View allAll Photos Tagged Introspection
Page 7 - introspection - who was she before before the journey began - had she given her power away? Had she let others influence her too much? Was she pulled this way and that?
Agrandir / Touche L
Spectacle de danse contemporaine donné à Saint-Eustache par la Compagnie Fleuve-espace de
Saint-Jean-Port-Joli. De passage dans un parc riverain de Saint-Eustache, un coup du hasard m'a permis, caméra à l'épaule, sans plus, de prendre quelques photos. Un jour, peut-être, aurais-je la chance de faire une véritable séance de photos de cette talentueuse compagnie avec tout mon matériel photographique. Un soleil violent perçait le feuillage des arbres et apportait des ombres accentuées. Cela a donc nécessité un traitement important des photos et j'en ai donc profité pour leur apporter une touche artistique pour mettre en valeur cette excellente compagnie de danse contemporaine. Vous pouvez visionner l'album qui contient 11 photos.
This is SO far off from what I intended to do today. Obviously, things don't always go as planned. For some reason I got lost in my own thoughts as the camera snapped my picture. Here is the result. I kinda like it.
This is not the first time I experienced this while taking my photo of the day, this is.
At least I can save today's idea for another day.
Day 156 of 365.
“A man,who realizes the potential of his mind by means of introspection and contemplation, he does not lack self-confidence. He has control over his mind and he is able to realize it's full potential. ” ~Sam Veda quotes
En un frenesí retrospectivo brota en pálido rojo la memoria mientras bailan las pasadas y presentes vivencias el tango afilado de la voluntad, naciendo así la escena de introspección bohemia que prepara el hermoso momento de la metamorfosis…
Daniel Velasco.
Another shot from my session with Pamela. She climbed up into the avocado tree for this, and I picked a bit of lantana for her to hold.
Lighting: An SB-900 through an umbrella camera left.
OM PARVAT
Om Parvat (also Adi Kailash, Little Kailash, Jonglingkong Peak,Baba Kailash, chhota Kailash)[3] is a mountain in the Himalayanmountain range, lying in the Darchula district of western Nepal and inPithoragarh District, Uttarakhand, India. It is considered sacred by Hindusand its snow deposition pattern resembles the sacred 'OM' (ॐ). Its appearance is distinctly similar to Mount Kailash in Tibet.[4] Near Om Parvat lie Parvati Lake and Jonglingkong Lake. Jonglingkong Lake is sacred, as Mansarovar, to the Hindus. Opposite to this peak is a mountain called Parwati Muhar. The Om Parvat is the fruit of discord between India and Nepal who do not reach agreement about the border line between the two countries. The Om Parvat is currently on the Indo-Nepalese border face "Om/ॐ" in India and the back of the mountain inNepal.
This peak was attempted for the first time by an Indo-British team including Martin Moran, T. Rankin, M. Singh, S. Ward, A. Williams and R. Ausden. The climbers promised not to ascend the final 10 metres (30 ft) out of respect for the peak's holy status. However, they were stopped around 200 m (660 ft) short of the summit by very loose snow and rock conditions.[4]
The first ascent of Adi Kailash came on October 8, 2004. The team comprised Tim Woodward, Jack Pearse, Andy Perkins (UK); Jason Hubert, Martin Welch, Diarmid Hearns, Amanda George (Scotland); and Paul Zuchowski (USA). They did not ascend the final few metres, again out of respect for the sacred nature of the summit.
Om Parvat can be viewed en route to the Kailash Manasarovar Yatra from the last camp below Lipu Lekh pass at Nabhidhang. Many trekkers to Adi Kailash often make a diversion to view Om Parvat. Om Parvat and Adi Kailash or Baba Kailash are not one and the same. Om Parvat is located near Nabhi Dhang (Nepal),The Chhota Kailash is located near Sinla pass, Near Brahma Parvat.
The best view of Om Parvat which "Om" drawn by the snow is the view from the district of Pithoragarh (Uttarakhand, India), which faces the mountain and hence to the "Om". By Kailash Mansarovar Foundation Swami Bikash Giri www.sumeruparvat.com , www.naturalitem.com
OM
Auṃ or Oṃ, Sanskrit: ॐ) is a sacred sound and a spiritual icon in Indian religions. It is also a mantra in Hinduism, Buddhism, Jainism, and Sikhism.
Om is part of the iconography found in ancient and medieval era manuscripts, temples, monasteries and spiritual retreats in Hinduism, Buddhism, and Jainism. The symbol has a spiritual meaning in all Indian dharmas, but the meaning and connotations of Om vary between the diverse schools within and across the various traditions.
