of a basilica as a tribute to the martyred St. Thomas in 1956.
St.Thomas Mount boasts of more than 100 relics of Saints which also includes relics St. Joseph, Mother Mary and all the Apostles of Jesus including the Saint Thomas. The most important relic here is the ancient stone cross embedded into the wall of the alter is said to have been engraved by the saint himself. This is the legendry "bleeding cross" that miraculously bled between 1558 and 1704. Painting of the Madonna seen at this shrine is said to have been done by St. Luke.