Photographed using the Kodak Bullet vintage camera, and Rera Pan 100 film (127 format film).

Taken in Mount Dandenong, Victoria, Australia.

At the junction of two lanes. Early 19th century.

Kuutolankatu

上に不動明王が乗った庚申供養塔を兼ねた大山道道しるべ、向かって右の側面には「右ほしのやみち」と刻まれています。そういえば三軒茶屋にも不動明王が乗った大山道道しるべがあったな。大山の大山寺のご本尊は不動明王でしたか。捜せば他にもあるのでしょう。戸塚の不動坂も大山道関連か。

向かって左側には出羽三山信仰供養塔が並んでいます。

Taken and originally posted in 2014.

In case you hadn't heard, Seattle's Fremont neighborhood declared itself the Center of the Known Universe in 1994. The Metropolitan King County Council agreed, passed a proclamation, and allowed the placement of this helpful guide to the rest of the universe. It provides directions to places like the Louvre in Paris, the Milky Way, and the Guggenheim in New York. Also Timbuktu, Taiwan, and the Bermuda Triangle, not to mention Rio de Janeiro, and the North Pole -- plus a lot of local places like the Lenin statue, the Fremont Rocket, and the Fremont Troll. Very helpful.

after an awesome day riding the deep powder, christian and I decided to go on a hike to discover a last fresh downhill run. on our way we saw this guidepost and well in every direction there was powder so it was like a guidepost to the powder ;-). Christian is a very skilled freerider for me it was the first time to experience a perfect powder day so I'll never forget it :-). we don't have that much days like this in the alps. I was too juiced to ski to capture more than a few photographs :-/, you can't have it all.

「鎌倉小町夷川橋、八瀬（長谷？）観音橋、長野間（長沼？）倉田橋、柏尾名瀬綿土橋、名瀬矢部猿？橋」。

左側面に「從是大山路 ほしのや村 向入造立之了」。

そもそも橋を供養するというのはどういうことだろうか。さらに何故この五つの橋をまとめて供養するのだろうか。謎です。

A page from the c1950 Franco Traffic Signs catalogue. A switchbox, to British Standards, was available for external fitting to the signs support post.

A page from the c1950 Franco Traffic Signs catalogue. This shows the range of what the MoT described as informative signs examples of which are shown including those to be surmounted by a red warning triangle.

The tomb of Oscar Wilde is located in Père Lachaise Cemetery, Paris, France. It took nine to ten months to complete by the sculptor Jacob Epstein, with an accompanying plinth by Charles Holden and an inscription carved by Joseph Cribb. In 1908, Oscar Wilde's literary executor Robert Ross chose Jacob Epstein for the commission of the tomb at a cost of two thousand pounds, which had been anonymously donated for this purpose. Later, in a publication of letters between Ada Leverson and Ross in 1930, Letters to the Sphinx, the anonymous donor was revealed to be Helen Carew, with financial assistance from novelist Stephen Hudson (Sydney Schiff). This was only Epstein's second commission, his first being the sculpture for the Holden-designed British Medical Association building in The Strand; these had been severely criticised for being too sexualised for public consumption. However, Epstein retained some noteworthy supporters within the Wilde circle such as William Rothenstein. The choice of Oscar Wilde's monument created controversy. Wilde's supporters would have liked for the monument to derive in some way from Wilde's works, such as "The Young King", by invoking homoerotica with figures of forlorn Greek youths, whereas Wilde's detractors believed he was deserving of no monument at all.[6] One can see the influences of Wilde's works in Epstein's original sketches for the tomb, which feature two young men, heads downcast in an image of grief and sorrow upon an empty stone stele. However, Epstein has said of his sketches of the tomb that he "was dissatisfied and scrapped quite completed work". It has been suggested that the change in design plans are due to Epstein's new focus on Wilde's poem "The Sphinx". However, a number of influences began to play on Epstein around this period, including that of fellow sculptor Eric Gill. The two artists were deeply interested in what they saw as the more primal sexuality of Indian and Egyptian art, as opposed to British art. Pennington refers to this period in Epstein's work as the Sun Temple period and claims that, having been unable to follow this path with some of his works in Britain, Epstein transferred his new passion onto the Wilde tomb. The monument began as a 20-tonne block of Hopton Wood stone in Derbyshire, England, unveiled to the London press in June 1912. Epstein devised a vast winged figure, a messenger swiftly moving with vertical wings, giving the feeling of forward flight; the conception was purely symbolical, the conception of a poet as a messenger, but many people tried to read into it a portrait of Oscar Wilde. In the original sketches, the influences have been linked to the winged Assyrian bulls in the British Museum. The small angel figure behind the ear of the Sphinx may have been a deliberate reference by Epstein to the verse in Wilde's poem The Sphinx: "sing me all your memories". Upon the headdress there are five figures, one with a crucifix, perhaps symbolising the martyrdom of Oscar Wilde; this may be a recurring theme—Epstein may have chosen the Sphinx with a crucified figure upon the headdress in reference to the sensual life choice of Wilde thinly veiled by his Catholicism. In Epstein's original sketchings there is a list of ten sins, however none are recognisable clearly on the final monument apart from the Egyptian-like helmet haircuts on the women. On the finished stone monument the small angel behind the ear has been removed and replaced by an elaborate headdress, the crucified figure and the phallic sphinx have been removed, and in their place is a personification of fame being trumpeted. This may have been Epstein landing on a less sentimental, carved and angular alternative. Whilst transporting the monument to the cemetery in France from his Cheyne Walk studios in London, Epstein ran into trouble with the police—having rejected its status as a work of art, French customs placed a punishing import duty of £120 on the monument for the value of the stone.[15] Once the bill was paid (it has been suggested that Robert Ross had borrowed the funds from Ada Leverson),[16] the monument was covered with tarpaulin due to the Parisian officials' reaction to the monument's nudity. Epstein returned to the cemetery one evening and found that the testicles on the statue had been covered by plaster, as the size of the testicles was considered unusual. The monument was under police surveillance and Epstein found he could only continue his work upon it after bribing a police officer to look away, but the work was sporadic and the tarpaulin was replaced at night. Eventually, as compromise, under Robert Ross' instruction, a bronze plaque similar to the shape of a butterfly was placed upon the testicles of the monument and it was unveiled in early August 1914 by the occultist and poet Aleister Crowley. Epstein was furious that his work had been altered without his consent and refused to attend the unveiling.[18] A few weeks later Aleister Crowley approached Epstein in a café in Paris, and around his neck was a bronze butterfly—he informed Epstein that his work was now on display as he intended. The testicles were removed in an act of vandalism in 1961. It is said that the cemetery manager used them as a paperweight. They are now missing. In 2000, Leon Johnson, a multimedia artist, installed a silver prosthesis to replace them.

The tomb with modern glass barrier

The epitaph is a verse from The Ballad of Reading Gaol:

And alien tears will fill for him

Pity's long-broken urn,

For his mourners will be outcast men,

And outcasts always mourn.

