INTERCONNECTEDNESS photos on Flickr

Eye Dazzler II 2015 --- Will Wilson (Navajo) by Caffe_Paradiso

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Inspired by a wool eye dazzler rug woven by his grandmother in the 1970s, Wilson made his rug with 76,050 4mm glass beads, taking over 1000 hours of artistic labour. The work speaks to the notion of digital arising from both human hands and new media. At the centre of this classic handwoven Navajo rug design, two central QR codes link to short videos that affirm the continuance of Diné cosmologies and ecologies as well as the multi-dimensional and interconnectedness with earthly, celestial, human and spiritual relations that Indigenous peoples carry.

ascension by R Casey

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...

okay a two for one tonight. So same comment for both :)

Just in opening and editing, the color tones of these two suggested the way they go... so had to do both for that whole interconnectedness stuff and stuff :)

Check it out :)

soundcloud.com/rsc_escher

West meets East by Jan Theuninck - expo G20 in Seoul, Korea, 2010 - 서쪽이 동쪽을 만나다 by Gray Moon Gallery

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Acrylic on canvas, 2010 - 60 x 80 cm

The painting gained international prominence when it was selected to represent Belgium—then holding the rotating presidency of the Council of the European Union—in a high-profile exhibition.

Jan Theuninck is a Belgian contemporary artist known for his abstract and symbolic paintings that often explore themes of cultural fusion, spirituality, and global interconnectedness. His style blends Western artistic traditions with Eastern influences, making West Meets East a fitting emblem for the event: The 5th G20 Summit took place in Seoul from November 11–12, 2010 .Exhibited at the Art Hall of the Korea Press Center from November 8–14, 2010, it represented Belgium and the EU's contribution to the festival. As a host, South Korea organized parallel cultural initiatives to promote global dialogue beyond economics, including art exhibitions involving G20 member countries and the European Union (EU).

West Meets East symbolizes the convergence of Eastern and Western cultures and the exhibition highlighted art's role in diplomacy, bridging divides during a pivotal global economic forum.

working together to secure the future....

동안 한국 프레스 센터에서 전시

서울, 한국에서 G20 정상 회의 회의

Запад встречается с Востоком

Exhibited at the Korean Press Center during the

G20 Summit Conference in Seoul, Korea - curator : Hyewon Park -

Belgium as President of the Council of the European Union is represented by Jan Theuninck with his painting West meets East

web.archive.org/web/20171026164855/http://www.eutrio.be/n...

Belgien als Vorsitzender des Rates der Europäischen Union wird von Jan Theuninck vertreten, mit seinem Gemälde „West meets East“.

Mit dieser Kulturveranstaltung wird der "G20 Seoul-Gipfel" die wirtschaftliche Kooperation sowie auch den kulturellen Austausch zwischen den teilnehmenden Nationen des G20-Gipfels in Seoul fördern.

www.flickr.com/photos/26915283@N07/5495540266/

Jan Theuninck is a Belgian painter

www.boekgrrls.nl/BgDiversen/Onderwerpen/gedichten_over_sc...

www.forumeerstewereldoorlog.nl/wiki/index.php/Yperite-Jan...

www.graphiste-webdesigner.fr/blog/2013/04/la-peinture-bel...

www.eutrio.be/nl/expo-west-meet-east

www.e-architect.co.uk/architects/le-corbusier

www.kunstmagazine.net/artist/18

Following the G20 Summit Conference in Seoul, Korea the G20 World Artist Festival is held with participations of artists from G20 member countries at the Art Hall of the Korea Press Center from November 8 through November 14.

Belgium as President of the Council of the European Union is represented by Jan Theuninck with his painting West meets East. With this cultural event "G20 Seoul Summit" will promote economic cooperation as well as cultural exchange between the participating nations of the G20 Seoul Summit.

En marge de la conférence sur le sommet du G20 à Séoul (Corée), le G20 World Artist Festival accueillera des artistes des pays membres du G20 au Art Hall du Korea Press Center, du 8 au 14 novembre.

La Belgique, en tant que Présidente du Conseil de l’Union européenne, est représentée par Jan Theuninck avec sa peinture West meets East. Avec cet événement, le sommet du G20 à Séoul entend promouvoir la coopération économique ainsi que l’échange culturel entre les nations participantes audit sommet.

Na de G20-topconferentie in Seoel, Korea, wordt het G20 Wereldartiestenfestival georganiseerd in de kunsthal van het Korea Press Center. Van 8 tot 14 november zullen artiesten uit de G20-lidstaten er tentoonstellen.

België wordt als voorzitter van de Raad van de Europese Unie vertegenwoordigd door Jan Theuninck met zijn schilderij

West meets East (West ontmoet Oost). Met dit culturele evenement zal de “G20-top van Seoel” de economische samenwerking, maar ook de culturele uitwisseling tussen de deelnemende landen van de G20-top van Seoel promoten.

Imagine Together, Art Corridor Yonge Street by Daria Joyce, Raquel Da Silva, Janson Zante, Toronto, ON by Snuffy

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Excerpt from www.newswire.ca/news-releases/cadillac-fairview-introduce...:

Cadillac Fairview Introduces Art Corridor on Yonge Street with new Billboard Campaign at CF Toronto Eaton Centre in Partnership with OCAD University.

The 'Imagine Together' exhibit showcases three emerging Canadian artists from OCAD University, bringing the community together through art and design.

Cadillac Fairview (CF) is proud to announce the CF Toronto Eaton Centre Art Corridor in partnership with OCAD University (OCAD U). The 18-month long exhibit features nine vibrant and inspiring designs created by three diverse and emerging OCAD U artists Raquel Da Silva, Jason Zante and Daria Joyce. Their art will transform a popular portion of Yonge Street into a beautiful outdoor gallery located directly above the iconic shopping centre.

In alignment with CF's recently shared Purpose, Transforming Communities for a Vibrant Tomorrow, CF issued a call for submission to graduate students of OCAD U's Faculty of Design to represent how art can bring people together and build community. The resulting exhibit entitled 'Imagine Together' highlights the vibrancy of human connection that is vital to healthy and happy communities and serves as a reminder of the power of collaboration and interconnectedness.

"CF is committed to creating dynamic, inviting spaces and we recognize the important role art plays in enabling expressive and meaningful places in our buildings and the neighbourhoods we are proud to be a part of," said Sheila Jennings, General Manager, CF Toronto Eaton Centre. "Our centre is located in the heart of downtown Toronto, serving as a regular meeting place for our engaged student community. It was only natural that we collaborate with young emerging talent to transcend a message of hope, positivity and togetherness through art."

Each artist was asked to reflect on their own experiences at CF Toronto Eaton Centre, weaving in physical, emotional and sensory elements to highlight the importance of inclusivity, togetherness and social connections. A mainstay in Toronto for more than 44 years, CF Toronto Eaton Centre is one of North America's most visited retail destinations that features a collection of digital signage and billboards, typically reserved for advertising, from Dundas Street down to Queen Street. For the first time, the billboards will showcase community artwork that will be on display for the next year and a half. This area, which neighbours the city's highly visited Yonge-Dundas Square, is home to some of Canada's largest digital displays, providing optimal visibility for the artists.

"OCAD University is dedicated to fostering communities that integrate multiple perspectives and we are inspired by the creativity and passion our students showed in bringing this mission to life," said Ana Serrano, President and Vice-Chancellor at OCAD University. "We are grateful to partners like Cadillac Fairview for their strong community support and providing a tremendous platform, especially at one of their landmark properties, to serve as a showcase for our students."

"This exhibit is a great addition to Downtown Yonge, highlighting the cultural significance of this neighbourhood with a positive and inspiring message. It is also important economically: arts and culture are crucial to bringing people back to this area as we re-open, and we are excited to see this art activation showcasing the talent of emerging artists," says Mark Garner, Chief Operating Office of the Downtown Yonge BIA.

