Today is our yearly allotted Full Moon in Scorpio. :) As per the machinations of the heavens, the Full Moon in Scorpio occurs during Taurus season, when the Moon rises opposite the Sun.

The Scorpio/Taurus axis is, in summary, one of immaterial power (Scorpio) vs. material power (Taurus). Both signs are tremendously capable builders & manifestors, but they act on opposing planes, with Taurus acting in the physical realm, and Scorpio in the immaterial realm. Taurus is the world; Scorpio is the invisible undercurrents of emotion and desire that drive the world's weaving.

When this polar relationship is out of balance, Scorpio becomes lost in the waters of the underworld, unable to ground their emotions & visions; and Taurus becomes unable to see past the material plane to the subtler realms that inform it.

With the Sun being in Taurus right now, there is a collective focus on grounding our plans and goals, taking methodical action, and building stable structures to support us. When Scorpio opposes this Sun in Taurus, we are asked to introduce emotional depth & nuance to our plans and goals -- to consider the underlying emotional factors at play in our own psychoemotional state, and in that of others and the world at large.

In summary, our drive for action shines a light on our powerful emotions; and our powerful emotions shine back on our drive for action.

It's also special that this Full Moon is falling on May Day. Happy Beltane!

Operational History of the current Bodie Island Light Station

The first-order lens, which had been purchased from Barbier & Fenestre of Paris, France, exhibited a fixed white light that could be seen for over eighteen miles. The light was first exhibited on October 1,1872. Eighteen days later, a flock of geese smashed into the lantern, destroying three panes of lantern glass and damaging the lens. A wire screen was installed to protect the lantern glass soon thereafter.

In December 1877, the District Engineer inspected the tower and found cracks on the second to seventh landings. "The cracks on the inside of the tower," he said, "are vertical and very slight in but a few places large enough to admit the point of a small knife blade usually very small, traceable only by a slight crack in the coating of the whitewash." He felt the cracks were due to lightning rather than irregular settling. The lightning conductor at this time was the interior metal spiral stairway connected to the metal work of the lantern at the top, and to a copper rod inserted in the ground near the center of the tower at the bottom. During storms the stairway became heavily charged with lightning. A witness to this fact was the lighthouse keeper who, standing on one of the landings during a storm, received a severe shock, "so much so as to produce a numbness for some little time through the lower half of his body." As an alternative, the Engineer suggested running a vertical rod from the lantern down the center of the tower to the ground where it would be connected to the copper grounding rod then in use. The rod was to be insulated where it passed through the eye that protrudes from each of the landings. The Lighthouse Board considered the recommendation, but took no action until seven years later when lightning struck the tower again in April 1884. After this incident, the Lighthouse Board ordered the installation of a cable inside the tower which would run from the lantern to a cast iron plate buried in the ground. The cable was to be connected at each landing in the tower." It is not known when the outside lightning cable was installed.

In 1897,2,200 square feet of wooden walks were replaced at the Bodie Island Light Station, and in 1898, it was recommended that one of the two cisterns be replaced.5* Today there are three historic cisterns adjacent to the keepers' quarters; two are connected to the gutter system. In 1898 a telephone was installed as part of a national defense program.

For many years the U. S. Signal Service had had telephone lines connecting the various Life Saving Stations on the Outer Banks, these lines fed into a central location. The War Department decided to broaden their coverage and used their funds to tie five lighthouses on the North Carolina and Virginia coasts into the lines connecting the Life Saving Stations. The light stations affected were those at Hog Island, Virginia, Bodie Island, Cape Lookout, Currituck Beach and Cape Hatteras. Any untoward activity off the coast was to be reported immediately.

In 1874 the Lighthouse Board abolished the position of third assistant keeper, then held down by the wife of the keeper. In 1922, the Lighthouse Bureau did away with the position of second assistant. In 1928, Lloyd V. Gaskill reported the following duties at Bodie Island Light Station:

As Keeper in charge of this station, I am responsible for the proper execution of the duties whether performed by myself or Asst. I light [the] lamp in tower every other evening and raise curtains so the light will be visible to passing ships. Asst. Keeper performs the same duty the following evening. I watch the light [at] intervals until sunrise when I extinguish [the] light and refill tanks with kerosene so it will be ready for lighting in the evening. Also I clean [the] lens and watch room before coming down to [the] dwelling. I am on duty about twelve hours in this instance.

I have one Asst. and I assist in painting, cleaning paint on outhouses and dwelling, clean iron work by chipping rust from same when needed. Also keep grass cut on lawn, make minor repairs to station, such as replacing hinges when broken, painting motor boat and skiff, keep engine repaired so it can be used at any time for getting supplies and mail from nearest store and Post Office seven miles across the sound. I put in about five hours per day at this work.

In addition to above duties I must make weekly inspection of station, including assistant's quarters and record condition in station log. Make monthly report of condition of station to district Supt. at Baltimore. Take annual inventory and list all articles worn out, have them surveyed and condemned when Supt. visits station on inspection. Also, I assist in the painting of tower outside, steps inside and whitewash inside once every five years. I attend to all correspondence from station with the Supt. relative to general repairs to station. Average about two hours per day at this work.

Gaskill’s assistant, William H. Etheridge, reported similar duties in tending the light every other night, maintaining the station, and completing paperwork. The last keeper at Bodie Island Light Station, Gaskill transferred to another station in 1940 when the light at Bodie Island was automated. No longer needing the daily attendance of a keeper, the light became the responsibility of the nearby Nags Head Lifeboat Station.

Bodie Island Lighthouse and the Cape Hatteras National Seashore

The Cape Hatteras National Seashore was established in 1937, encompassing the land surrounding Bodie Island Light Station. Soon after the National Seashore was created, the Department of the Interior approached the Lighthouse Bureau about the possibility of the light station being declared surplus. Change in administration of the Lighthouse Service to the Coast Guard in 1939 and World War n delayed any action. In January 1945, the size of the Bodie Island Light Station was increased by 40 acres. In 1953 the Coast Guard declared 56.37 acres of the Bodie Island Light Station excess to their needs and shortly afterwards the General Services Administration (GSA) listed it for disposal. The National Park Service asked GSA to withdraw the acreage from the disposal list since the land was within the boundary of the Cape Hatteras National Seashore Recreational Area Project as provided by Act of Congress, dated August 17, 1937. GSA complied and withdrew the land, and paperwork was initiated to turn the land over to the National Park Service, effective October 15,1953. The National Park Service acquired the light station property, except for a small square plot of ground, 100 feet on each side, on which the light tower stood. That same year, commercial power replaced the generator that had been installed to electrify the light in 1932.