Today, the monument is viewed by thousands of visitors every year. A tradition developed whereby visitors would kiss the tomb after applying lipstick to their mouth, thereby leaving a "print" of their kiss.[21] The stone has also been covered in graffiti, almost exclusively letters of love to the author, but this is not as damaging as the lipstick kisses. Lipstick contains animal fat, which sinks into the stone and causes permanent damage.[25] Cleaning operations to remove the lipstick grease have caused the stone to become more porous. It is therefore even harder to clean in subsequent attempts, necessitating more drastic and surface-damaging procedures.[26] A fine of 9,000 euros was created to deter fans, but as many of them were tourists who could leave before being brought to court this did little to stop the practice.[27] In 2011, the creation of a glass barrier to make the monument 'kiss-proof' was begun.[28][29] They completed the barrier in 2014.[30] However, it only covers the lower half of the tomb. As Ireland's Office of Public Works considers the tomb an Irish monument overseas, it has paid for the cleaning and the barrier.[26]

The act of kissing the tomb has inspired a varied response from Oscar Wilde's supporters. Wilde's grandson Merlin Holland, who is partially responsible for the tomb's upkeep, has said on the subject that "Unthinking vulgar people have defaced the tomb forever." The producer Marc Overton, who views Wilde as a personal hero, has been quoted saying he found the lipstick kisses disgusting. On the other side of this discussion, the architectural historian Lisa Marie has called this an act of devotion and a "fitting monument to a great decadent and aesthete." Two years after the barrier was erected Stephen Fry mentioned the practice of kissing Oscar Wilde's tomb in a speech on Wilde given at the Jaipur Literature Festival; "Here's this man who believed when he died that his name would be toxic for generations to come. For hundreds of years his work wouldn't be read. He would stand for nothing but perversion. Utter disgust of a society that couldn't bear people like him.....His tomb in Père Lachaise Cemetery, in Paris. It had to be restored because the polished stone of its surface had corroded through kissing. Thousand and thousands. .... Wouldn't it be allowed once to just wake him up for five minutes just to tell him that, then he can go back to sleep again?"

en.wikipedia.org/wiki/Oscar_Wilde%27s_tomb

Killing the New Woman – Defining “Self” in Wilde’s “The Sphinx Without a Secret”

Discussions of Oscar Wilde and the New Woman rightfully focus on his time editing Women’s World. But Wilde’s short story “A Sphinx Without a Secret” is another work ready to be read as a New Woman text.[1] The New Woman, a symbol of the shifting aspirations of late-Victorian women, underwent scrutiny over her desires for life outside of the pre-established roles that nineteenth-century English society set for her. According to Talia Schaffer, “As a mythic icon, the New Woman evokes an extraordinary range of emotional associations, a flood of feelings which can powerfully support whatever goal the [contemporary] writer has channeled it towards” (45). From Ouida to Sarah Grand, the New Woman was both dragged through the metaphorical mud and praised from the rooftops. Late-Victorian English society fought over definitions for the New Woman, perhaps to limit her power to define herself.[2] Oscar Wilde’s short story “A Sphinx Without a Secret” embodies the New Woman’s struggle for independence and self-definition. The narrator calls Lady Alroy a woman with a “mania for mystery . . . imagining she was a herione,” but this is the definition he imposes on her. Lady Alroy is, in fact, using mystery as a means of self-definition. She creates a space where she has the power to define herself, especially important when considering that the Victorian stereotypes of wife and mother cannot apply to the childless and widowed Lady Alroy. Furthermore, Gerald’s distrust of Lady Alroy reveals late-Victorian skepticism toward the burgeoning movement for women’s independence, and by using a framed narrative, the story ultimately alludes to the effects society’s disapprobation will have not just on the movement but on women as a whole: metaphorical death.

Despite her physical and financial freedom, Lady Alroy feels a need to rent a secret parlor and act clandestinely in her movements; this shows she desires a freedom outside of what wealth can provide. Such a desire can be translated into the goals of many late-nineteenth century women. As Alys Pearsall Smith notes in 1894 her essay, “She [the late-Victorian woman] asks simply and only for freedom to make out her own life the highest that can be made, and to develop her own individuality as seems to her the wisest and the best” (qtd. in Ardis 18). Ann Ardis shows how the New Woman laid “claim to the right of self-definition” and developed a “program of self-actualization” (27). Wilde’s New Woman story shows that even financial independence is not sufficient to guarantee “her own individuality.” Lady Alroy has enough income to maintain an affluent life in high society; her title makes her part of the aristocracy; she thus has freedom over the direction her life assumes. Nonetheless, she is not independent of society’s values and judgments.

Is it in order to pursue self-definition that Lady Alroy creates another space—a second life of rented rooms and secret letters—where she can pursue her own individuality. The secret life, though lived alone, precariously empowers Lady Alroy, because it gives her the power to shape the public’s perception and her identity. Lady Alroy’s “mania” is not that of an unstable woman, but of a woman desiring the freedom to shape herself instead of having her self shaped by society. Lady Alroy shrouds herself in mystery, yes, but she creates power, she creates an unknown, unfathomable element about herself that cannot be pigeonholed by Gerald, or other Victorian men who see in every good woman the Angel in the House. This unfathomable element is what unsettles Gerald’s perception of Lady Alroy and leads him to state he never understood women. It also explains what is so limiting about the stereotyped roles women were expected to inhabit: Gerald thinks that understanding one woman is equivalent to understanding all women. Readers must decide for themselves how best to understand women when they are left to answer Gerald’s final question: “I wonder.”

As is clear from Mona Caird’s 1899 essay “Does Marriage Hinder a Woman’s Self-development,” a woman needs time to herself, a space belonging to her alone, and the freedom to pursue her interests, whether they be varied or singular, in order to grow into her best self.[3] Lady Alroy, sans husband, would seem to have already accomplished these aims, these essential needs. Yet after hearing Gerald mention seeing her in Bond Street, Lady Alroy “grew very pale . . . and said, ‘Pray do not talk so loud; you may be overheard’” (Wilde). Because Bond Street, both then and now, is a popular street for high-end shopping, there should be no reason for a sudden start. Lady Alroy’s reaction is a means of testing the power she has in her second life. She is willing to bring in another person to increase the mystery surrounding herself and thus increase her power over others’ perceptions of herself. Bringing Gerald ever so slightly into the mystery means she may extend her definition of self to others, seeing if she can exist as she desires outside of her personal knowledge of this identity. Gerald is later directed to write Lady Alroy at a secret address, further implying she may be willing to let him into a sense of who she is outside of society’s dictates. But when Gerald later discovers Lady Alroy secretly rents a room, he treats Lady Alroy like yet another Victorian stereotype: the fallen woman. Gerald distrusts her morality; his imagination cannot extend beyond what his culture has already dictated. Even though Lady Alroy is honest—she meets no one in her secret rooms, a fact later verified by her landlady—Gerald cannot trust the individual when she does not accord with his pre-conceptions of the group. Even after her landlady confirms Lady Alroy’s story, Gerald persists in his distrust of his would-be fiancée.

Gerald’s skepticism of Lady Alroy’s honesty and motives shows the patriarchal fear of losing power. Gerald has encountered a woman who does not fit within his comprehension of womanhood, a woman who has taken the power wealth gives her to create a second life independent of anyone’s dictates. She has created a space where his definitions of womanhood are not reflected. While he might believe that his incomprehension of women began with Lady Alroy—his “belle inconnue[4],” his “Giocanda in sables” (Wilde)—the story suggests that all women are a mystery to him. She is not a woman who fits the mold of the “frail, delicate, ethereal” women whom a Victorian man might expect to wed (Gibbs)—but the ordinariness of the “secret life” Lady Alroy leads suggests that every woman escapes the understanding of Victorian men. Because no woman will perfectly fit the social ideal, every woman will “mysteriously” act in ways contrary to it. Significantly, the entire story is introduced by his statement to the frame narrator that he might never marry because he “does not understand women well enough” (Wilde); to him, one woman equates to all women.