About the Artists

The three artists participating in the CF Toronto Eaton Centre Art Corridor are Faculty of Design students from OCAD U. Aligned with CF's purpose, the Faculty encourages students to create designs that nurture community and empower individuals.

Raquel Da Silva - Raquel is a Toronto-based artist and designer, working primarily in painting and sculptural objects. Her work is focused on creating abstract environments with two and three-dimensional forms and shapes. Raquel's pieces created for 'Imagine Together' are meant to evoke the cultural vibrancy of the city and reflect the energy that it creates to inform, inspire and regenerate.

Jason Zante - Jason is a Filipino Canadian multidisciplinary artist. He infuses vibrant colours in his compositions that depict stillness in time, Philippine culture, and ethereal landscapes. Jason's pieces created for 'Imagine Together' emphasize how art and design influence social change and have the potential to create conversations that matter through captivating visuals.

Daria Joyce - Daria is an illustration artist, creating work that is inclusive, playful, and vibrant, as she aspires to create art that connects and illuminates. Her pieces created for 'Imagine Together' reflect the power of CF Toronto Eaton Centre as the heart of Toronto, a destination that brings people together in a visually inspiring environment, creating an emotionally enriching and communal experience.

Modern Architectural Marvel (United Arab Emirates) by Ondablv

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This stunning photograph captures the unique architecture of the Atlantis The Royal hotel in Dubai, United Arab Emirates. The building's distinctive design, with its interconnected blocks and luxurious amenities, stands out against the serene backdrop of the Arabian Gulf. This image showcases the innovative spirit and opulence of modern Dubai.

Description (Italian): Questa splendida fotografia cattura l'architettura unica dell'hotel Atlantis The Royal a Dubai, negli Emirati Arabi Uniti. Il design distintivo dell'edificio, con i suoi blocchi interconnessi e i servizi di lusso, si staglia sullo sfondo sereno del Golfo Arabico. Questa immagine mette in mostra lo spirito innovativo e l'opulenza della moderna Dubai.

Tree of Life: ბორჯღალი.... 慧深...बोधि... الخلود by Hughes Songe

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Various trees of life are recounted in folklore, culture and fiction, often relating to immortality or fertility. They had their origin in religious symbolism.

Ancient Iran

In pre-Islamic Persian mythology, the Gaokerena world tree is a large, sacred Haoma tree which bears all seeds. Ahriman (Ahreman, Angremainyu) created a frog to invade the tree and destroy it, aiming to prevent all trees from growing on the earth. As a reaction, God (Ahura Mazda) created two kar fish staring at the frog to guard the tree. The two fishes are always staring at the frog and stay ready to react to it. Because Ahriman is responsible for all evil including death, while Ahura Mazda is responsible for all good (including life) the concept of world tree in Persian Mythology is very closely related to the concept of Tree of Life.The sacred plant haoma and the drink made from it. The preparation of the drink from the plant by pounding and the drinking of it are central features of Zoroastrian ritual. Haoma is also personified as a divinity. It bestows essential vital qualities—health, fertility, husbands for maidens, even immortality. The source of the earthly haoma plant is a shining white tree that grows on a paradisiacal mountain. Sprigs of this white haoma were brought to earth by divine birds.Haoma is the Avestan form of the Sanskrit soma. The near identity of the two in ritual significance is considered by scholars to point to a salient feature of an Indo-Iranian religion antedating Zoroastrianism.

Another related issue in ancient mythology of Iran is the myth of Mashyа and Mashyane, two trees who were the ancestors of all living beings. This myth can be considered as a prototype for the creation myth where living beings are created by Gods (who have a human form).

Ancient Egypt

Worshipping Osiris, Isis, and Horus

To the Ancient Egyptians, the Tree of Life represented the hierarchical chain of events that brought every thing into existence. The spheres of the Tree of Life demonstrate the order, process, and method of creation.In Egyptian mythology, in the Ennead system of Heliopolis, the first couple, apart from Shu and Tefnut (moisture and dryness) are Geb and Nuit (earth and sky), are Isis and Osiris. They were said to have emerged from the acacia tree of Iusaaset, which the Egyptians considered the tree of life, referring to it as the "tree in which life and death are enclosed." Some acacia trees contain DMT, a psychedelic drug associated with spiritual experiences. The drug is not orally bio-available, however and there is no evidence the Egyptians had techniques for extracting or otherwise harnessing the drug. A much later myth relates how Set and 72 conspirators killed Osiris, putting him in a coffin, and throwing it into the Nile, the coffin becoming embedded in the base of a tamarisk tree.The Egyptians' Holy Sycamore also stood on the threshold of life and death, connecting the two worlds.

Assyria

Assyrian tree of life, from Nimrud panels.The Assyrian Tree of Life was represented by a series of nodes and criss-crossing lines. It was apparently an important religious symbol, often attended to in Assyrian palace reliefs by human or eagle-headed winged genies, or the King, and blessed or fertilized with bucket and cone. Assyriologists have not reached consensus as to the meaning of this symbol. The name "Tree of Life" has been attributed to it by modern scholarship; it is not used in the Assyrian sources. In fact, no textual evidence pertaining to the symbol is known to exist.

Baha'i Faith

The concept of the tree of life appears in the writings of the Baha'i Faith, where it can refer to the Manifestation of God, a great teacher who appears to humanity from age to age. An example of this can be found in the Hidden Words of Bahá'u'lláh:["Have ye forgotten that true and radiant morn, when in those hallowed and blessed surroundings ye were all gathered in My presence beneath the shade of the tree of life, which is planted in the all-glorious paradise? Awestruck ye listened as I gave utterance to these three most holy words: O friends! Prefer not your will to Mine, never desire that which I have not desired for you, and approach Me not with lifeless hearts, defiled with worldly desires and cravings. Would ye but sanctify your souls, ye would at this present hour recall that place and those surroundings, and the truth of My utterance should be made evident unto all of you."Also, in the Tablet of Ahmad [1], of Bahá'u'lláh:"Verily He is the Tree of Life, that bringeth forth the fruits of God, the Exalted, the Powerful, the Great".Bahá'u'lláh refers to his male descendents as branches (Aghsán) and calls women leaves.

A distinction has been made between the tree of life and the tree of the knowledge of good and evil. The latter represents the physical world with its opposites, such as good and evil and light and dark. In a different context from the one above, the tree of life represents the spiritual realm, where this duality does not exist.

Buddhism

The Bo tree, also called Bodhi tree, according to Buddhist tradition, is the pipal (Ficus religiosa) under which the Buddha sat when he attained Enlightenment (Bodhi) at Bodh Gaya (near Gaya, west-central Bihar state, India). A living pipal at Anuradhapura, Ceylon (now Sri Lanka), is said to have grown from a cutting from the Bo tree sent to that city by King Ashoka in the 3rd century BCE.According to Tibetan tradition when Buddha went to the holy Lake Manasorovar along with 500 monks, he took with him the energy of Prayaga Raj. Upon his arrival, he installed the energy of Prayaga Raj near Lake Manasorovar, at a place now known as Prayang. Then he planted the seed of this eternal banyan tree next to Mt. Kailash on a mountain known as the "Palace of Medicine Buddha".

China

In Chinese mythology, a carving of a Tree of Life depicts a phoenix and a dragon; the dragon often represents immortality. A Taoist story tells of a tree that produces a peach every three thousand years. The one who eats the fruit receives immortality.An archaeological discovery in the 1990s was of a sacrificial pit at Sanxingdui in Sichuan, China. Dating from about 1200 BCE, it contained three bronze trees, one of them 4 meters high. At the base was a dragon, and fruit hanging from the lower branches. At the top is a strange bird-like (phoenix) creature with claws. Also found in Sichuan, from the late Han dynasty (c 25 – 220 CE), is another tree of life. The ceramic base is guarded by a horned beast with wings. The leaves of the tree are coins and people. At the apex is a bird with coins and the Sun.