In Hinduism, Om is one of the most important spiritual symbols (pratima). It refers to Atman (soul, self within) andBrahman (ultimate reality, entirety of the universe, truth, divine, supreme spirit, cosmic principles, knowledge). The syllable is often found at the beginning and the end of chapters in the Vedas, the Upanishads, and other Hindu texts. It is a sacred spiritual incantation made before and during the recitation of spiritual texts, during puja and private prayers, in ceremonies of rites of passages (sanskara) such as weddings, and sometimes during meditative and spiritual activities such as Yoga.
Vedic literature
The syllable "Om" is described with various meanings in the Vedas and different early Upanishads.[19] The meanings include "the sacred sound, the Yes!, the Vedas, the Udgitha (song of the universe), the infinite, the all encompassing, the whole world, the truth, the ultimate reality, the finest essence, the cause of the Universe, the essence of life, theBrahman, the Atman, the vehicle of deepest knowledge, and Self-knowledge".
Vedas
The chapters in Vedas, and numerous hymns, chants and benedictions therein use the syllable Om. The Gayatri mantra from the Rig Veda, for example, begins with Om. The mantra is extracted from the 10th verse of Hymn 62 in Book III of the Rig Veda.These recitations continue to be in use, and major incantations and ceremonial functions begin and end with Om.
ॐ भूर्भुवस्व: |
तत्सवितुर्वरेण्यम् |
भर्गो देवस्य धीमहि |
धियो यो न: प्रचोदयात् ||
Om. Earth, atmosphere, heaven.
Let us think on that desirable splendour
of Savitr, the Inspirer. May he stimulate
us to insightful thoughts.
Om is a common symbol found in the ancient texts of Hinduism, such as in the first line of Rig veda (top), as well as a icon in temples and spiritual retreats.
The Chandogya Upanishad is one of the oldest Upanishads of Hinduism. It opens with the recommendation that "let a man meditate on Om". It calls the syllable Om as udgitha (उद्गीथ, song, chant), and asserts that the significance of the syllable is thus: the essence of all beings is earth, the essence of earth is water, the essence of water are the plants, the essence of plants is man, the essence of man is speech, the essence of speech is the Rig Veda, the essence of the Rig Veda is the Sama Veda, and the essence of Sama Veda is the udgitha (song, Om).
Rik (ऋच्, Ṛc) is speech, states the text, and Sāman (सामन्) is breath; they are pairs, and because they have love and desire for each other, speech and breath find themselves together and mate to produce song. The highest song is Om, asserts section 1.1 of Chandogya Upanishad. It is the symbol of awe, of reverence, of threefold knowledge because Adhvaryu invokes it, the Hotr recites it, and Udgatr sings it.
The second volume of the first chapter continues its discussion of syllable Om, explaining its use as a struggle between Devas (gods) and Asuras (demons). Max Muller states that this struggle between gods and demons is considered allegorical by ancient Indian scholars, as good and evil inclinations within man, respectively. The legend in section 1.2 of Chandogya Upanishad states that gods took the Udgitha (song of Om) unto themselves, thinking, "with this [song] we shall overcome the demons". The syllable Om is thus implied as that which inspires the good inclinations within each person.
Chandogya Upanishad's exposition of syllable Om in its opening chapter combines etymological speculations, symbolism, metric structure and philosophical themes. In the second chapter of the Chandogya Upanishad, the meaning and significance of Om evolves into a philosophical discourse, such as in section 2.10 where Om is linked to the Highest Self, and section 2.23 where the text asserts Om is the essence of three forms of knowledge, Om is Brahman and "Om is all this [observed world]".
Katha Upanishad
The Katha Upanishad is the legendary story of a little boy, Nachiketa – the son of sage Vajasravasa, who meetsYama – the Indian deity of death. Their conversation evolves to a discussion of the nature of man, knowledge,Atman (Soul, Self) and moksha (liberation). In section 1.2, Katha Upanishad characterizes Knowledge/Wisdom as the pursuit of good, and Ignorance/Delusion as the pursuit of pleasant, that the essence of Veda is make man liberated and free, look past what has happened and what has not happened, free from the past and the future, beyond good and evil, and one word for this essence is the word Om.
The word which all the Vedas proclaim,
That which is expressed in every Tapas (penance, austerity, meditation),
That for which they live the life of a Brahmacharin,
Understand that word in its essence: Om! that is the word.
Yes, this syllable is Brahman,
This syllable is the highest.
He who knows that syllable,
Whatever he desires, is his.