The seriousness of this misapplication of a single standard to all women is apparent in Gerald’s behavior when he refuses her claim to truth: he became “mad, frantic; . . . [and] said terrible things to her” (Wilde). She now receives the full judgment of Gerald’s patriarchal perspective and feels force of his biting scorn. Lady Alroy has been a problem for him to solve, and when the solution does not meet his expectations, he allows his fear of inferiority to result in verbal abuse of Lady Alroy. She was not a neat package for him to master, as one masters a crossword puzzle. While he initially believes his love came “in spite of the mystery,” he grudgingly admits that his feelings were aroused because of it: “I fell madly in love, and I was excited by the mystery that seemed to surround her” (Wilde). This playing out of the angel-whore dichotomy is compounded by the double-bind that the New Woman finds herself in: her “newness” makes her attractive, but this is the very quality that will cause the traditional man to fear and reject her. When he cannot overpower the riddle of Lady Alroy’s harmless second life, he rejects her. Her “beauty molded out of many mysteries” attract him, but because he does not have social stereotypes on which to base his judgments, he cannot decide if these mysteries are “for good or evil” (Wilde). Wilde shows a society curious and tempted to see women in varying roles, but ultimately distrustful of women’s desires. In New Women, New Novels, Ann Ardis notes how traditional Victorian men viewed the New Woman’s desire for freedom as a threat to their current standing of society, as a reborn Eve waiting to bring about a second fall of man. The New Woman threatens the social order – she desires a place in the workforce, she desires a higher level of education, and she seeks a means of providing for herself without the aid of a husband or father or wealthy brother. While Lady Alroy never seeks any such thing, her simple desire for a private space of self-definition—a need Caird defines for the New Woman—appears just as threatening.

Gerald’s paranoia provides insight into the ideas of sexual promiscuity that became attached to the New Woman; it became a rationale for denying women new freedoms in their personal lives, marriages, and the workforce.[5] Ann Ardis states, “The moral agency of a Victorian ‘lady’ is predicated upon the denial of her sexual appetite,” because the cultural imperative to imagine her as Eve makes her desires, sexual or otherwise, means destroying the Victorian home and the downfall of men and mankind (14). So, when a Victorian woman desires her own space, her motives are scrutinized. The mere desire for a room of her own means that Lady Alroy is somehow sexually tainted. If a man cannot understand the ways in which even a woman’s relatively free existence is constrained by social censure, he cannot see what she could need with a separate, small, and secret space outside of her own home.

Gerald’s reaction even suggests the New Woman, because of her desires, is a fallen woman. Note, while Gerald makes it clear he wishes to marry Lady Alroy, he never asks for her hand in marriage. Instead, he uses his desire to marry her as leverage for knowing how Lady Alroy spends her private time. He wants and needs to know all about her, but when he begins to know, he cannot trust this new version of Lady Alroy, precisely because she is formed outside of society’s eyes. He states his right to question her comes from “‘The right of a man who loves you . . . I came here to ask you to be my wife’” (Wilde). The Victorian moral system tells Gerald that he has the right to know Lady Alroy’s secrets—but they also “require” him to reject her when her secret desires cannot be made to fit with his preconceived notions of what a woman ought to desire. For a woman to desire a break from her position of moral guidepost, would be to lose “both gender and class status” (Ardis 26), and Gerald, as representative of Victorian patriarchal ideals, captures this sentiment with his treatment of Lady Alroy.

The frame narrative, however, allows Wilde to cast doubt on Gerald’s point of view. Within the framed narrative, Gerald—and not Lady Alroy—tells the story, which shows the dominant ideology of late-Victorian society. The voice of the New Woman had to struggle against the dominant patriarchal ideals.[6] Lady Alroy hardly speaks, and the scanty dialogue provided, coupled with no provision of her inner thoughts, registers the way that Gerald is unable to “hear” Lady Alroy’s self-definition; and Gerald is a mirror of his larger culture, for whom the New Woman remains an alluring but ultimately dangerous mystery. This narrative choice reveals Wilde’s clear understanding that women’s voices did not receive equal representation in his culture. The frame narrator is not much better than Gerald, who believes he does not know Lady Alroy and cannot know women, because the frame narrator easily dismisses Lady Alroy as merely a “woman with a mania for mystery . . . imagining she was a heroine” (Wilde). This label trivializes her motives, labeling them as either childish or unreasonable. But the ease and confidence with which he dismisses her shows another patriarchal view: women are like as children. Wilde’s story shows how even generous-minded stereotypes fail and demonstrates the true limitations of placing specific groups of people into neatly defined boxes. But the frame narrative opens up a space where Lady Alroy’s self-definition might find expression. Gerald’s final words are “I wonder” (Wilde) and these words invite the reader to evaluate the words of the two men in light of what they know of Lady Alroy and come to alternate conclusions about Lady Alroy’s and the New Woman’s character.

Ultimately, Lady Alroy’s death is the metaphorical death of the New Woman caused by a society interpreting her desires as immoral. While Lady Alroy’s death appears to be from natural causes (the official word is that she “died in five days of congestion of the lungs”), her death can be seen as the natural outcome of her rejection by Gerald. But she did not die of a broker heart; she died as a result of realizing, on evidence of Gerald’s treatment, that she cannot be accepted by society is she tries to dictate her own life. When Lady Alroy lose her sense of agency, she loses her life. Her death does not imply a weakness in the New Woman movement. Her death does not imply the New Woman is the “frail and ethereal” woman of the gothic romance novel (Gibbs). No, Lady Alroy’s death becomes the result of crushing her independence, of treated her as an outcast. Her inability to live under those circumstances is the metaphorical death of her New Woman desires.

The initial narrator chalks Lady Alroy’s actions up to “mania.” But the reader cannot help thinking maniac in the story is Gerald. His paranoia about Lady Alroy destroys his own desires for marriage to a woman he claims to “ha[ve] loved . . . so madly” (Wilde). When the frame narrator first spies Gerald, he is “anxious and puzzled, and seemed to be in doubt about something” (Wilde). So perhaps the final conclusion to be drawn about “The Sphinx Without a Secret” is that distrusting the New Woman will only weaken the foundation of society. If Gerald is the voice of the patriarchy, it is of a weakened patriarchy—one that has harmed itself through debilitating distrust. Gerald is not weakened by Lady Alroy’s secret life; he is weakened by distrusting her. He is weakened by her loss. He is weakened by obsessively trying to define her, when she was already attempting to reveal her definition. Thus, society will be weakened by not allowing the New Woman to thrive. In the twentieth century, nations needed to call on their women to perform “men’s work” during the two World Wars. Women worked in armament factories, as mechanics, and in all of the occupations men vacated to fight on the front lines. Wilde’s short story can be looked at as prophetic, a message to the nations to affirm the ways that women can live outside of the normalized spaces that societies make for them, to celebrate rather than demonize the New Woman’s broader horizens.