Christianity

In Catholic Christianity, the Tree of Life represents the immaculate state of humanity free from corruption and Original Sin before the Fall. Pope Benedict XVI has said that "the Cross is the true tree of life." Saint Bonaventure taught that the medicinal fruit of the Tree of Life is Christ himself. Saint Albert the Great taught that the Eucharist, the Body and Blood of Christ, is the Fruit of the Tree of Life.[18] Augustine of Hippo said that the tree of life is Christ: "All these things stood for something other than what they were, but all the same they were themselves bodily realities. And when the narrator mentioned them he was not employing figurative language, but giving an explicit account of things which had a forward reference that was figurative. So then the tree of life also was Christ... and indeed God did not wish the man to live in Paradise without the mysteries of spiritual things being presented to him in bodily form. So then in the other trees he was provided with nourishment, in this one with a sacrament... He is rightly called whatever came before him in order to signify him."[19]

The tree first appeared in Genesis 2:9 and 3:22-24 as the source of eternal life in the Garden of Eden, from which access is revoked when man is driven from the garden. It then reappears in the last book of the Bible, the Book of Revelation, and most predominantly in the last chapter of that book (Chapter 22) as a part of the new garden of paradise. Access is then no longer forbidden, for those who "wash their robes" (or as the textual variant in the King James Version has it, "they that do his commandments") "have right to the tree of life" (v.14). A similar statement appears in Rev 2:7, where the tree of life is promised as a reward to those who overcome. Revelation 22 begins with a reference to the "pure river of water of life" which proceeds "out of the throne of God". The river seems to feed two trees of life, one "on either side of the river" which "bear twelve manner of fruits" "and the leaves of the tree were for healing of the nations" (v.1-2).[20] Or this may indicate that the tree of life is a vine that grows on both sides of the river, as John 15:1 would hint at.

In Eastern Christianity the tree of life is the love of God.The tree of life appears in the Book of Mormon in a revelation to Lehi (see 1 Nephi 8:10). It is symbolic of the love of God (see 1 Nephi 11:21-23). Its fruit is described as "most precious and most desirable above all other fruits," which "is the greatest of all the gifts of God" (see 1 Nephi 15:36). In another scriptural book, salvation is called "the greatest of all the gifts of God" (see Doctrine and Covenants 6:13). In the same book eternal life is also called the "greatest of all the gifts of God" (see Doctrine and Covenants 14:7). Because of these references, the tree of life and its fruit is sometimes understood to be symbolic of salvation and post-mortal existence in the presence of God and his love.

Europe

11th century Tree of Life sculpture at an ancient Swedish church

In Dictionnaire Mytho-Hermetique (Paris, 1737), Antoine-Joseph Pernety, a famous alchemist, identified the Tree of Life with the Elixir of Life and the Philosopher's Stone.

In Eden in the East (1998), Stephen Oppenheimer suggests that a tree-worshipping culture arose in Indonesia and was diffused by the so-called "Younger Dryas" event of c. 8000 BCE, when the sea level rose. This culture reached China (Szechuan), then India and the Middle East. Finally the Finno-Ugaritic strand of this diffusion spread through Russia to Finland where the Norse myth of Yggdrasil took root.

Georgia

The Borjgali (Georgian: ბორჯღალი) is an ancient Georgian Tree of Life symbol.

Germanic paganism and Norse mythology[

In Germanic paganism, trees played (and, in the form of reconstructive Heathenry and Germanic Neopaganism, continue to play) a prominent role, appearing in various aspects of surviving texts and possibly in the name of gods.

The tree of life appears in Norse religion as Yggdrasil, the world tree, a massive tree (sometimes considered a yew or ash tree) with extensive lore surrounding it. Perhaps related to Yggdrasil, accounts have survived of Germanic Tribes' honouring sacred trees within their societies. Examples include Thor's Oak, sacred groves, the Sacred tree at Uppsala, and the wooden Irminsul pillar. In Norse Mythology, the apples from Iðunn's ash box provide immortality for the gods.

Hinduism

The Eternal Banyan Tree (Akshaya Vata) is located on the bank of the Yamuna inside the courtyard of Allahabad Fort near the confluence of the Yamuna and Ganga Rivers in Allahabad. The eternal and divine nature of this tree has been documented at length in the scriptures.[citation needed]

During the cyclic destruction of creation when the whole earth was enveloped by waters, akshaya vata remained unaffected. It is on the leaves of this tree that Lord Krishna rested in the form of a baby when land was no longer visible. And it is here that the immortal sage, Markandeya, received the cosmic vision of the Lord. It is under this tree that Buddha meditates eternally. Legend also has it that the Bodi tree at Gaya is a manifestation of this tree.

Islam

Carpet Tree of Life

Main article: Quranic tree of life

See also: Sidrat al-Muntaha

The "Tree of Immortality" (Arabic: شجرة الخلود) is the tree of life motif as it appears in the Quran. It is also alluded to in hadiths and tafsir. Unlike the biblical account, the Quran mentions only one tree in Eden, also called the tree of immortality, which Allah specifically forbade to Adam and Eve. Satan, disguised as a serpent, repeatedly told Adam to eat from the tree, and eventually both Adam and Eve did so, thus disobeying Allah.] The hadiths also speak about other trees in heaven.

According to the Ahmadiyya movement, Quranic reference to the tree is symbolic; eating of the forbidden tree signifies that Adam disobeyed God.[

Jewish sources

Main articles: Etz Chaim and Biblical tree of life

Etz Chaim, Hebrew for "tree of life," is a common term used in Judaism. The expression, found in the Book of Proverbs, is figuratively applied to the Torah itself. Etz Chaim is also a common name for yeshivas and synagogues as well as for works of Rabbinic literature. It is also used to describe each of the wooden poles to which the parchment of a Sefer Torah is attached.The tree of life is mentioned in the Book of Genesis; it is distinct from the tree of the knowledge of good and evil. After Adam and Eve disobeyed God by eating fruit from the tree of the knowledge of good and evil, they were driven out of the Garden of Eden. Remaining in the garden, however, was the tree of life. To prevent their access to this tree in the future, Cherubim with a flaming sword were placed at the east of the garden. (Genesis 3:22-24)

In the Book of Proverbs, the tree of life is associated with wisdom: "[Wisdom] is a tree of life to them that lay hold upon her, and happy [is every one] that retaineth her." (Proverbs 3:13-18) In 15:4 the tree of life is associated with calmness: "A soothing tongue is a tree of life; but perverseness therein is a wound to the spirit."

The Book of Enoch, generally considered non-canonical, states that in the time of the great judgment God will give all those whose names are in the Book of Life fruit to eat from the Tree of Life.

Kathara grid

The esoteric bio-spiritual healing system of kathara which is presented on Earth by the official Speaker of the Guardian Alliance – E’Asha Ashayana,explains in detail the function of the code of the kathara grid] as the natural tree of life. Kathara reveals the anatomy of Creation, core structure, the blueprints & interconnectedness of all matter forms and in the center is the replication of the kathara grid everywhere.The kathara grid consists of 12 kathara centers and the relationships between them represent the true meaning of the phrase "As above, so below" and the correspondence between microcosmos and macrocosmos.

Kabbalah. Judaic Kabbalah Tree of Life 10 Sephirot, through which the Ein Sof unknowable Divine manifests Creation. The configuration relates to manJewish mysticism depicts the Tree of Life in the form of ten interconnected nodes, as the central symbol of the Kabbalah. It comprises the ten Sephirot powers in the Divine realm. The panentheistic and anthropomorphic emphasis of this emanationist theology interpreted the Torah, Jewish observance, and the purpose of Creation as the symbolic esoteric drama of unification in the Sephirot, restoring harmony to Creation. From the time of the Renaissance onwards, Jewish Kabbalah became incorporated as an important tradition in non-Jewish Western culture, first through its adoption by Christian Cabala, and continuing in Western esotericism occult Hermetic Qabalah. These adapted the Judaic Kabbalah Tree of Life syncretically by associating it with other religious traditions, esoteric theologies, and magical practices.