The National Park Service converted the keepers' quarters into a visitor center and small natural history museum. The tower was closed to the public while the Coast Guard continued to maintain the active aid. In May 1983, the National Park Service began to interpret the station, allowing visitors to enter the tower and look up towards the lantern. In May 1984, an 8-foot-high chain-link security fence was installed at the beginning of the stairway by the U.S. Coast Guard to discourage the general public from climbing the stairs. As part of the 200-anniversary celebration commemorating the establishment of the U.S. Lighthouse Service, visitors were allowed to climb the tower during one weekend in August 1988. Interpretation of the light station was expanded when the Outer Banks Lighthouse Society (OBLHS) established a presence at the station in 1994. OBLHS volunteers opened the lower portion of the lighthouse tower and offered interpretation of the light station and its history. In 2002, OBLHS continues its relationship with the station, allowing the park to keep the tower open year round and providing educational, fundraising, and technical support. On July 13, 2000, the tower at Bodie Island was officially transferred from the U.S. Coast Guard to the National Park Service.

The lighthouse was included on the National Register of Historic Places (NRHP) on July 4, 2003. All of the information above and much, much more was found on the original documents submitted for listing consideration that can be viewed here:

npgallery.nps.gov/NRHP/AssetDetail/b1ca9938-5327-45ba-8da...

Three bracketed photos were taken with a handheld Nikon D7200 and combined with Photomatix Pro to create this HDR image. Additional adjustments were made in Photoshop CS6.

"For I know the plans I have for you", declares the LORD, "plans to prosper you and not to harm you, plans to give you hope and a future." ~Jeremiah 29:11

The best way to view my photostream is through Flickriver with the following link: www.flickriver.com/photos/photojourney57/

Adrienne stirred, the scent of wine lingering in the thick underground air. Her eyelids felt heavy, her head throbbing with the dull ache of indulgence. What a weird dream… more like a nightmare.

She nuzzled into the warmth pressing against her side. Then realized she was waking up somewhere unfamiliar. Who had she gone home with this time? She shifted slightly and felt an arm draped over her waist, their bodies tangled in the deep cushions of the worn leather sofa. Relief washed over her as she realized she was still dressed. Then she turned—Kayla---and the nightmare rushed back into focus.

Kayla groaned beside her, stretching lazily. “Remind me,” she muttered, voice rough with sleep, “whose idea was it to finish that second bottle?”

Adrienne let out a low, tired laugh. “Yours.”

Kayla cracked one eye open and shot her a suspicious look. “Liar.”

Adrienne smirked, shifting onto her side to face her.

Kayla stirred, stretching before offering a small, knowing smile. “Did you sleep well?”

“I slept.” Adrienne rubbed her temples, willing away the weight pressing against her skull. She exhaled slowly, then muttered, “Tell me yesterday didn’t happen.”

Kayla’s gaze softened—ok but only for a second. “You need to practice.” Her voice was quieter now, more serious.

Adrienne sighed, pressing her fingers to her forehead. “I know. But maybe we could just lay here for a while longer.”

Kayla sat up, pulling Adrienne with her. “You did great with the teleportation last night, but you have to learn to focus. If you don’t land exactly where you intend to jump, we’re dead.”

Adrienne inhaled sharply through her nose, the weight of responsibility settling against her chest. She was learning, but learning wasn’t enough. She had to master it.

Kayla pressed a firm hand to Adrienne’s knee, grounding her. “You were born for this. It’s in your in your blood. Now, close your eyes.”

Adrienne felt the hum of her device start, a faint vibration against her skin. She obeyed, letting the quiet of the apartment wrap around her, pressing in but never suffocating.

“Find the thread,” Kayla continued. “Focus on a place—then feel the pull. Don’t chase it. Feel it.”

Adrienne inhaled deeply, centering herself. Focus. The place, the pull.

She felt it—faint, distant, like the whisper of something just beyond her grasp.

“Let it bring you to the edge,” Kayla murmured. “But don’t fall. Just stand there. Balance.”

The air shifted around her. The apartment walls grew thinner—like layers peeling apart, revealing glimpses of elsewhere. The scent of dust and old books filled her senses. The university library. The room. She could see it, smell it.

She was about to jump.

“Not here. Not now,” whispered Kayla. “Just to the edge.”

Adrienne’s breath hitched.

Kayla’s fingers pressed against her wrist, steadying her. “Hold it. Stay.”

Adrienne felt it—the pull, the tension—but she didn’t jump.

She controlled it.

Kayla exhaled, nodding in approval. “Come back to me.”

Adrienne slowly let go, her awareness settling back into the apartment. She rubbed her head. “Ouch.”

Kayla smiled, satisfaction flickering in her gaze. “That was perfect. I think you must remember from times past.”

~~~~~~~~~~~~~~~~

You can view Quantum Fold episodes in order from the beginning in her album titled, Quantum Fold:

www.flickr.com/photos/199076397@N02/albums/72177720326169...

~~~~~~~~~~~~~~~~

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Ascending and descending these stairs on a daily basis in our Paris holiday rental proved to be more gratifying than grueling. There is just something so grounding and soothing about well-maintained wood.

The Kakapo, built in 1898 was on her maiden voyage from Swansea to Sydney when she ran into a storm after leaving Cape Town. The captain saw the lights on Chapmans Peak and thinking it was Cape Point ordered the ship around only realising his mistake too late to avoid grounding the vessel.