- Calabria Turner

editions.covecollective.org/edition/lord-arthur-saviles-c...

Shillito Cross, hidden in Shillito Wood, is an ancient stone cross once used as a guidepost for travellers across Ramsley Moor.

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#UNLESS #ODDLY #PACKAGED #DISC #UNEVEN #SLEEVE #REAL #ORIGINAL #HAPPENS #CRAYONS #CONDITION #SHELVES! +#PEACE #NEWEST #DISPLAY #AS #WELL! #OM #GIZZARD #FALLING #REVERSE #A #HREF="HTTPWWWMUSIC1978COM" #REL="NOREFERRER #NOFOLLOW"WWWMUSIC1978COMA #HREF="HTTPWWWFLICKRCOMPHOTOSMUSIC1978" #NOFOLLOW"WWWFLICKRCOMPHOTOSMUSIC1978A #HREF="HTTPWWWRHYTHMSECTIONGATLINBURGCOM" #NOFOLLOW"WWWRHYTHMSECTIONGATLINBURGCOMA #EYEOFHORUSRA #UNDERSTANDING? #MOUNTAINMALL #WHATSYOURFAVORITEPINKFLOYDSONG? #TSHIRT #33 #EQVISPRESLEY #FLOYD #J #POSSIBLE #PEACE3EARTH #SEX #MOUNTAINMALLSMASHINGPUMPKINSBUTTERFLY #IF #WELLBEING #PISTOLS #ASURA #NOT #TWENTYTWO #12" #MINDBENDING #THOUSANDARMED #377RHYTHMSECTIONGATLINBURG #MOUNTAINMALLTEMPLARS #BUTTERFLY #WWWFLICKRCOMPHOTOSMUSIC1978 @#MOUNTAINMALLTEMPLARS @#MOUNTAINMALLSMASHINGPUMPKINSBUTTERFLY #FLICKRCOMPHOTOSMUSIC1978 #MIDNIGHTSLODGECOSMICREFRACTIONSMAIDENFUTURISTICENAMELTHERHYTHMSECTION78THERHYTHMSECTION78KEYACDCNIRVANATSHIRT611UNICORNHEALINGISAMIRACLESECURITYBILLIERAINBOWCASTLETHERHYTHMSECTION78THERHYTHMSECTION78THERHYTHMSECTION78@THERHYTHMSECTION78@THERHYTHMSECTION78@THERHYTHMSECTION78@THERHYTHMSECTION78VALLEYSTICKERS@THERHYTHMSECTION78MUSICLOVERS #NOSTALGIALODGECOSMICREFRACTIONSMAIDENFUTURISTICENAMELTHERHYTHMSECTION78THERHYTHMSECTION78KEYACDCNILODGECOSMICREFRACTIONSMAIDENFUTURISTICENAMELTHERHYTHMSECTION78THERHYTHMSECTION78KEYACDCNIRVANATSHIRT611UNICORNHEALINGISAMIRACLESECURITYBILLIERAINBOWCASTLETHERHYTHMSECTION78THERHYTHMSECTION78THERHYTHMSECTION78@THERHYTHMSECTION78@THERHYTHMSECTION78@THERHYTHMSECTION78@THERHYTHMSECTION78VALLEYSTICKERS@THERHYTHMSECTION78 #LETS #SUMMARIZE * #SELFDISCOVERY #BRUNO #A #TECHNOLOGY #DRAGONTURTLE #WELLPROTECTED #SELFEXPLORATION #UNDERWATER #BASE #ALLIGATOR #CATFISH #YOUD #CREATURE? #BASE? #SYSTEM? #WORLD? #EVOLVE? "#SCARY" #FACES? #ISLAND? #DREAMS? #PEACE? #TIME? #IM #EXPERIENCESTHATS #BRUNOS #SHAPE? #SCAFFOLDING? #PURPOSE? #CANT #REVEAL? #YOURSELF? #DEVELOP? #TAKE? #EXPLORATIONS? #ALLIGATORCATFISH #EMERGE? #WORLDS #ALLIANCE? #ENVIRONMENT? #SELFUNDERSTANDING #ITS #CHINACATSUNFLOWERIKNOWYOURIDER #WWWRHYTHMSECTIONTNCOM #MTN #RECORDS #RHYTHMSECTIONGATLINBURGCOM #FLICKRCOMPHOTOSMUSIC1978 #MISTAKE #SELFDISCOVERY #TRAUMA #TRANSFORMATION #PEOPLE #WISDOM #TOGETHER #WORLD #GROWTH #THREATS #RESOURCES #SECURITY #WELLBEING #EXPLORATION #INHABITANTS #FACTIONS #LIFE #POTENTIAL #PSYCHE #NEXT #1 #TOOL #2 #DISCOVERY #3 #PURPOSE #4 #GOOD #UTILIZED #DREAMSCAPE #COSMOS #NARRATIVES #FLUID #JOURNEY #3RECORDS #TENNESSEE #HARDTOFIND #EUROPE #AUDIOPHILEQUALITY #RERELEASES #ROCKBOTTOM #PRICES #BOWIETHE #BOWIE #STICKERSTOREWWWFLICKRCOMPHOTOSMUSIC1978 #RHYTHMSECTIONTNCOM #REDBUBBLECOMPEOPLERHYTHMSECTIONTNSHOP #CITYOFLIGHT33 #GATLINBURGRECORDSTOWWWRHYTHMSECTIONGATLINBURGCOMOCHET #SMOKYMTNSRECORDS #HEARTRECORDS #PRAYERSFORRAINGREENHGOLDEN ++++ +++++#GATLINBURG #PRAYERSFORRAIN+ #SHOP #REQUESTS! #STICKERS! #RECORDS! #SOUNDTRACKS #ALBUMS! #CDS! #MOUNTAINS! #NEWVINYLRECORDS! #PEACEEARTH ++++#DAZEDANDCONFUSED ++++#RECORDSGOLDEN ++++++ #GOLD+ ++++++#NEWVINYLRECORDS! #3@THERHYTHMSECTION78DREAMREALMEXPLORATION+ #STONETEMPLEPILOTS+++++ #STATION #TREASURETROVE #DESTINATIONWWWREDBUBBLECOMPEOPLESTARLIGHTMOONSHOPBUTTERFLY #CARTOONISH #W #TROVE #LIFESAVINGPRINCE #PEACE3EARTH #INCLUDING #LIFESTATION #ARE #BUTTERFLY #LIBRARY! #ENGLAND! #2XL! #GODS! #POSTERS! #INSTAGRAM! #STORE! #ELYSIUM! #SHOPPING! #WIND! #WORLD! #MUCHMORE! #PINS! #EMBRACED! #DAYS! #MANYMORE! #PATCHES! #EMBRACED!PEACE #SEASON! #YOU! #MIDNIGHTSLODGECOSMICREFRACTIONSMAIDENFUTURISTICENAMELTHERHYTHMSECTION78THERHYTHMSECTION78KEYACDCNIRVANATSHIRT611UNICORNHEALINGISAMIRACLESECURITYBILLIERAINBOWCASTLETHERHYTHMSECTION78THERHYTHMSECTION78THERHYTHMSECTION78@THERHYTHMSECTION78!