Mesoamerican

The concept of world trees is a prevalent motif in pre-Columbian Mesoamerican cosmologies and iconography. World trees embodied the four cardinal directions, which represented also the fourfold nature of a central world tree, a symbolic axis mundi connecting the planes of the Underworld and the sky with that of the terrestrial world.Depictions of world trees, both in their directional and central aspects, are found in the art and mythological traditions of cultures such as the Maya, Aztec, Izapan, Mixtec, Olmec, and others, dating to at least the Mid/Late Formative periods of Mesoamerican chronology. Among the Maya, the central world tree was conceived as or represented by a ceiba tree, and is known variously as a wacah chan or yax imix che, depending on the Mayan language.[32] The trunk of the tree could also be represented by an upright caiman, whose skin evokes the tree's spiny trunk.Directional world trees are also associated with the four Yearbearers in Mesoamerican calendars, and the directional colors and deities. Mesoamerican codices which have this association outlined include the Dresden, Borgia and Fejérváry-Mayer codices.[31] It is supposed that Mesoamerican sites and ceremonial centers frequently had actual trees planted at each of the four cardinal directions, representing the quadripartite concept.World trees are frequently depicted with birds in their branches, and their roots extending into earth or water (sometimes atop a "water-monster," symbolic of the underworld). The central world tree has also been interpreted as a representation of the band of the Milky Way.

Middle East

The Epic of Gilgamesh is a similar quest for immortality. In Mesopotamian mythology, Etana searches for a 'plant of birth' to provide him with a son. This has a solid provenance of antiquity, being found in cylinder seals from Akkad (2390–2249 BCE).The Book of One Thousand and One Nights has a story, 'The Tale of Buluqiya', in which the hero searches for immortality and finds a paradise with jewel-encrusted trees. Nearby is a Fountain of Youth guarded by Al-Khidr. Unable to defeat the guard, Buluqiya has to return empty-handed.

North American

In a myth passed down among the Iroquois, The World on the Turtle's Back, explains the origin of the land in which a tree of life is described. According to the myth, it is found in the heavens, where the first humans lived, until a pregnant woman fell and landed in an endless sea. Saved by a giant turtle from drowning, she formed the world on its back by planting bark taken from the tree.The tree of life motif is present in the traditional Ojibway cosmology and traditions. It is sometimes described as Grandmother Cedar, or Nookomis Giizhig in Anishinaabemowin.In the book Black Elk Speaks, Black Elk, an Oglala Lakota (Sioux) wičháša wakȟáŋ (medicine man and holy man), describes his vision in which after dancing around a dying tree that has never bloomed he is transported to the other world (spirit world) where he meets wise elders, 12 men and 12 women. The elders tell Black Elk that they will bring him to meet "Our Father, the two-legged chief" and bring him to the center of a hoop where he sees the tree in full leaf and bloom and the "chief" standing against the tree. Coming out of his trance he hopes to see that the earthly tree has bloomed, but it is dead

Serer religion

In Serer religion, the tree of life as a religious concept forms the basis of Serer cosmogony. Trees were the first things created on Earth by the supreme being Roog (or Koox among the Cangin). In the competing versions of the Serer creation myth, the Somb (Prosopis africana) and the Saas tree (acacia albida) are both viewed as trees of life. However, the prevailing view is that, the Somb was the first tree on Earth and the progenitor of plant life. The Somb was also used in the Serer tumuli and burial chambers, many of which had survived for more than a thousand years.Thus, Somb is not only the Tree of Life in Serer society, but the symbol of immortality

Urartian Tree of Life

In ancient Urartu, the Tree of Life was a religious symbol and was drawn on walls of fortresses and carved on the armor of warriors. The branches of the tree were equally divided on the right and left sides of the stem, with each branch having one leaf, and one leaf on the apex of the tree. Servants stood on each side of the tree with one of their hands up as if they are taking care of the tree.

Turkic .The Tree of Life, as seen as in flag of Chuvashia, a Turkic state in the Russian FederationThe Tree of Life design on 0,05 Turkish lira (5 kuruş).

The World Tree or Tree of Life is a central symbol in Turkic mythology.[citation needed] It is a common motif in carpets.

It is also used as the main design of a common Turkish lira sub-unit 5 kuruş since 2009.

en.wikipedia.org/wiki/Tree_of_life

The Wonders of the Natural World by Martin Sercombe

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Welcome to the "Wonders of the Natural World" exhibit, a carefully curated collection showcasing the astonishing diversity and intricate beauty of natural objects from across the globe. This assemblage invites you to explore the fascinating stories behind each piece and understand their interconnectedness within the tapestry of life.

Top Row:

Radiolarian Skeletons (Pacific Ocean):

These delicate, star-shaped skeletons of microscopic protozoa are collected from the deep waters of the Pacific. They highlight the intricate architecture found even in the tiniest forms of life.

Geometric Sea Sponge (Caribbean Sea):

A marvel of natural symmetry, this sponge exhibits a perfect geometric form, found off the coast of the Caribbean, representing the complexity of marine life.

Fossilized Coral (Great Barrier Reef, Australia):

Once part of a vibrant coral reef, this fossilized coral is a testament to the ancient marine ecosystems that thrived in the warm waters of Australia.

Second Row:

Snail Shell (Mediterranean Sea):

This beautifully spiraled snail shell, found along the Mediterranean coast, exemplifies nature's efficiency in design and function.

Barnacle Cluster (Atlantic Ocean):

Harvested from the rocky shores of the Atlantic, this cluster shows the communal living and resilience of barnacles.

Gorgonian Coral (Red Sea):

Resembling an underwater tree, this gorgonian coral from the Red Sea showcases the diversity of coral forms and their role in marine habitats.

Third Row:

Volcanic Rock (Hawaii, USA):

A piece of solidified lava, this volcanic rock from Hawaii represents the dynamic processes shaping our planet's surface.

Sea Urchin Shell (Indian Ocean):

With its intricate patterns, this sea urchin shell, collected from the Indian Ocean, reveals the beauty and complexity of marine invertebrates.

Starfish Skeleton (Gulf of Mexico):

Found in the Gulf of Mexico, this starfish skeleton symbolizes the regenerative capabilities of echinoderms.

Fourth Row:

Pine Cone (Rocky Mountains, USA):

This pine cone from the Rocky Mountains embodies the reproductive strategy of coniferous trees in temperate forests.

Bird Egg Shell (Amazon Rainforest, Brazil):

The fragile shell of a bird's egg, sourced from the biodiverse Amazon, represents the origins of avian life.

Insect Cocoon (Southeast Asia):

An insect cocoon from the tropical forests of Southeast Asia, showcasing the metamorphic cycle of butterflies and moths.

Bottom Row:

Fossilized Fern (Jurassic Coast, UK):

A fossilized fern frond from the Jurassic Coast, this piece provides a glimpse into the flora that existed millions of years ago.

Ammonite Fossil (Sahara Desert, Africa):

This coiled ammonite fossil from the Sahara Desert speaks of ancient marine environments that once covered the region.

Conch Shell (Caribbean Sea):

A large conch shell, found in the Caribbean Sea, illustrating the adaptation of mollusks to their environment.

Midjourney, Photoshop

Fading In The Light of Time - Julia Barry by Sophie Shapiro

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These pictures will fade in the light of time, but not her memory.