Fishing vessel Point Estero awash,

Estero Bluffs State Park,

San Luis Obispo Co., California

The fishing vessel, Point Estero, was grounded on these rocks during the foggy night or early morning of July 27, 2017. When it wasn't moved quickly, it became mired between different jurisdictions and, my understanding is, questionable value. Fuel and oils were pumped. It has remained there even after winter storms with big surf. And I'm still struck by the irony of the Point Estero coming aground not far from the geographical Point Estero.

Here is a photo from several days after the grounding:

www.flickr.com/photos/marlinharms/36175247752

The German owned SEEBRISE visited Kinsale on Monday October 25, 2004. With bad weather forecast the 1,990grt ship having discharged her cargo anchored in Kinsale outer harbour.

However, the high spring tide, combined with severe gales on the morning of Thursday October 28, led to the SEEBRISE dragging her anchor.

She was washed ashore just south of Charles Fort where she proved a great attraction for locals and late season holiday makers.

Initially there was some concern about pollution, as there was a pungent smell of engine oil noticeable.

However, no significant leak developed and fortunately she was refloated on the Friday morning tide.

At the time of the grounding the ship was owned by Baase of Germany. However, by 2013 she was reported in Tanzania as the LUNA-S ownership and a total loss as of 08/09/2013

Click here for more photographs of the SEEBRISE: www.jhluxton.com/Shipping/Shipwrecks/Seabrise

C-GZSG - Boeing B-737MAX-8 - WestJet

at Hamilton International Airport (YHM)

c/n 60.516 - built in 2018

Currently stored YHM due to the worldwide B-737MAX-grounding

Tall church steeples were built as a reminder to stay focused on God from a distant view. To help carry the sound of God throughout the land, that now is the time to worship. They act as a grounding point for our lives here on earth, while giving our souls direction to heaven when that time comes, if you believe.

I felt somewhat like a man of faith when I stood before this spruce. It's steeple of limbs spiraling upwards to great heights, to the heavens if you will. The gentle whisps of wind flowing music of nature to my ears from the birds nestled above me. My life felt grounded to earth's creator, as much as the roots of this spruce below me. I worshiped that moment and was visually blessed by my surroundings.

As beautiful, and purposeful, church steeples are, so is this steeple of a simple spruce, maybe more so.

Adirondacks. 518. Pentax.

Having a bit of fun making a mess in our family members home. We are always a handful when together and the groundings never end but I'm happy to be grounded with you Cuzzy <3

90 ft Marymere Falls is located in Olympic National Park near Lake Crescent in Washington.The falls are accessed by a one-mile, well maintained, dirt trail through old-growth lowland forest consisting of fir, cedar, hemlock, and alder trees.

This lightning discharged failed to reach the grounding thus it never got over blown in highlights. The image was rendered by stacked the best 21 screen saved frames (taken at 240 fps video) and lightened in Photoshop. A Mission 1 Pro (GoPro) was used. I would classify this as an anvil crawler.

The lightning was around 3 miles away.

This is 2 (7x5 in) silver gelatin prints from my recent Tethered project.

Tethered is a mixed-media project blending photography, animation, and traditional darkroom techniques with experimental processes and tactile materials. Through themes of grounding and isolation, freedom and rootedness, attachment and separation, the project weaves a visual narrative that explores the dualities of connection and solitude. Incorporating materials like thread, rope, food coloring, and elements inspired by landscapes, Tethered emphasizes the materiality of the medium, encouraging viewers to engage physically and emotionally. The addition of animation introduces a dynamic interplay between energy and stillness, enhancing the work’s exploration of landscapes as spaces of reflection, distance, and connection. By merging tactile elements with experimental approaches, Tethered invites viewers to reflect on their own relationship to place, identity, and the tension between solitude and belonging.

As scientists and crew with NASA’s Operation IceBridge mission prepared for a research flight on Nov. 5, 2016, the weather in Punta Arenas, Chile, was cold, wet, and windy. But when they reached their survey site in West Antarctica, skies were clear and winds were calm—a perfect day for scientists to collect data over the Getz Ice Shelf.

IceBridge, now in its eighth year, continues to build a record of how ice is responding to changes in the polar environment. The Getz Ice Shelf in West Antarctica is one area that scientists try to examine each year. “Getz is an ice shelf that has been experiencing some of the highest basal melt rates of the Antarctic ice shelves,” said Nathan Kurtz, IceBridge project scientist and a sea ice researcher at NASA’s Goddard Space Flight Center.

The image above shows a views of Getz as photographed on Nov. 5 from a NASA research airplane by Jeremy Harbeck, a sea ice scientist at NASA Goddard. The image shows ice in the process of calving from the front of the shelf, soon to become an iceberg.

Kurtz notes that the team has flown over the Getz Ice Shelf many times before. Flight paths are often exact repeats of those flown in previous years, which helps scientists understand how the height of the ice surface changes over time. This year, new flights over Getz were added to the existing observations. Scientists mapped the bathymetry (shape and depth of the seafloor) below the ice shelf, and they mapped the ice surface and bedrock upstream of the grounding line.

The flight over Getz is just one of a number of key areas flown during the IceBridge campaign. Each flight plan is prioritized in order of importance: baseline (the highest priority), high, medium, and low. The flight on Nov. 5 over Getz, for example, was categorized as “high” priority. Since the start of 2016 science flights on Oct.14, the team has flown six out of eight baseline missions, eight out of 15 high priority lines, and one medium and low priority mission each. Research flights for the season continue through Nov. 18.

“We are in pretty good shape so far, having flown so many missions due to a combination of favorable weather, no major airplane issues, and all instruments operating well,” Kurtz said. “We’re about four weeks into the campaign, and it’s possible we could tie the record of most flights flown with Operation IceBridge if things continue to go well.”

Image Credit: NASA/Jeremy Harbeck

NASA Media Usage Guidelines

Just to the north of the entrance to Ayr Harbour lies the wreck of the Clyde puffer KAFFIR. She was wrecked here in September 1974, when her engineer took her out of Ayr harbour under some very dubious circumstances. She went ashore, and despite efforts to refloat her the following day, her stern gear had been damaged by the grounding and she was eventually written off as a constructive total loss. Over the years, the continual action of the sea has pounded the wreck and she is now is two sections. Beyond KAFFIR the Russian warship SEVEROMORSK lies at anchor, with the Royal Navy's HMS BANGOR keeping her company. Clyde Marine Services' CRUISER is alongside the Russian ship, acting as a liberty boat for her crew.