@THERHYTHMSECTION78!@THERHYTHMSECTION78!@THERHYTHMSECTION78!VALLEYSTICKERS@THERHYTHMSECTION78!MUSICLOVERS #EUROPE! #PRICES!! #NOSTALGIALODGECOSMICREFRACTIONSMAIDENFUTURISTICENAMELTHERHYTHMSECTION78THERHYTHMSECTION78KEYACDCNILODGECOSMICREFRACTIONSMAIDENFUTURISTICENAMELTHERHYTHMSECTION78THERHYTHMSECTION78KEYACDCNIRVANATSHIRT611UNICORNHEALINGISAMIRACLESECURITYBILLIERAINBOWCASTLETHERHYTHMSECTION78THERHYTHMSECTION78THERHYTHMSECTION78@THERHYTHMSECTION78!@THERHYTHMSECTION78!@THERHYTHMSECTION78!@THERHYTHMSECTION78!VALLEYSTICKERS@THERHYTHMSECTION78! #ABSOLUTELY! #EMERGED #CORE #COLLABORATION #INTERPRETATIONS #EMPOWERMENT #BALANCE #PROTECTION #POTENTIAL #SYMBOLISM! #YES! #NARRATIVE #WORLD #RESOLUTION #TRANSFORMATION #MONSTERS #ISLAND #EXPLORING #EXPERIENCES!THATS #DREAMSCAPE! #INTRODUCES #EVOLUTION #RESOURCES #REFLECTION #TAKES! #NEXT! #CONTINUE #STARSHIP #REALM #HARMONY #DREAMS! #RAINBOW #CITADEL #VISIONSTICKERSTOREWWWFLICKRCOMPHOTOSMUSIC1978 #REDBUBBLECOMPEOPLERHYTHMSECTIONTNSHOP #PRAYERSFORRAINGREENHIMAGINATIONLIBRARY ++++++++++++++++++++++++++++++++++++++ ++++++++++++++++++++++++++++++++++++ #SHOP+ #TREASURES+ #ALLALONGTHEWATCHTOWER+ #HENDRIX+ #PINS+ #FORTRESS+ #BOWIE+ #MTNS+ #HEAVENANDHELL+ #BEETLEJUICE+ #PARK+ #BANDS+ #ORDERS+ #AVAILABILITY+ #BUTTONS+ #MORE+ +++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++ #DAFTPUNK+ #CREATION+ #MEMORY+ #HEALING+ #POSTERS+ #AVALON+ #ROXYMUSIC+ #GATLINBURG+ #GREATSMOKYMOUNTAINS+ #BRIDGE+ #TOWER+ #PEACE+ #IMAGINATION+ #VALLEY+ #TREEOFLIFE+ #SMOKYMOUNTAINS+ #MUSIC+ #TSHIRTS+ #TYLERCHILDERSINN+ #STICKERS+ #PALACE+ #MAGIC+ #LOVE+ #DIAMOND+ #REQUESTS+ #METAL+ #WATERFALL+ #TALKTALK+ #CDS+ #BARBIE+ #RECORDS+ #MUSHROOM+ #BRIANENO+ #OLYMPUS+ #REFUGE+ #ETC #MAILORDERS+ #TENNESSEE+ #ENO+ #SUN+ #BUSH+ #MOUNTAINS+ #RESTORATION+ #PATCHES+ #SHIRTS+ #DUNE+ #NIRVANA+ #COSMOS+ #DYLAN+ #RAINBOW+ #TAROT+ #EMBRACED!GOINGTOCALIFORNIA #RAINBOWTREE #RAINBOWHARDSUN #ARRIVALS! #HEARTRECORDS #GOINGTOCALIFORNIA #OZZY+MEDICINEHEALING +++++++++ #3+ #OZZY+GOODTIMES ++++++++++++++ +#SHIRTS #OZZY+ +++++++++++++ +++#3+++++RECORDS #L #GATLINBURG+++++ #35 +++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++ #WWWRHYTHMSECTIONGATLINBURGCOMTREE #GATLINBURGSTONETEMPLEPILOTS+++++ #WWWFLICKRCOMPHOTOSMUSIC1978 #WWWREDBUBBLECOMPEOPLERHYTHMSECTIONTNSHOP #LRECORDSTORES #MTNS+ #POSTERS+RAINBOW #SPARK! #PRAYERSFORRAIN+GOINGTOCALIFORNIA #PRAYERSFORRAINPURP #PRAYERSFORRAINPURPTENNESSEE #PRAYERSFORRAIN+GOLDEN #OCEANIA #PRAYERSFORRAIN+GOINGTOCALIFORNIAOCEANIA #PRAYERSFORRAIN+GOINGTOCALIFORNIALUCK #CREATIONLIBRARY #LUCK #PRAYERSFORRAIN+GOINGTOCALIFORNIARAINBOW #PRAYERSFORRAINGREEN #GRE ♈♉♊♋♌♍♎♏♐♑♒⛎ #WHENTHESHIPCOMESIN🔵💙🙏🌻🌼❄️💜️💮🍀🌈🌠✨⭐💙⭐✨💚💟💜💚💜💚💜💚💜💚💜💚💜💚💜💚💜💚💜💚💜💚💜💚💜💚💜💚💜💚💜RAINBOW ❄️ 💚💙 💚💙💜#INBETWEEN🔵💙🙏🌻🌼❄️💜️💮🍀🌈🌠✨⭐💙⭐✨💚💟💜💚💜💚💜💚💜💚💜💚💜💚💜💚💜💚💜💚💜💚💜💚💜💚💜💚💜💚💜 ⛎ 🙏🌻 🐉 🐦 ❤️♈♉♊♋♌♍♎♏♐♑♒⛎⛎⛎♒♑♐♏♎♍♌♋♊♉♈❤️💛💚💙💜💜💙💚💛❤️🐲🐉💙💜💚💙💜💙💚💚💙💜💜💙💚💚💙💜💙💜💚💚💙💜💚💙💜💚💙💜💚💙💜 🍀🐉💙⭐🌈💜💚🙏🌻🌼️💮✨🌠🐉🐲🐢🌻🌼🌷🍄❤️💛💚💙💜💜💙💚💛❤️♈♉♊♋♌♍♎♏♐♑♒⛎⛎⛎♒♑♐♏♎♍♌♋♊♉♈❤️💛💚💙💜💜💙💚💛❤️🐲🐉💙💜💚💙💜💙💚💚💙💜💜💙💚💚💙💜💙💜💚💚💙💜💚💙💜💚💙💜💚💙💜 💚💙💜💚💙💜 💚 💙 💙💚💛❤️🐲🐉💙💜💚💙💜💙💚💚💙💜💜💙💚💚💙💜💙💜💚💚💙💜💚💙💜💚💙💜💚💙💜 🍀🐉💙⭐🌈💜💚🙏🌻🌼️💮✨🌠🐉🐲🐢🌻🌼🌷🍄❤️💛💚💙💜💜💙💚💛❤️💛💚💙💜💜💙💚💛❤️🐲🐉💙💜💚💙💜💙💚💚💙💜💜💙💚💚💙💜💙💜💚💚💙💜💚💙💜💚💙💜💚💙💜 💙❤️💛💚💙💜💜💙💚💛❤️🐲🐉💙💜💚💙💜 ♈♉♊♋♌♍♎♏♐♑♒⛎⛎🙏❤️💛💚💙💜♈♉♊♋♌♍♎♏♐♑♒⛎⛎❤️💚💙💜♈♉♊♋♌♍♎♏♐♑♒⛎⛎💙✨⭐💚💟💛🐈🐢🐉🐦🌟🌟🌟🌟🌟🌟🌟🌟🌟🌟🌟🌟🌟🌟🌟🌟🌟💚💙💜♈♉♊♋♌♍♎♏♐♑♒⛎⛎♥🌻🐦😻🌝🌜🔵🌈🌠✨⭐💙⭐✨💚💟💜️💮🍀🌈🌠✨⭐💙⭐✨💚💟💜️💮🍀🌈🌠✨⭐💙⭐✨💚💟💜️💮🍀🌈🌠✨⭐💙⭐✨💚💟💜️💮🍀🌈🌠✨⭐💙⭐✨💚💟💜️💮🍀🌈🌠✨⭐💙⭐✨💚💟💜️💮🍀🌈🌠✨⭐💙⭐✨💚💟💜️💮🍀🌈🌠✨⭐💙⭐✨💚💟💜️💮🍀🌈🌠✨⭐💙⭐✨💚💟💜️💮🍀 ☔ 💚💟 💜💚💙💜 🌷🍄❤️💛💚💙💜💜💙💚💛❤️❤️💛💚💙💜💜💙💚💛❤️🐲🐉💙💜💚💙💜💙💚💚💙💜💜💙💚💚💙💜💙💜💚💚💙💜💚💙💜💚💙💜💚💙💜 ♈ ♉ ♊ ♋ ♌🌟🌟🌟🌟🌟🌟🌟🌟🌟🌟🌟💚💜💚💜💚💜💚💜💚💜💚💜💚💜💚💜💚💜💚💜💚💜💚