Name: Miss Julia Barry

Titanic Victim

Born: 1885

Age: 26 years (Female)

Country of Origin: Ireland

Last Residence: in New York City New York United States

3rd Class Passenger

First Embarked: Queenstown on Thursday 11th April 1912

Ticket No. 330844 , £7 17s 7d

Destination: New York City New York United States

Died in the Titanic disaster (15th April 1912).

Body Not Recovered

RMS Titanic Centenary Project - 27 /1,600

On October, 31st 2008 I made a decision to dedicate a painting to every person and animal that perished in the sinking of RMS Titanic April, 15th 1912. This resulted in a great deal of research and becoming acquainted with many interesting people, who have supported my endeavours. I then realised that people had died during the building of this magnificent ship and decided to add them to my list. In total I painted 1,600 paintings.

Since 2012 I have been working extensively collating and dedicating each painting to each individual/animal that perished. As you can imagine this is a long process. I have produced a short video which features some of the works, accompanied by my own musical composition. I am presently working on a book to compliment this series.

♫ - Paintings and Music by Sophie Shapiro

"Sophie Shapiro's Fading In The Light of Time - Julia Barry is a poignant tribute within her RMS Titanic Centenary Project, which encompasses 1,600 individual paintings honouring each person and animal who perished in the 1912 disaster. This particular piece memorialises Miss Julia Barry, a 26-year-old third-class passenger from Ireland who boarded the Titanic in Queenstown (now Cobh) and tragically lost her life when the ship sank. Her body was never recovered.

The title, Fading In The Light of Time, evokes the ephemeral nature of memory and the passage of time, suggesting that while images may fade, the essence of those remembered endures. Shapiro's dedication to commemorating each individual reflects her belief in the interconnectedness of energy, matter and spirit, aiming to capture the profound journey of life and remembrance through her art.

This work exemplifies Shapiro's commitment to honouring the lives lost in the Titanic tragedy, transforming personal stories into enduring artistic expressions that invite reflection and remembrance." Review by J.V.

I would like to thank everyone who has taken an interest in this project. Many people have written to me from all over the world. Thanking everyone for their support and positive feedback.

Acknowledgements

Ida Straus

Mavis Henslow

Cye Elliott

Pryere

W.W.

Roderick Bowen

Maria, John & Natasza

David Livingstone

Ray & Candy Taylor

Barry Moulton

V.G.

Encyclopedia Titanic

Anniversary of RMS Titanic Sinking - 15th April, 1912

Photography by Pryere

Many waters cannot quench love; neither can floods drown it..

The Bible, Solomon's Song

for Flickriver - Sophie Shapiro

.

Time and Space – The Speed of Light. Ibiza, Spain. - Version Trou Noir by Pierre Yves Cugni

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Time and Space by Andrew Rogers Time and Space – The Speed of Light. Ibiza, Spain.

Thirteen solid basalt columns forming a Fibonacci sequence located on the edge of a cliff facing the ocean in Ibiza, Spain.

The tallest column, ten metres in height, is highlighted in 23-carat gold to reflect the message with the setting sun on the day of the Winter Solstice.

The sequence is laid out around the circumference of an ellipse alluding to the trajectories of the planets moving around the sun. It is a vision of time and space the the interconnectedness of humanity.

The Fibonacci sequence is demonstrated both in terms of height and spacing.

Extracted and carved in Turkey, the 420 tons of basalt were loaded onto a dedicated ship and transported 4,400 kilometres to Ibiza, Spain.

The columns are mounted on basalt bases weighing from 7.2 tons to 12.5 tons. The tallest column weighs 19.5 tons.

Construction commenced on 17 January, 2014 and was completed one week later on 23 January.

Art Institute of Chicago, Andy Warhol Exhibit, Abstract Design by Mary Warren

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This major retrospective—the first to be organized by a US institution in 30 years—builds on the wealth of new research, scholarship, and perspectives that has emerged since Andy Warhol’s early death at age 58 in 1987. More than 400 works offer a new view of the beloved and iconic American Pop artist, not only illuminating the breadth, depth, and interconnectedness of Warhol’s production across the entirety of his career but also highlighting the ways that he anticipated the issues, effects, and pace of our current digital age.

Warhol gained fame in the 1960s for his Pop masterpieces, widely known and reproduced works that often eclipse his equally significant late work as well as his crucial beginnings in the commercial art world. This exhibition brings together all aspects and periods of his varied and prolific career and includes paintings, sculpture, drawings, prints, videos, archival and printed material, installation, films, and media works. By showcasing the full continuum of Warhol’s work, rather than focusing on a certain period, this presentation demonstrates that the artist didn’t slow down after surviving the assassination attempt that nearly took his life in 1968 but entered into a period of intense experimentation.

Warhol, with obvious self-deprecation, described his philosophy as spanning from A to B. As this exhibition decidedly proves, his thinking and artistic production ranged well beyond that, but his true genius lies in his ability to identify cultural patterns and to use repetition, distortion, and recycled images in a way that challenges our faith in images and questions the meaning of our cultural icons.

This exhibition was organized by the Whitney Museum of American Art, New York.

Art Institute of Chicago, Andy Warhol Exhibit, Before and After, 1962 by Mary Warren

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This major retrospective—the first to be organized by a US institution in 30 years—builds on the wealth of new research, scholarship, and perspectives that has emerged since Andy Warhol’s early death at age 58 in 1987. More than 400 works offer a new view of the beloved and iconic American Pop artist, not only illuminating the breadth, depth, and interconnectedness of Warhol’s production across the entirety of his career but also highlighting the ways that he anticipated the issues, effects, and pace of our current digital age.

Warhol gained fame in the 1960s for his Pop masterpieces, widely known and reproduced works that often eclipse his equally significant late work as well as his crucial beginnings in the commercial art world. This exhibition brings together all aspects and periods of his varied and prolific career and includes paintings, sculpture, drawings, prints, videos, archival and printed material, installation, films, and media works. By showcasing the full continuum of Warhol’s work, rather than focusing on a certain period, this presentation demonstrates that the artist didn’t slow down after surviving the assassination attempt that nearly took his life in 1968 but entered into a period of intense experimentation.

Warhol, with obvious self-deprecation, described his philosophy as spanning from A to B. As this exhibition decidedly proves, his thinking and artistic production ranged well beyond that, but his true genius lies in his ability to identify cultural patterns and to use repetition, distortion, and recycled images in a way that challenges our faith in images and questions the meaning of our cultural icons.

This exhibition was organized by the Whitney Museum of American Art, New York.

Wind and Wave by Tom

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The transient beauty of the coast is intricately intertwined with the captivating patterns that emerge in the sand, crafted by the relentless forces of wind and wave. These natural sculptors shape the shoreline, leaving behind ephemeral masterpieces.

As the tides ebb and flow, they orchestrate a delicate dance with the sand. With each advancing wave, the water gently caresses the shore, carrying particles of sand along its journey. As the wave recedes, it relinquishes its cargo, depositing the grains in a meticulous arrangement. This cyclical process, repeated countless times, creates intricate patterns that stretch along the coastline.

The patterns left behind by the retreating tide mimic the ebb and flow of life itself. Swirling ripples, reminiscent of a miniature desert landscape, emerge as the water recedes, their graceful curves and undulating lines transforming the beach into a living work of art. The patterns are at once orderly and chaotic, with intricate geometrical formations intermingling with whimsical curves and asymmetrical shapes.

The wind, a silent artist in its own right, adds its touch to the sculpting process. As it sweeps across the coast, it whispers secrets to the sand, coaxing it to dance in its invisible embrace. The wind's gentle touch lifts fine particles from the beach, carrying them aloft in an intricate ballet. It sculpts the sand into delicate ripples, resembling the soft undulations of fabric.

The interplay between the wind and the tide results in an ever-changing landscape. The patterns shift and evolve, shaped by the combined forces of these elemental sculptors. Ripples become miniature mountains, rising and falling in a transient topography that mirrors the larger contours of the surrounding coast. Each gust of wind and every advancing or receding wave leaves its mark, etching new patterns and erasing old ones, in an eternal cycle of creation and destruction.