In a world where AI feeds our desire for instant gratification as soon as we have a thought or need, it is grounding and humbling to walk in a place that is impervious to the wishes of man. Created by time and the most natural of elements, water and earth, a beauty emerges that is wondrous in its impossibility. Man's interference is not welcome or wanted here. Here patience is respected. The Navajo understood the sacredness of this space, knowing that there are things larger and greater than themselves.

The fishing vessel Sovereign ran aground close to the Cairnbulg Briggs light beacon, east of Fraserburgh on the 18th December 2005. A photograph taken soon after the grounding was used for a film poster for Life of Pi, although the image had been substantially edited before hand.

For my sorority initiation last Saturday, a day marking my transition to a full-fledged sister, my attire needed to strike a balance between tradition and personal style. Enter the "Picnic" dress by Tres Blah: a clean white canvas, elevated by subtle frilled shoulder straps and a lace-trimmed hem. It's a piece that speaks of simplicity with a hint of detail. Grounding the look were the "Raleigh" heels by Essenz, their ankle-wrapping straps adding a contemporary twist. And while sorority norms called for a bare face, my hair took center stage. Styled at Stealthic, it was pulled up with a few artfully curled tendrils left free.

This is an image from my recent Tethered project.

Tethered is a mixed-media project blending photography, animation, and traditional darkroom techniques with experimental processes and tactile materials. Through themes of grounding and isolation, freedom and rootedness, attachment and separation, the project weaves a visual narrative that explores the dualities of connection and solitude. Incorporating materials like thread, rope, food coloring, and elements inspired by landscapes, Tethered emphasizes the materiality of the medium, encouraging viewers to engage physically and emotionally. The addition of animation introduces a dynamic interplay between energy and stillness, enhancing the work’s exploration of landscapes as spaces of reflection, distance, and connection. By merging tactile elements with experimental approaches, Tethered invites viewers to reflect on their own relationship to place, identity, and the tension between solitude and belonging.

Maybe it's just me, but in this forest scene I see a grizzly bear about to snatch a salmon leaping out of a river. And no, I have not been foraging for mushrooms. Just me wandering around off-trail in a climax forest. This is always a grounding experience for me in so many ways. I'm sure the indigenous Lushootseed-speaking peoples of the area, puyaləpabš, (English version, "Puyallup") had words for it.

_0145343

In the quiet moments of contemplation, one can't help but ponder the vast mysteries of the universe, the cosmic questions that stretch beyond the horizon of our understanding. Yet, as we delve into the profundities of existence and wonder about the origins of galaxies and the meaning of life, there's a simultaneous, more earthly question that emerges – what's for dinner? It's a humorous reminder of the juxtaposition between the grandeur of cosmic inquiry and the everyday, human need for sustenance. While our minds reach for the stars, our stomachs yearn for something comforting and familiar, grounding us in the delightful banalities of life. In these contemplative moments, the universe's mysteries and the simplicity of a home-cooked meal converge, offering a unique balance that speaks to the dual nature of our existence.

Luane's World

maps.secondlife.com/secondlife/Le%20Monde%20Perdu/70/169/39

with the FashionNatic - Kaia Set

The FashioNatic Kaia Set is available at the Cosmopolitan event from September 2, 2024 to September 14, 2024

Please see my About page for details on my blog.

ZRH, Oktober 2001

A large portion of Air Canada's MAX fleet waiting out the grounding in Arizona.

Impressionistic Style Painting.

Artist’s Statement

This painting captures the essence of a perfect autumn morning along the shores of Loch Sunart, where the stillness of the air and water merge into an almost dreamlike harmony. The lone tree, standing on its rocky promontory, embodies both solitude and quiet resilience, its presence made all the more poignant by the delicate interplay of light and reflection. The tree’s slender form is a sentinel over the loch, rooted in the rugged terrain yet reaching outward, its few crimson berries and autumnal leaves glowing in the soft radiance of the season.

Rendered in an Impressionistic style, the painting seeks to evoke the fleeting quality of light and atmosphere rather than strict realism. The far shore dissolves into abstraction, its softened pinkish hues and pale tonal shifts suggesting distance and an almost ethereal remoteness. Across the mirrored loch, a delicate disturbance—barely perceptible ripples—introduces a subtle movement, transforming the reflection into a shimmering, transient echo of the landscape.

The rocky outcrop, bathed in the warmth of the autumn sun, provides a luminous contrast against the cool depths of the loch, grounding the composition with its textured presence. It is a place of both isolation and quiet majesty, a moment of stillness that encapsulates the West Coast’s ever-changing yet timeless beauty. This is not just a scene but a meditation on light, solitude, and the ephemeral dance between earth, water, and sky.

A large portion of Air Canada's MAX fleet waiting out the grounding in Arizona.

Definition of the word reverie:

"A state of being pleasantly lost in one's thoughts; a daydream."

This was my entire process while working on this image. I get so lost in my editing process at night that I lose all track of time. Most of my pictures are quite intimate to me.I pour so much emotion and thought into them while creating. Sometimes I have a clear vision on what I want to create. but usually it's a sense of emotion and intuition that guides my thought process. Certain colors that I am drawn to while in different moods, a thought or idea will come to me and I will build on it. Sometimes it takes hours at one time . When I get started on an image I can't stop or the next day the vision is seemingly lost. It can be frustrating and impossible trying to pick up where I left off. So here I am again late at night lost in my thoughts. This image conjures up both happy and melancholy feelings for me. There is something hopeful about it, something beautiful and surreal but also a sense of sadness to me. Maybe it's because in watching the effortless freedom these birds have gliding over the lake my own solid grounding on earth is ever present in my mind. Oh that we had wings to fly away sometimes right?