SONY, as guidepost of the sky (?)

approaching to Haneda (HND, Tokyo) along the headquarters building... It's one of my fav spot in Tokyo.

Taken w/ GR 28mm LTM on ME220 (6bit setting: E28Asph).

Inukshuk, pronounced ee-nook-shook, an Inuit word translated means "stone man that points the way." Inukshuks are stone cairns that were erected by Inuit at prominent locations throughout the barrens of Arctic Canada to serve as guideposts

Rock N' Roll- Led Zeppelin- www.youtube.com/watch?v=GonQSHxzb1k

346/365 days in colour- grey- www.flickr.com/groups/365daysincolour

49. Statue or Sculpture 112 pictures in 2012 www.flickr.com/groups/1843711@N21/

9. pile/stacks 100 Pictures in 2012 www.flickr.com/groups/100picturechallenge/

Our version of the ilanaaq!

For centuries, the Inuit people of Canada’s Arctic stacked rock in human form to create the inukshuk, a steadfast guidepost that provided direction across the vast horizons of the North. Over time, the inukshuk has become a symbol of hope and friendship, an eternal expression of the hospitality of a nation that warmly welcomes the people of the world with open arms every day.

The Vancouver 2010 Olympic Winter Games emblem is a contemporary interpretation of the inukshuk. It is called Ilanaaq which is the Inuktitut word for friend. This is the symbol of Canada’s Games – our friend who will help us greet the world in 2010.

more info here www.winter2010.com/

「従是（これより）大山道」

A page from the c1950 Franco Traffic Signs catalogue. For externally and internally illuminated signs a post with a wide base was avaialble to allow access to the electricity or gas supply.

A page from the c1950 Franco Traffic Signs catalogue. Two styles of street name signs or nameplates were available on both single or double support poles.

This work evokes the artist’s French and Anishnaabe roots, referencing the standing stone of Britany and the lunar cycles central to Algonquin tradition. In this way, the spheres serves as guideposts and monuments of transatlantic journey.

Monnet sees this Atlantic roue, layered with colonial histories and economic interchanges, as a vexed yet fertile space. The spheres bring a sense of grounding in contrast to the turbulence of the ocean.

Gardens of the Prague Castle

www.hrad.cz/en/prague-castle/guidepost-for-visitors/garde...

لفتت نظري الكلمات الرائعة التي هي للشاعر البوصيري

والتي يقول فيها

This is the translation of the famous poem that's specialized for praising prophet (Mohammad) God's blessing and peace is upon him.

أمنْ تذكر جيرانٍ بذي سلمٍ *** مزجْتَ دمعا جَرَى من مقلةٍ بدمِ

Do you remember all that distant places of bin-Salam you long for?

Recently you ought to shed bloody tears out your eyeball more and more.

أَمْ هبَّتِ الريحُ مِنْ تلقاءِ كاظمةٍ *** وأَومض البرق في الظَّلْماءِ من إِضمِ

Perhaps you smelt thy adore love when the wind blows from this dweller.

When lightening gleam, remembered you that shine face of lover.

فما لعينيك إن قلت اكْفُفا هَمَتا *** وما لقلبك إن قلت استفق يهمِ

What about your eyes when asking them to stop tears. Why response not?

And what about your heart when calling; be awake! Goes captivate.

أيحسب الصبُ أنّ الحب منكتمٌ *** ما بين منسجم منه ومضْطَّرمِ

Does the grieved- passionate one thinks that love always hidden there?

Throughout its harmony type and flaming one do mediate.

لولا الهوى لم ترق دمعاً على طللٍ *** ولا أرقْتَ لذكر البانِ والعَلمِ

If the passion encircles me not, never I would cry that remains.

And shouldn't I cry upon that ban-oil tree or that guideposts place.

فكيف تنكر حباً بعد ما شهدتْ *** به عليك عدول الدمع والسقمِ

How do you deny such love, your eyes is responsible as witness?

When thy eyes shedding tears and expressing illness.

وأثبت الوجد خطى عبرة وضنى *** مثل البَهار على خديك والعنم

The passion moreover proves two sings; one of them is the yellowish—

Of thy check, the second thy eyes become reddish.

نعم سرى طيف من أهوى فأرَّقني *** والحبُّ يعتَرضُ اللّذات بالألم

Truly! The phantom of my love awakes me….to be sleeplessly.

And the ardent love thrusts pains against pleasure contradictory.

يا لائمي في الهوى العُذري معذرة *** مني إليك ولو أنصفت لم تَلُم

Oh, thou who blame me fell in that platonic love, please excuse me.

Once if you are equitable, will not blame thee.

التقطتها من متحف بتركيا .. اسطنبول .. اتمني تكون اعجبتكم ..

in istanbul ..

Raqeqa .. رقيقة كالقمر

www.facebook.com/raqeqa

Guidepost in Zagora, Morocco, bearing the inscription "Timbuktu 52 Days" in Arabic and French

A page from the c1950 Franco Traffic Signs catalogue. These red or white 'reflex' lenses were used to mark road edges or hazards and were often at roadsides on black and white striped timber posts.

A page from the c1950 Franco Traffic Signs catalogue. The company made a range of fabricated steel sections that were designed to be bolted together to make a range of different shape and dimension traffic islands rather than using kerbstones.

Breakthrough Green Road Sign with Dramatic Clouds and Sky.

Early start to a glorious ride.

SONY, as guidepost of the sky (?)

approaching to Haneda (HND, Tokyo) along the headquarters building... It's one of my fav spot in Tokyo.