These ephemeral patterns serve as a reminder of the impermanence of existence and the transient nature of beauty, as each passing moment alters the landscape, erasing what once was and creating something new. The sands become a canvas for the symphony of time, a tangible reflection of the ever-changing nature of our lives.

The beauty of these fleeting patterns lies not only in their visual allure but also in the emotions they evoke. They inspire a sense of wonder and awe, inviting us to pause and appreciate the intricate designs that nature creates with such effortless grace. The patterns speak of the interconnectedness of all things, the harmonious interplay between the elements, and the constant flux that defines our existence.

In these patterns of nature, we find a profound lesson: that life, like the shifting sands, is ever-changing, and that true beauty lies not in permanence but in the appreciation of the fleeting moments that grace our journey.

Genesa Crystal for your SL by Avenge

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The Genesa crystal is a sacred geometric symbol: four woven circles forming a sphere composed of six squares and eight triangles. This is an elemental geometry reflecting the ancient wisdom of unity and the modern understanding of interconnectedness. Used around the world, Genesa crystals are pleasing, interesting sculptures and potentially powerful tools for personal and planetary healing.

- purification (ambient and objects)

- meditation

- healing (for you or for your friends)

- attraction (love, money, hair and more)

- removal (weight loss, health problems and more)

You can try to make your dreams come true also in SL using the wonderful Genesa Crystal .

You can use our Genesa as home decoration too, it's modern and vibrant as you.

Available at OMG Gacha

P.S. Avenge is introducing a 3d geometric structure, no intentions or magical properties are assured.

All you can read here it's what you could have about Genesa knowledge in the world.

Ice yachting boat arriving in the harbor of Monnickendam by Ben The Man

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Please take your time... to View it large on black

The Netherlands is a small country of 16 million people, but it boasts a quarter of a million competitive speedskaters, and millions more who skate for fun. What's the story? Natural ice in the Netherlands is a rare occurrence. In fact, some winters there's no natural ice at all. Maybe that explains why the Dutch love to skate outdoors. They hardly ever get the chance! But when a cold wave hits, and the interconnected maze of canals, rivers and lakes freeze over, it's a spontaneous celebration, a national holiday. Today same as last year we could ice skating on the Gouwsea. Ice skating can be done from Monnickendam to Marken and from Marken to Volendam. Infinite sea of ice is perfect for ice skating journeys. Besides ice skating Dutch also love Ice yachting. This is the sport of sailing and racing iceboats and is very popular in the Netherlands. Ice boats are racing at a speed of 100 km an hour over the ice of the Gouwsea.

Photo taken in the busy harbor of Monnickendam. A historical moment since crossing the Gouwsea by skates is such a rare occurrence. On the 25th of january 2013 I skate from Monnickendam to Marken, such a beautiful sea of ice to enjoy. Here I arrived back in the cosy harbor of Monnickendam in the afternoon. It was getting late and the sun was hidding behind the clouds. It was also getting colder. Photo taken of Ice yacht boat arriving in the harbor Monnickendam. Please notice the wooden shoes of the sailor.

Op 25 januari 2013 een schaatstocht gemaakt rond de Gouwzee van Monnickendam - Nes - Marken - Monnickendam. Bij Volendam lag dit keer te veel sneeuw en onbegaanbaar. Een prachtige tocht van zo'n 16km met top ijs. Tot mijn verbazing was de Gouwzee helemaal dichtbevroren. Dus alweer een historische ijstocht gemaakt. Een groot ijsoppervlakte tussen Monnickendam en Marken met prima ijs. Een oneindig mooi gezicht op deze ijszee anno 2013. Het was genieten. Jong en oud staan op het ijs, zelfs koek en zopie is present in de haven van Monnickendam. Ook zijn er weer ijszeilers te zien. Met spectaculaire snelheden van wel 80 tot 100 kilometer per uur razen ze over bevroren meren en plassen: ijszeilers hebben deze dagen de tijd van hun leven. In elke ijszeiler schuilt een pionier die nieuw terrein wil ontginnen. Wie steekt er als eerste over naar Marken? Wakduikers heten de onfortuinlijken die in een overmoedige bui te ver gingen en met behulp van collega's uit het wak gehaald moesten worden. Het mag de pret niet drukken. IJszeilen is een gezamenlijke gekte, een collectieve spanning die vanwege de natuurlijke elementen zo bijzonder is. Op pure windkracht zeilen over de eindeloze ijsvlakte, geruisloos en snoeihard. De ijszeilers steken altijd het eerst de Gouwzee over. Is het veilig dan kunnen de schaatsers makkelijk volgen.

Interconnectedness by Andrew

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~ Right ~

Rio de Janeiro - Pão de açúcar - Sugarloaf - World Cup FIFA 2014 - Brazil by Marcos Luz

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Idealizado em 1908 pelo engenheiro brasileiro Augusto Ferreira Ramos e inaugurado no dia 27 de outubro de 1912, o bondinho do Pão de Açúcar fez 100 anos em 2012. Primeiro teleférico instalado no Brasil é um dos mais importantes ícones do turismo carioca, tornando-se uma das principais marcas registradas da cidade do Rio de Janeiro.

Nos meses de dezembro, janeiro, fevereiro e julho – de alta temporada – a freqüência diária chega a três mil pessoas. Nestas nove décadas de funcionamento, o bondinho recebeu a visita de turistas de todos os cantos do mundo. Figuras ilustres como o cientista Albert Einstein e o ex-presidente dos Estados Unidos John Kennedy já passaram pelo bondinho do Pão de Açúcar, além dos muitos artistas que se apresentaram no Morro da Urca, principalmente na década de 80. Em 1977, o equilibrista americano Steven McPeak caminhou sobre o cabo do teleférico, entre o Morro da Urca e o Pão de Açúcar, segurando uma vara metálica como contrapeso. Uma seqüência do filme "007 Contra o Foguete da Morte", com Roger Moore como James Bond, filmada em 1979, ajudou a promover a cidade e o país no exterior. Em 1990, uma homenagem ao piloto Ayrton Senna expôs no Morro da Urca um carro de Fórmula 1. E, mais recentemente, em 2004,a Tocha Olímpica dos Jogos Olímpicos de Atenas e em 2007 a Tocha Olímpica dos Jogos Pan-Americanos do Rio de Janeiro visitaram o Pão de Açúcar.

O Bondinho do Pão de Açúcar é um teleférico localizado na cidade do Rio de Janeiro, no Pão de Açúcar, sendo uma das atrações turísticas da capital fluminense, inaugurado em 27 de outubro de 1912. A vista da Baía da Guanabara, considerada uma das paisagens mais belas do mundo, era o atrativo que levava curiosos e alpinistas a escalar o Pão de Açúcar, já em fins do século XIX.

Segurança considerado um dos mais seguros do mundo pelas entidades internacionais de teleféricos de passageiros, há 90 anos o bondinho do Pão de Açúcar circula sem ter registrado nenhum acidente com vítimas. As atuais linhas são dotadas de dispositivos de segurança, com alarme em todos os pontos. Diariamente pela manhã, antes de receber os primeiros turistas, os bondinhos saem numa viagem de vistoria. O percurso é todo programado e controlado por equipamento eletrônico, que verifica 47 itens de segurança.

O complexo turístico é formado por três estações – a da Praia Vermelha, Morro da Urca e Pão de Açúcar – interligadas por quatro bondinhos – dois no trecho Praia Vermelha/Morro da Urca e dois no trecho Morro da Urca/Pão de Açúcar. O Morro da Urca tem 220m de altura e o do Pão de Açúcar, 396m. Vegetação rara Cercado por uma vegetação característica do clima tropical, com resquícios de Mata Atlântica, possui espécies nativas que em outros pontos da vegetação litorânea brasileira já foram extintas, e também raras espécies vegetais, como a orquídea “laelia lobata”, que só floresce em dois locais no planeta: no morro do Pão de Açúcar e na Pedra da Gávea, ambos no Rio de Janeiro.