I hope it is as calming for you as it me. Much love always xx

Rachel

Moreta Outfit by Just BECAUSE

Boho romance, beneath the pines

🌿 I found the Moreta Outfit where the forest forgot to end and the café began.

There was an old wooden counter tucked beneath the vines, a little coffee grinder humming beside glass jars and weathered crates, and beyond it all, the rocks opened into a misty green hollow like a secret the mountain had been keeping for years. I stood there in the middle of it, framed by climbing branches, worn timber, soft wicker, and that quiet kind of wilderness that makes even a cup of coffee feel ceremonial.

The Moreta Outfit was made for that moment.

Not the polished city kind of moment. Not the perfect marble-floor entrance. Moreta belongs to the places where the floorboards creak, the air smells like rain and roasted beans, and every leaf looks like it has been placed by a stylist with excellent instincts.

The silhouette is a study in bohemian softness. A delicate lace bralette top sits close to the body, shaped with a feminine plunge, fine straps, and a front tie that falls like a whispered afterthought. The crochet texture gives the top that handcrafted intimacy, as if it was found in a trunk of vintage festival pieces and brought back into the present with a cleaner, more modern hand.

The skirt moves in contrast, long, airy, and graceful. Its tiered maxi shape falls from the waist with soft gathered volume, creating a relaxed sweep that feels romantic without trying too hard. The hem carries embroidered floral detailing, grounding the whole look in that sunlit, wandering, barefoot kind of elegance.

🌸 I love how Moreta feels like fashion history written in lace and wind. There are echoes of 1970s bohemian resort dressing, Edwardian lawn dresses, peasant skirts, antique crochet work, and the kind of soft festival styling that always seems to return when women remember they do not have to choose between comfort and beauty. It is nostalgic, but not costume. Feminine, but not fragile. Effortless, but clearly considered.

The details are what make it linger. The lace bralette brings scalloped edges, delicate crochet patterning, semi-sheer texture, and a drawstring front with tassel ends. The back ties softly at the neck, keeping the romance visible from every angle. The skirt adds soft fabric movement, tiered seam lines, natural drape, and that embroidered border at the hem that feels like a little garden stitched into the last step of the outfit.

The included high heels finish the look with a quiet, elongated grace, lifting the hem just enough to let the skirt move with a little more ceremony. They keep the outfit from feeling purely barefoot-bohemian, adding that polished resort note that says I may have wandered into the forest, but I still arrived dressed for the story.

Moreta is PBR only, copy and modify, which gives the materials a richer life in changing light. The lace catches differently from the skirt. The crochet reads with delicate depth. The fabric keeps a soft woven calm. In the forest café scene, the outfit does exactly what good PBR should do: it does not shout, it breathes. It lets the sunlight, shadow, and texture decide how much romance each moment deserves.

Compatible mesh bodies: Maitreya | LaraX | Legacy | Perky | Reborn | Waifu

🌾 I styled Moreta as if I had wandered into a hidden mountain café and accidentally became part of the décor. The hat softened the whole mood, the jewelry added a little golden ritual, and the pale blue skirt turned the scene into something between a travel diary and an old photograph found between the pages of a novel.

Includes: Top | Skirt | High Heels

Available at FaMESHed, opening the 1st at noon SLT.

FaMESHed Event Location:

maps.secondlife.com/secondlife/FaMESHed/128/128/24

Just BECAUSE Mainstore:

maps.secondlife.com/secondlife/JustBecause/123/129/24

“Some outfits are made for rooms. Moreta is made for the places where the room ends, the pines begin, and style remembers how to breathe.”

— Becky Kénaan

"Everyone shout Spa!...."

A weekend away with the girls...

Sharing of secrets, hopes and dreams

Grounding back into self and shaking off the shackles of motherhood and career

Feeling into our bodies with workouts, sweating and divine pampering

. . BLISS . .

LOCATION: Cyprian Garden

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🌸 DEAD DOLL - Rhea Dress (middle in RED)

• Collor & Gemstone HUD

• Maitreya/Petite // Legacy // Reborn

Available from → ACESS event.

There after from → Dead Doll in world store.

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-extra ༶ Cosy Season Bento pose set

• 5 pack . Mirrored poses

Available from → -extra- in world store.

(hand edit for handbag and drinks carrier)

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LEFT: Pixicat dress // Chicchica - Doris Heels

RIGHT: Pixicat - Hiba Cardigan // Stories & CO - pencil knit skirt // N-Core - The Stiletto

Wien was a liner of 7367 tons built by Lloyd Austriaco and served in WWI as a hospital ship.

Following a grounding which damaged her propeller, she was returned to her Lloyd Austriaco on 29 June 1916.

On December 7th, 1917, she was requisitioned again as an accommodation ship for German Navy personnel at Pola.

On November 1st 1918, she was sunk by Italian frogmen.

In 1921 she was raised and renamed Vienna.

Renamed Po in 1935, she served again as an (Italian) hospital ship in WWII.

She was finally sunk by enemy aircraft in Valona Bay, March 14th 1941.

For further information please visit www.albaniamarinecenter.org/pages/po.html

The ship was the property of Lloyd Triestino, originally founded as Österreichischer Lloyd, which is a shipping company with its head office in Trieste, Italy, and run by Evergreen Marine Corporation.

It was founded as "Österreichischer Lloyd" (or "Austrian Lloyd") in 1836 and became one of the world's biggest shipping companies by managing most oversea trade and passenger travel of Austria-Hungary until 1918. The Austrian Lloyd was running regular services from Trieste to the Near East, India, China and the Far East, Brazil, the USA and Northern Europe. It also was one of the first to use steam ships.

The company's name was changed to "Lloyd Triestino" in 1919, when Trieste became a part of Italy. At this time, the company also faced major restructuring in order to recover losses incurred during World War I. By the end of the 1930s, Lloyd Triestino, with its offshoot Marittima Italiana, was once again a major world shipping power, owning a fleet of 85 vessels with 17 services to east Africa, southern Africa, Asia, and Australia.[2] The company was once again crippled by the devastation of World War II in the 1940s. During the War, Lloyd Triestino lost 68 ships and 1,000 sailors. At the end, they were reduced to a fleet of just 5 ships and were once again faced with a massive recovery operation. By 1956, the Lloyd Triestino fleet had grown to 31 ships.