Taken w/ GR 28mm LTM on ME220 (6bit setting: E28Asph).

wooden signpost in Saibi with view of Anboto mountain at sunrise

– Attention: The rights for this picture are at getty images! –

Liechtenstein: The Principality of Liechtenstein is located in the heart of Europe. It is situated between Switzerland and Austria on the classical north-south route leading from Lake Constance via Chur to Italy. For the Principality of Liechtenstein the same immigration rules apply as for Switzerland.

Distances: Zurich 110 km, Geneva 400 km, Munich 250 km, Frankfurt 550 km, Vienna 670 km, Milan 300 km. The Liechtenstein bus network is very well developed and very inexpensive. There are good bus connections from the Sargans, Buchs/SG, and Feldkirch train stations to all municipalities in the Principality of Liechtenstein. A sticker is required to use the motorways in Switzerland and Austria. There are no customs between Switzerland and the Principality of Liechtenstein. The nearest airports are: Zurich-Kloten 115 km, Altenrhein 50 km, and Friedrichshafen 85 km. Liechtenstein does not have its own airport. Tourist Offices: www.tourismus.li. Area: 160 km² • Capital: Vaduz • approx. 35,000 inhabitants • Currency: Swiss franc • Neighboring countries: Switzerland, Austria • Official language: German • National Day: 15 August • System of State: constitutional hereditary monarchy on a democratic and parliamentary basis • Head of State: Prince Hans-Adam II of Liechtenstein • Ruling in his mission: Hereditary Prince Alois.

Diplomatic representations of Liechtenstein: Berlin (D), Geneva (CH), Washington (USA), Berne (CH), New York (USA), Vienna (A), Brussels, B) ,

Strasbourg (F). The structure of the State is characterized by the dualism of Prince and People. Neither the monarchic nor the democratic principle dominates. The Prince and the People stand at the same level.

Article 2 of the Liechtenstein Constitution states: “The Principality is a constitutional, hereditary monarchy on a democratic and parliamentary basis; the power of the State is embodied in the Reigning Prince and the People...” he Liechtenstein Parliament passes legislation (legislative power). The five-member collegial Government directs the affairs of State (executive power). Civil and criminal jurisdiction is exercised in the first instance by the Court of Justice, in the second instance by the Court of Appeal, and in the third and final instance by the Supreme Court (judicial power). The history of Liechtenstein as the Principality of Liechtenstein began in 1719, when Emperor Charles VI unified the Lordship of Schellenberg and the County of Vaduz and elevated them to an Imperial Principality by the name of Liechtenstein. In 1806, Liechtenstein became a member of the Confederation of the Rhine and obtained sovereignty, which it has maintained until today. In 2006, Liechtenstein has celebrated 200 Years of Sovereignty of the Principality of Liechtenstein. The history of the House of Liechtenstein extends far back into the Middle Ages. The Family of Liechtenstein is one of the oldest Austrian noble families. In 1136, Hugo of Liechtenstein was the first bearer of the name to be mentioned in documents. The Princes of Liechtenstein have long been successful entrepreneurs and are active in diverse sectors such as banking, estate management, and forestry. In addition, the Princely House owns the largest private art collection in Europe. A small selection of exquisite works is displayed in the Kunstmuseum Liechtenstein (Museum of Fine Arts) as part of thematic rotating exhibitions. Liechtenstein abolished its military in 1868 and stayed neutral in the First and Second World Wars. Liechtenstein pursues an independent and active foreign policy. The country maintains close bilateral relations with many States and engages in multilateral cooperation at the regional and global levels, especially through its membership in international organizations. The main responsibilities of Liechtenstein foreign policy are the defense of the independence and security of the country and the conduct of its relations under international law. The focus is on the cultivation of bilateral relations with other States and multilateral cooperation in international organizations. The guideposts of international cooperation are the representation of the country’s own interests, the protection of Liechtenstein citizens, and solidarity with the international community. Liechtenstein is therefore particularly engaged in human rights policy, the progressive development of international law, development cooperation, international humanitarian assistance including disaster assistance and assistance, and specific areas of international environmental policy. Liechtenstein is a member of the following international organizations (in chronological order, with the year of accession in parentheses): International Court of Justice in The Hague (1950), Universal Postal Union (1962), International Telecommunication Union (1963), International Atomic Energy Agency (1968), Organization for Security and Cooperation in Europe (1975 signing of the CSCE Helsinki Final Act), Council of Europe (1978)

United Nations (1990), European Free Trade Association (1991), European Economic Area (1995), World Trade Organization (1995). Liechtenstein’s membership in the European Economic Area (EEA) – as a close link with Europe – is considered the optimal solution appropriate to Liechtenstein’s size. EU membership will therefore not be a topic for discussion in the medium term. The general tax burden in 2000 (i.e., the amount of tax revenue as a percentage of gross national product) in Liechtenstein was 22.9%, in comparison with 27.5% in Japan, 29.7% in the United States, and 42% in Europe. Liechtenstein pursues a liberal tax policy. The Liechtenstein legal and company system is committed to liberal economic activity and has designed the legal framework conditions in accordance with this principle. Liechtenstein tax policy is stable, predictable, and structured for the long term. Tax decisions are made in close coordination with citizens. By means of a popular vote, citizens may initiate or abolish any tax legislation. The spending policies of the country and the municipalities are transparent and carefully monitored. The Liechtenstein economy is greatly diversified, with a large number of small businesses. Many Liechtenstein businesses are specialized in research-intensive market niches and are worldwide market leaders. Manufacturing programs include instruments, electronic monitoring devices, fastening technology, precision tools, vacuum, heating technology, dental and pharmaceutical products, and foodstuffs. There are a total of 15 banks in Liechtenstein. As of the end of 2004, Liechtenstein banks managed about 107 thousand million Swiss francs of client assets. This corresponds to the client assets under management of a medium-sized Swiss bank. Sports and culture are very important in Liechtenstein and are generously supported by the State.

Liechtenstein’s culture and sports are both characterized by a vibrant club life. 15,000 Liechtenstein inhabitants are members of a sports club. This corresponds to 45% of the population. Every 240th Liechtenstein inhabitant is president of a sports club. A similar number of inhabitants are active in the numerous cultural associations.

www.liechtenstein.li/

In english: www.liechtenstein.li/en/eliechtenstein_main_sites/portal_...

A page from the c1950 Franco Traffic Signs catalogue. The company produced a wide range of the pre-1965 'portable' warning signs for situations such as road works and that conformed to the MoT standard drawing B.2237.

右側面：相刕（州）上飯田下分

　　　　此方大山道

左側面：文久元年酉年　

　　　　此方かしを道

現在は上飯田三柱神社境内にあるが元は柏尾通り大山道に立っていたのだろう。

Neds Point Light in Shipyard Park, on the north side of the entrance to Mattapoisett Harbor. The stone lighthosue was built in 1837-1838 and first lit in 1838. This photo shows the original tower and oil house. It was taken at sunset in late October.

A page from the c1950 Franco Traffic Signs catalogue. The use of externally lit traffic and road signs was becoming more common in pst-war years and could still include gas as well as electrical lighting. This page shows the use of the relatively new fluorescent light tubes used here for road signs.

Success and Failure Road Sign with dramatic clouds and sky.