Montanha brasileira com o maior número de vias de escaladas (até 1997 existiam 38), o Pão de Açúcar recebe diariamente centenas de alpinistas, montanhistas e ecologistas brasileiros e estrangeiros. Pólo Cultural Além de marco turístico e ecológico da cidade do Rio de Janeiro, o complexo também foi um importante pólo cultural. Na década de 70, passou a abrigar no anfiteatro do Morro da Urca – chamado “Concha Verde” – shows musicais que lançaram grandes talentos da música brasileira, numa programação que chegou a reunir 50 mil pessoas por ano.

Atualmente, o anfiteatro recebe exposições de artes, conferências de empresas, coquetéis de lançamento de produtos, jantares e festas. Desafio à engenharia A história do bondinho está diretamente ligada ao desenvolvimento da cidade: seu idealizador, Augusto Ferreira Ramos, imaginou um caminho aéreo até o Pão de Açúcar ao participar, em 1908, de uma exposição na Praia Vermelha em comemoração ao centenário da abertura dos portos às nações amigas. Com um capital inicial de 360 contos de réis, foi fundada então a Companhia Caminho Aéreo Pão de Açúcar e, em 1910, foi iniciada a construção do primeiro teleférico brasileiro.

Na obra trabalharam brasileiros e portugueses com equipamentos e materiais alemães, que foram transportados para o alto dos dois morros por centenas de operários realizando perigosas escaladas, numa ousada operação para a engenharia da época”, destaca Maria Ercília Leite de Castro, diretora geral da empresa. O trecho inicial, entre a Praia Vermelha e o Morro da Urca, numa extensão de 575m, foi inaugurado em 27 de outubro de 1912, quando 577 pessoas subiram ao morro da Urca no bondinho de madeira, com capacidade para 24 pessoas. No ano seguinte, em 18 de janeiro de 1913, foi inaugurado o trecho morro da Urca/Pão de Açúcar, com extensão de 750m. Em maio de 1969, já sob a administração do engenheiro Cristóvão Leite de Castro, a Companhia Caminho Aéreo Pão de Açúcar, através de contrato assinado com o Governo da Guanabara, teria que duplicar a linha aérea, que passaria a ser servida por dois bondinhos. A empresa resolveu, então, instalar novo e moderno teleférico, com quatro carros, cada um com capacidade para 75 pessoas. A obra, orçada em US$ 2 milhões, exigiu o desmonte de três grandes blocos de pedra do alto do Pão de Açúcar, pesando mil toneladas, e durou dois anos para ser concluída. No dia 29 de outubro de 1972 os atuais bondinhos começaram a funcionar. Troca de cabos Para a Companhia Caminho Aéreo Pão de Açúcar, as comemorações pelos 70 anos do teleférico começaram em 14 de junho de 2002, quando o complexo turístico reabriu ao público, depois de 75 dias fechado para a troca dos oito cabos de sustentação dos quatro bondinhos, em atendimento às recomendações internacionais de substitui-los a cada 30 anos. O investimento da empresa nesta obra foi de US$ 852 mil. Também foram feitas melhorias para prestar atendimento ao turista com mais qualidade: os bondinhos ganharam novos vidros e piso antiderrapante; as estações receberam nova iluminação, novo mobiliário e tratamento paisagístico. Também as lojas foram remodeladas, apresentando com qualidade os produtos oferecidos aos visitantes.

O Morro do Pão de Açucar

O morro do Pão de Açúcar é uma montanha sem vegetação em sua quase totalidade, sendo um bloco único de granito que sofreu alterações por pressão e temperatura, emergindo com o choque entre os continentes sul-americano e africano. Possui mais de 600 milhões de anos e 395 metros de altura. É circundado por um resquício de mata Atlântica. É um dos principais pontos turísticos da cidade do Rio de Janeiro, no Brasil. Há várias versões sobre a origem do nome.

Uma das mais conhecidas indica os portugueses como responsáveis. Durante o apogeu do cultivo da cana-de-açúcar no Brasil, após a cana ser espremida e o caldo fervido e apurado, os blocos de açúcar eram colocados em uma forma de barro cônica (para transportá-los para a Europa), denominada "pão de açúcar". A semelhança do penhasco carioca com aquela forma de barro teria originado o nome.

O Pão de Açúcar, por sua forma de ogiva, pela localização privilegiada, pela presença na história da cidade, pelo original acesso ao seu cume, é um marco natural, histórico e turístico da cidade do Rio de Janeiro. Marco natural, porque o pico do Pão de Açúcar está na entrada da Baía de Guanabara, sendo referência visual para os navegadores que, do mar ou do ar, o procuram por estar localizado na periferia da cidade. Marco histórico, porque aos seus pés, Estácio de Sá, em 1º de março de 1565, fundou a Cidade de São Sebastião do Rio de Janeiro. Estácio de Sá chegou ao Rio de Janeiro em 28 de fevereiro de 1565 e no dia 1º de março lançou os fundamentos da cidade, entre os morros Cara de Cão e Pão de Açúcar, por ser local de mais fácil defesa. O local permitia, não só a observação de qualquer movimento de entrada e saída de embarcações da baía, como facultava a visão interna de todos os possíveis invasores. Marco turístico, porque a inauguração do teleférico do Pão de Açúcar em 1912, projetou o nome do Brasil no exterior. O teleférico do Pão de Açúcar foi o primeiro instalado no Brasil e o terceiro no mundo, aumentando o desenvolvimento do turismo nacional. Não é sem razão que é chamado de a Jóia Turística da Cidade Maravilhosa.

O Pão de Açúcar é a montanha brasileira que tem o maior número de vias de escaladas (cerca de 60 vias). Enquanto os bondinhos sobem e descem centenas de vezes, os alpinistas preferem chegar ao Pão de Açúcar por outros caminhos e seu próprio risco.

Bondinho do Pão de Açúcar

Hoje, a visão dos bondinhos, no seu constante vaivém, está incorporada à paisagem carioca. Construído, operado e mantido pela Companhia Caminho Aéreo Pão de Açúcar, o complexo turístico Pão de Açúcar foi criado para o divertimento de milhares de pessoas num local privilegiado pela b Duração da viagem: Praia Vermelha/Morro da Urca: 3 minutos Morro da Urca/Pão de Açúcar: 3 minutos Altura dos morros: Morro da Urca: 220 metros Pão de Açúcar: 396 metros Distância entre as estações: Praia Vermelha/Morro da Urca: 528 metros Morro da Urca/Pão de Açúcar: 735 metros Dados dos bondinhos: Capacidade: 75 pessoas Capacidade média por hora: 1360 pessoas Velocidade no primeiro trecho: até 6 metros por segundo Velocidade no segundo trecho: até 10 metros por segundo Tempo médio de percurso: 3 minutos Como chegar: Ônibus: Do Centro, 107 De Copacabana, 511 Do Jardim Botânico, 512 Fonte: Cia. Caminho Aéreo Pão de Açúcar, Rio de Janeiro - Brasil.

O complexo do Pão de Açúcar, localizado no bairro da Urca e composto pelo morro do Pão de Açúcar (que dá nome ao complexo), morro da Urca e morro da Babilônia, é, juntamente com a estátua do Cristo Redentor, o maior cartão postal da cidade do Rio de Janeiro e um dos mais famosos do Brasil.

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Ingles

Conceived in 1908 by Brazilian engineer Augusto Ferreira Ramos and inaugurated on October 27, 1912, the Sugar Loaf turned 100 in 2012. First ski lift installed in Brazil is one of the most important icons of tourism in Rio, making it one of the main trademarks of the city of Rio de Janeiro.