Lloyd Triestino entered into a partnership with Taiwanese shipping giant, Evergreen Marine, Corp., in 1993.[3] This successful partnership has grown over the years, and now also includes Evergreen's British based line, Hatsu Marine Ltd., which was created in 2000.

On March 1, 2006, Lloyd Triestino's name officially changed to Italia Marittima. Ship names are gradually being changed from the prefix "LT" to "Ital" to reflect this change (e.g. LT Cortesia and Ital Contessa).

For further information please visit en.wikipedia.org/wiki/Italia_Marittima and www.italianliners.com/lloyd-triestino-en

This painting was just one of many fascinating exhibits at a special exhibition titled “Lloyd. Trieste and its Ships round the World" which we visited back in April this year. For more information please visit eng.lloydtrieste.it/

I wandered into the morning like a page torn from an old fairytale paperback - sunlight filtering through painted leaves, coffee warming my fingertips, and denim brushing softly against my skin as though it had already memorized every curve of me. The Jay Set by [adorsy](adorsy.com?utm_source=chatgpt.com) feels youthful in the way seventies runway muses once did - carefree, flirtatious, and impossibly confident without ever trying too hard. It is casual chic spun through a dreamscape of low-rise rebellion and corseted femininity, where every piece moves together like poetry written in faded blue denim and sugar-pink lace. 🌸

The bodysuit is the heart of the entire silhouette - sculpted like modern couture but whispering echoes of vintage lingerie-inspired fashion from the late disco era and the decadent denim editorials of the early 2000s. Its sharply contoured waistline sweeps inward with daring side cutouts that elongate the torso while drawing the eye upward toward the softly ruched sweetheart bust. The fitted structure creates a beautifully lifted shape while the shimmering textures and delicate detailing give it that enchanted, almost storybook glow beneath sunlight. The Jay Bodysuit includes 50 rich color options ranging from romantic blush pinks and icy blues to noir-inspired darker tones, all enhanced with luminous fabric detailing and realistic texture depth. ✨

Layered over it is the cropped denim jacket - effortlessly slouched from the shoulders with gathered sleeves that feel borrowed from a rebellious runway princess escaping into the woods after midnight. The abbreviated cut frames the bodysuit perfectly, allowing the waist and hip contours to remain the focus while adding just enough rugged contrast to soften the sensuality beneath. Its weathered denim textures and realistic folds give the jacket movement and personality, like a cherished vintage piece rediscovered in the back of a forgotten Parisian boutique. The jacket HUD offers 25 denim fabric variations and color tones - from washed powder blue and smoky charcoal to distressed indigo finishes that pair seamlessly with every bodysuit option. 💙

The denim pants carry the look into pure off-duty glamour. Low-slung and impossibly elongated through the leg, they drape with that signature relaxed luxury once adored by early supermodels wandering city streets in oversized sunglasses and platform heels. The cut balances sensual exposure at the hips with fluid wide-leg elegance, creating a silhouette that feels playful, feminine, and endlessly youthful. adorsy includes two denim pant versions within the set, each designed with realistic fabric creasing, subtle stretch contouring, and multiple wash options to complement the bodysuit palette. Together, the proportions create that iconic casual chic tension between undone denim and refined glamour. 🌷

Then there are the shoes - soft, feminine, and quietly sparkling beneath the denim hems like hidden jewels beneath a ballroom gown. Their delicate structure completes the fairytale illusion, grounding the entire ensemble with understated elegance while still preserving the youthful energy of the styling. With 45 color variations available, they become the finishing whisper that allows every version of Jay to feel uniquely personal - sweet, sultry, dreamy, or boldly fashion-forward all at once. ✨

Historically, the Jay Set feels beautifully inspired by the flirtation between Americana denim culture and European couture sensuality. I see traces of Jane Birkin’s effortless Parisian ease, the rebellious denim glamour of late seventies Studio 54 muses, and the hyper-feminine corseted silhouettes that returned in early millennium runway collections. Yet adorsy modernizes these influences through polished textures, contemporary body contouring, and wearable fantasy styling that feels perfectly at home beneath virtual sunsets and enchanted gardens alike. 🌿

Compatible mesh bodies include LaraX, PetiteX, Legacy, Reborn, Waifu, and Maitreya-compatible sizing options.

Acquire the Jay Set at the adorsy Mainstore:

maps.secondlife.com/secondlife/Twilight%20Mist/128/128/22 🌺️

“Casual chic is the art of looking beautifully undone while knowing every detail was a love letter to style.” – Unknown 💫

View under water as we proceeded to the shoreline on the St. Lawrence River near Cornwall. The paddle moved the dust up from the underwater mudbank.

walking into the night, framed by tiles and silence. berlin’s u-bahn entrances have a way of turning the mundane into a stage. the glowing "u" above, a beacon for anyone seeking a way out or a way through.

this scene isn’t just about going somewhere; it’s about the moments in between, where light, shadow, and motion create their own quiet drama. a single silhouette brings life to the stillness, grounding the geometry in humanity.

This is an image from my recent Tethered project.

Tethered is a mixed-media project blending photography, animation, and traditional darkroom techniques with experimental processes and tactile materials. Through themes of grounding and isolation, freedom and rootedness, attachment and separation, the project weaves a visual narrative that explores the dualities of connection and solitude. Incorporating materials like thread, rope, food coloring, and elements inspired by landscapes, Tethered emphasizes the materiality of the medium, encouraging viewers to engage physically and emotionally. The addition of animation introduces a dynamic interplay between energy and stillness, enhancing the work’s exploration of landscapes as spaces of reflection, distance, and connection. By merging tactile elements with experimental approaches, Tethered invites viewers to reflect on their own relationship to place, identity, and the tension between solitude and belonging.

There’s something incredibly grounding about the deep greens of a moss-covered trunk. A little forest therapy for your feed today.