Fritillaria biflora—chocolate lily. A David Douglas collection. Despite the Latin name the species often bears more than two flowers. It is a early bloomer, often blooming a month earlier than other Fritillaria. The species played a role in the 2010 paper "Can Species of Fritillaria and Allium Serve as Guideposts to Human Migration?" The paper argues that the distribution of the genus Fritillaria follows the routes of early human migration in both Eurasia and North America. The paper can be found on JSTOR and is accessible through Google Scholar. Photographed at Regional Parks Botanic Garden located in Tilden Regional Park near Berkeley, CA.

"Though pleas`d to see the dolphins play, I mind my compass and my way."

- Matthew Green

Since time immemorial, man has looked to the stars for navigational guidance when all other maps lie in darkness. The Big Dipper, or 'Plough', is an asterism that makes up part of the constellation of Ursa Major (The Big Bear). The two stars at the end of the "pan-handle", Merak and Dubhe, are called the "Pointer Stars" because a line drawn between them points to Polaris - the North Star. It lies above in the sky at a distance of about five lengths of the Merak-Dubhe line. This alignment was used by ancient mariners to determine their bearings, and also played an important part in the story of the Underground Railroad - which helped slaves escape their captivity in the southern states of the United States before the Civil War by fleeing north to Canada.

I was first told about this little navigational trick when staying with my Dad's friend Zack and his family, out in the darkness of the Gila Wilderness in New Mexico, and the memory has stayed with me whenever I stare up at the Dipper. I get a real thrill when seeing the galactic band of the milky way stretched out across the sky. Sadly that's a rare event for most of Britain's light polluted evenings, so I look forward to the time when I can return to Gila with my new camera. I highly recommend viewing this stunning milky way timelapse video, which was shot from the heights of the Mogollon Mountain rim that defines the area's geology.

after coming across the guidepost www.flickr.com/photos/rollinoldman/3225143245/ and hiking around the mountain we had our last ride of the day, sun was almost gone but it was....:-)!!! we def had chosen the right way out of five ;-).

blue sky but the wind was blowing hard, the tracks of christian were fully covered till I finished the shot and was ready to go...

Keelung Maritime Plaza

Here is the closest place to see the " Hofman's Duck " in the next month !!!

( from December 21,2013 to 2014 )

Keelung Maritime Plaza

Keelung Maritime Plaza, a beautiful wooden deck that offers an incredible view of Keelung Bay, is a mere 40-minute bus ride from Taipei Main Station. Weather permitting, this plaza offers visitors a complete view of the entire bay. During certain times of the year, you can also see enormous cruise ships, such as Star Cruises' Aquarius, berthing beside the bay. For this reason, the area is sometimes filled with foreign tourists, giving the plaza a truly international flavor. On clear days, you will often find people soaking up the maritime ambience or studying the beautiful public artworks on display. If it is raining, which it often is in Keelung, the plaza is still an ideal place to sit in a coffee shop and enjoy the refreshing sea air.

The above Description of "Keelung Maritime Plaza" is quoted from " The China Post "

www.chinapost.com.tw/guidepost/topics/default.asp?id=3140...

"The Cave of Leadership: From Gods to the Wheels of Chariots" is a visual story that traverses time and space, spanning epochs and weaving a tapestry of interconnected experiences that may seem meaningless at first glance. But upon closer inspection, it becomes clear that our journey towards leadership is built upon the foundation of ancient tales of power, wisdom, and foresight. We have placed our trust in the divine mindset of the gods and their immortal stories that have served as a leadership guidepost for generations on generations.

As we progress, our mechanical marvels have become symbols of human ingenuity and the unyielding desire for continuous progress. The wheels of our machines, fashioned in the likeness of the wheels of time, keep turning and propelling us towards new opportunities. Like spectral figures, we stand tall on slender platforms, driven forward by an unseen divine force. We are frail yet resilient, tenacious in our pursuit of conquest, and determined to transcend boundaries.

But what are the Leader's obligations to those who suffer in the face of adversity created by divine-driven opportunity? Those who silently scream, weep, and cry out for help? As the evolution of leadership remains transfixed on godlike guidance coupled with the relentless march of progress, it is up to us to embody the indomitable spirit of humanity and fasten on a relentless quest for equity. Only then can we indeed call ourselves leaders in the fullest sense of the word!

Blogger

www.jjfbbennett.com/2023/06/the-cave-of-leadership-from-g...

JJFBbennett Art Directory

jjfbbennett.taplink.ws/

Contemporary Positional Video Art and Socio-Fictional Writings

It is about being creative and innovative with knowledge

www.jjfbbennett.com

jjfbbennett.myshopify.com/

Fingerpost

Impasse and hopeless

HKD

Empfehlungen in der Matrix:

Wegweiser

Weg Weiser

Un Weiser

Ver Weiser

Diese Situation erscheint ausweglos.

In der Tat ist sie das, solange man sich von einer Seite zur anderen bewegt.

Es gibt aber eine dritte Möglichkeit und die möchte ich mit dem nächsten Bild verdeutlichen Fingerpost II

HKD

「右江 大山道」「江戸神田三河町…」「越前屋小一兵衛」。

右側面に「享保十二」。

In every cell, DNA is tagged with chemical groups-like flags on the DNA-that make up the epigenetic code and act as guideposts. These flags help the cell's machinery know when to activate or inactivate a gene. In healthy cells, these flags are correctly placed and genes are expressed in the right proportions. However, in many tumor cells the flags are incorrectly applied. One form of incorrect DNA flagging occurs when extreme amounts of otherwise healthy methyl chemical groups, which act like on/off switches for a gene, are incorrectly added to many places on the cell's DNA. Instead of a cell chugging along with its natural, biological jobs, these newly added methyl groups cause the cell to act erratically, leading to the cell expressing genes at the wrong levels, or not at all. This generally disrupts the normal flow of information in the cell. Importantly, these flags can turn off key defensive genes that help protect the cell from becoming cancerous and disrupt other processes. When this occurs, it's called "CpG Island Methylation Phenotype," or CIMP for short. Credit: Darryl Leja, NHGRI.

Keelung Islet

Keelung Islet stands northeast off Keelung. It is the most prominent island landmark in northern Taiwan and is the guidepost for ships shuttling in and out of Keelung Harbor. The graceful parabolic contour of the island makes it one of the eight scenic spots of Keelung.

昨天雖是出太陽. 但雲層還是太厚...

Camera used: Kodak Rainbow Hawkeye No. 2 Model C (a vintage box camera from the 1930s)

Film used: Fomapan 100

The viewfinder on my camera no longer works, so I had no idea what I was photographing.

Location: Mount Dandenong, Victoria, Australia.

Cosmic Fingerpost

This is a message if you like

The entrance which is an exit.

The golden bowl stands for the non judging consciousness.

From identification to non identification

From Ego to Self

HKD

Der göttliche Wegweiser

In medias felicitas est

In der Mitte liegt das Glück

Die Mitte ist ein Standpunkt

Sie ist die Radnarbe

Sie ist dein Zentrum

HKD

向かって右側面には、

東　かしを

　　　　　　道

南　ふし沢

とあります。

「守りたい。」ってパンデミックの今国民を守らないで何を守りたいのだろう。

Photographed using the Kodak KB10, and Ilford HP5 Plus 400 film.

Taken in Mount Dandenong, Victoria, Australia.