In the months of December, January, February and July - high season - daily attendance reaches three thousand people. These nine decades of operation, the tram was visited by tourists from all corners of the world. Illustrious figures such as Albert Einstein and former U.S. President John Kennedy passed away at the Sugar Loaf, and the many artists who performed at the Morro da Urca, especially in the 80s. In 1977, the American juggler Steven McPeak walked on the cable from the cable car between the Morro da Urca and the Sugarloaf, holding a metal rod as a counterweight. A sequence of the movie "007 Rocket Against Death" with Roger Moore as James Bond, filmed in 1979, helped to promote the city and the country abroad. In 1990, a tribute to the pilot Ayrton Senna exhibited at Morro da Urca one Formula 1. And more recently, in 2004, the Olympic Torch Olympic Games in Athens in 2007 and the Olympic Torch of Pan American Games in Rio de Janeiro visited Sugar Loaf.

The Sugar Loaf cable car is a cable car located in the city of Rio de Janeiro, Sugar Loaf, one of the tourist attractions of the state capital, opened on October 27, 1912. The view of the Guanabara Bay, considered one of the most beautiful landscapes in the world, was the attraction that led curious and climbers to climb Sugarloaf, already in the late nineteenth century.

Security considered one of the safest in the world by international bodies of passenger lifts, 90 years ago the Sugar Loaf circulates without any accidents with victims. The current lines are equipped with safety devices with alarm at all points. Every morning, before the first visitors, the cable cars go out on a journey of inspection. The entire route is programmed and controlled by electronic equipment, which checks 47 safety items.

The resort consists of three stations - Praia Vermelha, Morro da Urca and Sugar Loaf - interconnected by four cable cars - two for the stage Red Beach / Morro da Urca and two in the stretch Morro da Urca / Sugar Loaf. The Morro da Urca is 220m tall and Sugar Loaf, 396m. Surrounded by rare vegetation characteristic vegetation of the tropical climate, with remnants of the Atlantic Forest, boasts native species elsewhere in the Brazilian coastal vegetation already extinct, and also rare plant species such as the orchid "laelia lobata", which only blooms in two locations on the planet: the Sugar Loaf Hill and Sugar Loaf, both in Rio de Janeiro.

Brazilian mountain with the largest number of climbing routes (until 1997 there were 38), the Sugarloaf daily receives hundreds of climbers, mountaineers and ecologists Brazilians and foreigners. Pole Beyond Cultural and ecological tourist landmark of the city of Rio de Janeiro, the complex was also an important cultural center. In the 70s it housed in the amphitheater of the Morro da Urca - called "Concha Verde" - concerts that launched great talents of Brazilian music in a program that came to gather 50,000 people per year.

Currently, the amphitheater art exhibitions, business conferences, cocktail parties to product launches, dinners and parties. The challenge to engineering history Monorail is directly linked to the development of the city: its creator, Augusto Ferreira Ramos, imagined a way to air the Sugar Loaf to participate in 1908, an exhibition at Red Beach in celebration of the centenary of the opening of ports to friendly nations. With an initial capital of 360 contos, then the Company was founded Path Sugar Loaf and, in 1910, began the construction of the first Brazilian cableway.

In Brazilian and Portuguese labor worked with German equipment and materials, which were transported to the top of the hills for hundreds of workers performing dangerous climbs in a daring operation for the engineering of the time, "said Maria Ercília Leite de Castro, head of the company . The initial stretch between Praia Vermelha and Morro da Urca, a length of 575m, was inaugurated on October 27, 1912, 577 people went up to the hill of Urca in wooden trolley with capacity for 24 people. The following year, on January 18, 1913, opened the stretch Urca hill / Sugar Loaf, with a length of 750m. In May 1969, now under the administration of the engineer Christopher Leite de Castro, Way Company Sugar Loaf, through a contract signed with the government of Guanabara, which would double the airline, which would be served by two cable cars. The company decided then to install new and modern ski lifts, with four cars, each with a capacity for 75 people. The project, budgeted at $ 2 million, demanded the removal of three large blocks of stone from the top of Sugar Loaf, weighing tons, and took two years to complete. On October 29, 1972 the current streetcars began running. For cable swapping Way Company Sugar Loaf, the celebrations for the 70th anniversary of the lift began on 14 June 2002, when the resort reopened to the public after 75 days closed for the exchange of the eight cables supporting the four streetcars, in compliance with international recommendations to replace them every 30 years. The company's investment in this project was $ 852,000. Improvements were also made to provide services for tourists with more quality: the cable cars got new glasses and non slip flooring and stations received new lighting, new furniture and landscaping treatment. Also the stores were remodeled, with quality products offered to visitors.

The Sugar Loaf

The Sugar Loaf Hill is a mountain without vegetation almost entirely, being a single block of granite that was altered by pressure and temperature, emerging with the clash between the continents South America and Africa. It has more than 600 million years old and 395 feet tall. It is surrounded by a remnant of Atlantic forest. It is one of the main sights of the city of Rio de Janeiro, Brazil. There are several versions about the origin of the name.

One of the best known indicates the Portuguese as responsible. During the height of the cultivation of sugar cane in Brazil, after being squeezed sugarcane juice and boiled and refined, sugar blocks were placed in a conical clay form (to transport them to Europe), called "bread sugar ". The similarity of the cliff Rio with that form of clay have originated the name.

The Sugar Loaf, in the form of warhead, by location, by the presence in the city's history, the original access to its top, it is a natural, historical and touristic city of Rio de Janeiro. Natural landmark, because the peak of Sugarloaf Mountain is at the entrance to Guanabara Bay, with visual reference to the browsers, sea or air, seeking to be located on the outskirts of the city. Milestone, because at his feet, Estacio de Sa, on 1 March 1565, founded the city of São Sebastião do Rio de Janeiro. Estacio de Sá arrived in Rio de Janeiro on February 28, 1565 and on March 1 laid the foundations of the city, between the hills Face Dog and Sugar Loaf, being easier to defend site. The site allowed not only the observation of any movement in and out of the bay boats, as facultava the internal view of all possible invaders. Marco tourist, because the opening of the Sugar Loaf cable car in 1912, designed the name of Brazil abroad. The Sugar Loaf cable car was first installed in Brazil and the third in the world, increasing the national tourism development. No wonder it is called the Jewel of the Marvelous City Tourist.

The Sugarloaf Mountain is the Brazilian who has the largest number of climbing routes (about 60 copies). While the cable cars up and down hundreds of times, climbers prefer to get to Sugarloaf by other ways and your own risk.

Sugar Loaf

Today, the vision of streetcars in its constant shuttle, is built into the landscape of Rio. Constructed, operated and maintained by the Company Path Sugar Loaf, the resort Sugarloaf was created for the amusement of thousands of people in a place privileged by b Length of trip: Beach Red / Morro da Urca: 3 minutes Morro da Urca / Sugarloaf: 3 minutes of hills Height: Morro da Urca: 220 meters Sugarloaf: 396 meters Distance between stations: Red Beach / Morro da Urca: 528 meters Morro da Urca / Sugar Loaf: 735 meters of data cable cars: Capacity: 75 persons Average capacity per hour: 1360 people in the first leg speed: up to 6 meters per second speed in the second sentence: up to 10 meters per second average journey time: 3 minutes Directions: Bus: The Center, 107 De Copacabana, 511 Botanic Garden, 512 Source: Cia Way Sugar Loaf, Rio de Janeiro - Brazil.

The complex of Sugarloaf, located in the district of Urca and composed by Sugar Loaf Hill (which gives its name to the complex), and Morro da Urca hill of Babylon, is, along with the statue of Christ the Redeemer, the largest postcard the city of Rio de Janeiro and one of Brazil's most famous.

Wind and Wave by Tom

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