Image taken in May, 2012. Long before covid. She was built by the Delta Queen Steamboat Company as the largest river steamboat ever built, 418' long by 89' wide. Powered by a steam engine removed from a 1932 dredging vessel, the Kennedy. She had two diesel electric Z drives and two bow trusters. The Delta Queen Steamboat company filed for bankruptcy after 9-11-2001. The boat was then sold to the Great American Steamboat Co. Her career was a financial nightmare. She endured groundings, a bridge collusion and rock gash. She was scrapped in 2024 in Houma, Louisiana. I'm afraid that the great riverboat era in Cincinnati has ended. The Delta Queen, the Mississippi Queen and the American Queen are all scrapped.

🌿✨ Beneath the Moss & Maple — Falling for the River Set by adorsy ✨🌿

Some outfits don’t just dress you — they place you. Stepping onto a dew-kissed cedar boardwalk in the Pacific Northwest, near the quiet edges of Vancouver, B.C., light filtering through fir and bigleaf maple, I felt instantly grounded in the River Set by adorsy. It’s the kind of look that makes you slow your steps and notice the poetry in river-song, moss-soft bark, and cool coastal air. This is Soft Grunge Boho Corsetcore at its most youthful and free — shaped by biophilia, movement, and mood rather than mirrors.

The silhouette unfolds in layers, relaxed yet intentional. The top gently frames the body with a sweetheart-inspired cut and soft ruching that flatters without demanding attention. It feels feminine but easy, like something you throw on without thinking and then realize, halfway through the day, how perfectly it fits the moment. Over it, the lightweight sweater drapes like morning fog rolling in from the inlet, adding warmth without weight — cozy, casual, and quietly expressive.

The denim jeans are where River truly sings. Washed blues become a canvas for hand-painted florals, pastel blossoms scattered like wildflowers along a riverbank beneath vine maples. The relaxed fit carries that soft-grunge, lived-in attitude — artistic, slightly undone, and completely intentional. Each step feels unhurried, like petals drifting downstream. Grounding the look, the boots are slouchy and supple with a subtle stacked heel, bridging rustic western influence and modern street style, ready for boardwalks, forest paths, and city sidewalks alike.

🎨 The included HUD turns River into a palette-driven story of your own. With 70 top colors ranging from airy pastels to grounded neutrals, 45 denim options including classic washes and floral variations, 45 sweater shades for effortless layering, and 45 boot colors to anchor or contrast the look, the mood can shift in seconds. Sunrise-soft, misty blue, or earthy and grounded — River adapts as easily as the light through the trees.

♀️ Designed to move naturally with your shape, the River Set supports LaraX, PetiteX, Legacy, Reborn, and Waifu mesh bodies, offering balance and fluidity across silhouettes without ever feeling restrictive.

🎬 There’s a quiet Hollywood spirit woven into River — the relaxed sensuality of Jane Birkin, the festival ease of Sienna Miller — reimagined for modern wandering. It feels cinematic without being styled for the camera, confident without needing an audience. This is bohemian ease with a soft-grunge edge, youthful, expressive, and beautifully unforced.

️ You can find the River Set and begin your own biophilic story at the adorsy mainstore:

🌐 [marketplace.secondlife.com/stores/25730/adorsy](marketplace.secondlife.com/stores/25730/adorsy)

🍃 In River, every step outside feels intentional — grounded, expressive, and quietly radiant.

In this high impact fashion moment, the vinyl catsuit becomes pure editorial electricity. The ultra glossy surface carves out a hyper defined silhouette, catching the light like liquid obsidian and turning every curve into a statement. The crystal cap is the unexpected twist — a futuristic crown that scatters reflections with couture precision, elevating the look from bold to iconic. Studded ankle boots inject a dose of runway rebellion, grounding the ensemble with a sharp, modern edge. It’s a look that fuses cyber allure and high fashion attitude, made to dominate both the lens and the imagination.

marketplace.secondlife.com/p/Dellago-Eclat-Cyborg-cat-sui...

A watchful dog dominates the foreground, its intense gaze grounding the frame, while distant riders drift through misty trees. The contrast of presence and distance captures a quiet tension - instinct, vigilance, and the timeless rhythm of rural life.

À l’extrême nord-est de Kinrooi se trouve un vaste lac de gravier – créé par la poldérisation, aujourd’hui lieu de repos pour les hommes et la nature. C’est dans ce lieu inattendu que Mother ! Oui dream till the end de Laure Prouvost trouve sa place. Cette sculpture monumentale est une interprétation artistique de Mère Meuse, le fleuve qui a apporté fertilité et prospérité à cette région pendant des siècles. C’est pourquoi elle est affectueusement appelée Mère Meuse dans la langue vernaculaire.

Prouvost représente la Mère Meuse comme une figure hybride : mi-femme, mi-créature sous-marine, avec un ventre de femme enceinte, des bras en forme de tentacules et des oiseaux en bronze nichant sur ses bras. Telle une mère protectrice, elle entoure une montagne de gravier de la Meuse, issu du même sous-sol que celui du lac. Le gravier fait référence au passé minier, mais prend ici une nouvelle signification en tant que symbole de soin, de connexion et d’ancrage dans le paysage. Avec son tentacule, elle enfonce un drapeau dans la montagne de gravier, avec les mots Oui dream jusqu’à la fin. Ce drapeau reste visible même lorsque le lac est en crue à marée haute. Ainsi, l’œuvre d’art suit littéralement la dynamique de l’environnement.

L’emplacement n’a pas été choisi par hasard. Cet endroit se trouve près de la « fin de la Belgique », un point de frontière symbolique où la nature, l’histoire et les paysages se rejoignent. Prouvost, elle-même originaire d’une région frontalière franco-belge, joue souvent avec le multilinguisme et le glissement de sens dans son travail. « Oui sonne comme we, ou ‘nous' », explique-t-elle. « Le drapeau exprime l’espoir que nous continuions à rêver ensemble, jusqu’à la fin.

Le choix d’une figure de demi-pieuvre s’inscrit dans un thème récurrent de l’œuvre de Laure Prouvost. Une pieuvre a plusieurs cœurs et n’a pas de cerveau central. Ses sens et son cerveau sont situés dans ses tentacules. Il pense en sentant et sent en pensant. En associant ces caractéristiques à une forme humaine, Laure Prouvost nous invite à regarder, à penser et à éprouver de l’empathie pour d’autres créatures de manière différente.

In the far northeast of Kinrooi lies a vast gravel lake—created by polderization, now a place of rest for both people and nature. It is in this unexpected location that Laure Prouvost's *Mother! Yes, dream till the end* finds its home. This monumental sculpture is an artistic interpretation of Mother Meuse, the river that brought fertility and prosperity to this region for centuries. This is why it is affectionately called Mother Meuse in the local dialect.

Prouvost depicts Mother Meuse as a hybrid figure: part woman, part underwater creature, with a pregnant belly, tentacle-like arms, and bronze birds nesting on her arms. Like a protective mother, she encircles a mountain of Meuse gravel, drawn from the same subsoil as the lake. The gravel alludes to the mining past but here takes on a new meaning as a symbol of care, connection, and grounding in the landscape. With her tentacle, she plants a flag in the gravel mound, bearing the words "Yes, dream until the end." This flag remains visible even when the lake is flooded at high tide. Thus, the artwork literally follows the dynamics of the environment.

The location was not chosen by chance. This spot is near the "end of Belgium," a symbolic border point where nature, history, and landscapes converge. Prouvost, herself from a Franco-Belgian border region, often plays with multilingualism and shifts in meaning in her work. "Yes sounds like 'we,' or 'us,'" she explains. "The flag expresses the hope that we continue to dream together, until the end."

The choice of a half-octopus figure is part of a recurring theme in Laure Prouvost's work. An octopus has multiple hearts and no central brain. Its senses and brain are located in its tentacles. He thinks by feeling and feels by thinking. By associating these characteristics with a human form, Laure Prouvost invites us to look, think and feel empathy for other creatures in a different way.

There’s a quiet tension in the air before a storm rolls in - the sky darkens, the wind shifts, and everything seems to hold its breath. We check the windows, secure what might blow away, and brace ourselves for what’s coming.

In life, the storms aren’t always made of wind and rain, but they arrive just the same: a hard conversation, a sudden loss, a change we didn’t choose. And just like with the weather, we prepare. We gather our strength, lean on what’s sturdy, and hope the shelter we’ve built - within ourselves and with others - will hold.

But there’s something sacred in that waiting. It’s the moment between calm and chaos, where reflection lives. We don’t always know how strong the storm will be, or how long it’ll last, but we learn to trust our resilience.

Whether it’s thunder in the sky or turmoil in the heart, the act of preparing - of grounding, of choosing what matters - is the same. And when the storm finally passes, we step out into the light, changed but still standing.

Happenstance

Vulcan to the Sky XH 558 landing at Prestwick after displays at Portrush N.I. and Ayr Seafront in 2015, she was to make one final visit north of the border before her final flight, that was a flyover at East Fortune on the farewell tour of the UK before grounding on 28th October 2015.

Just when you think spring is on its way, mother nature pulls a fast one and snow is back over the grass that was just starting to green up. Drusilla revels in it though - gives her a chance to wear her lovely knits a little longer.

Blythe a Day - Grounding Grass - 4/7/26

Daunting Drusilla

in my yard

Clothing from Etsy

CHAI. REFUGE available at The Level Event.

_

Every home has a place we return to:

the spot where you breathe deeper, drop your shoulders, and come back into yourself.

A place that doesn’t ask anything of you.

That is Refuge.

This collection was created for people who move through the world carrying a lot, loving deeply, and needing a space that loves them back. Refuge is about grounding.

About safety.

About a room that finally feels like it sees you.

⸻

SOLD AS:

❤️The Console

❤️Deer sculptures

❤️Rustic ceramics

❤️Oriental Rug

⸻

REFUGE feels like:

• being held after a hard day

• grounding when life feels loud

• warmth that you didn’t know you needed until it was there

Fill the emotional gaps we often ignore.

Welcome Home,

CHAI.

The sleek and fresh J.W. Shelley ex Algoma Central Algocen here downbound on the St. Clair River at St. Clair - her revival was short lived unfortunately with a grounding which lead to her being scrapped - June 18, 2010.

Tune

For the boudoir Show from REVEL AGENCY - Outfit 2

Elegance in Restraint: Boudoir Meets Power

Description

This look captures the essence of controlled desire, where sharp sophistication meets subtle seduction. The white, one-sleeve jacket by Gabriel brings a crisp elegance, contrasted by the black UnhlyCngrgatn Neck Belt and Tie by ARCHIVEFACTION, symbolizing an alluring restraint. The DOMENTOR-branded JEYS NEETI-Underwear peeks provocatively, paired with the sleek black OXFORD Shoes and RUN Socks by Dope+Mercy, grounding the outfit in classic masculinity. The Pelvis Piercing sixty six by PUNCH adds an unexpected edge, while the Valrie Gauged XL Earrings by Fewness echo this daring style. The look is completed by the RAGNAR Buns Hair and white Ragnar Hairbase by EAGLELUX, with the holdable belt and RealEvils Slick Gloves in black as the final touch, embodying a boudoir fantasy of power and elegance.

Styling:

EGX. BOM Ragnar Tattoo 2

EGX. BOM Ragnar Hairbase White V2

::GB::One sleeve Jacket (Legacy) White

ARCHIVEFACTION_UnhlyCngrgatn_Neck Belt_Legacy M

ARCHIVEFACTION_UnhlyCngrgatn_Tie_Legacy M

CA OXFORD SHOES GIANNI

Fewness - Valerie Gauged XL - Male - Human

JEYS-NETI-UNDERWEAR[LEGACY]-L

PUNCH / Pelvis Piercing / Sixty Six / Spikes (Legacy Male)

rvn - holdable belt - right hand

**RE** Slick Gloves Maeshbody Legacy M Fat Pack

[Dope+Mercy]RUN Socks (Legacy M)

[MAGNIFICENT] RAGNAR Buns Hair - 3 Styles

^^Swallow^^ Gauged XL Ears (m)

More infos as usual in my blog