— Katha Upanishad,
Maitri Upanishad
The Maitrayaniya Upanishad in sixth Prapathakas (lesson) discusses the meaning and significance of Om. The text asserts that Om represents Brahman-Atman. The three roots of the syllable, states the Maitri Upanishad, are A + U + M. The sound is the body of Soul, and it repeatedly manifests in three: as gender-endowed body - feminine, masculine, neuter; as light-endowed body - Agni, Vayu and Aditya; as deity-endowed body - Brahma, Rudra and Vishnu; as mouth-endowed body - Garhapatya, Dakshinagni and Ahavaniya; as knowledge-endowed body - Rig, Saman and Yajur; as world-endowed body - Bhūr, Bhuvaḥ and Svaḥ; as time-endowed body - Past, Present and Future; as heat-endowed body - Breath, Fire and Sun; as growth-endowed body - Food, Water and Moon; as thought-endowed body - intellect, mind and pysche. Brahman exists in two forms - the material form, and the immaterial formless. The material form is changing, unreal. The immaterial formless isn't changing, real. The immortal formless is truth, the truth is the Brahman, the Brahman is the light, the light is the Sun which is the syllable Om as the Self.
The world is Om, its light is Sun, and the Sun is also the light of the syllable Om, asserts the Upanishad. Meditating on Om, is acknowledging and meditating on the Brahman-Atman (Soul, Self).
Mundaka Upanishad
The Mundaka Upanishad in the second Mundakam (part), suggests the means to knowing the Self and the Brahman to be meditation, self-reflection and introspection, that can be aided by the symbol Om.
That which is flaming, which is subtler than the subtle,
on which the worlds are set, and their inhabitants –
That is the indestructible Brahman. It is life, it is speech, it is mind. That is the real. It is immortal.
It is a mark to be penetrated. Penetrate It, my friend.
Taking as a bow the great weapon of the Upanishad,
one should put upon it an arrow sharpened by meditation,
Stretching it with a thought directed to the essence of That,
Penetrate that Imperishable as the mark, my friend.
Om is the bow, the arrow is the Soul, Brahman the mark,
By the undistracted man is It to be penetrated,
One should come to be in It,
as the arrow becomes one with the mark.
— Mundaka Upanishad, 2.2.2 - 2.2.4
Adi Shankara, in his review of the Mundaka Upanishad, states Om as a symbolism for Atman (soul, self).
Mandukya Upanishad
The Mandukya Upanishad opens by declaring, "Om!, this syllable is this whole world". Thereafter it presents various explanations and theories on what it means and signifies. This discussion is built on a structure of "four fourths" or "fourfold", derived from A + U + M + "silence" (or without an element).
Aum as all states of time
In verse 1, the Upanishad states that time is threefold: the past, the present and the future, that these three are "Aum". The four fourth of time is that which transcends time, that too is "Aum" expressed.
Aum as all states of Atman
In verse 2, states the Upanishad, everything is Brahman, but Brahman is Atman (the Soul, Self), and that the Atman is fourfold. Johnston summarizes these four states of Self, respectively, as seeking the physical, seeking inner thought, seeking the causes and spiritual consciousness, and the fourth state is realizing oneness with the Self, the Eternal.
Aum as all states of consciousness
In verses 3 to 6, the Mandukya Upanishad enumerates four states of consciousness: wakeful, dream, deep sleep and the state of ekatma (being one with Self, the oneness of Self). These four are A + U + M + "without an element" respectively.
Aum as all of knowledge
In verses 9 to 12, the Mandukya Upanishad enumerates fourfold etymological roots of the syllable "Aum". It states that the first element of "Aum" is A, which is from Apti (obtaining, reaching) or from Adimatva (being first). The second element is U, which is from Utkarsa (exaltation) or from Ubhayatva(intermediateness). The third element is M, from Miti (erecting, constructing) or from Mi Minati, or apīti (annihilation). The fourth is without an element, without development, beyond the expanse of universe. In this way, states the Upanishad, the syllable Om is indeed the Atman (the self).
Shvetashvatara Upanishad
The Shvetashvatara Upanishad, in verses 1.14 to 1.16, suggests meditating with the help of syllable Om, where one's perishable body is like one fuel-stick and the syllable Om is the second fuel-stick, which with discipline and diligent rubbing of the sticks unleashes the concealed fire of thought and awareness within. Such knowledge, asserts the Upanishad, is the goal of Upanishads. The text asserts that Om is a tool of meditation empowering one to know the God within oneself, to realize one's Atman (Soul, Self).
Epics
The Bhagavad Gita, in the Epic Mahabharata, mentions the meaning and significance of Om in several verses. For example, Fowler notes that verse 9.17 of the Bhagavad Gita synthesizes the competing dualistic and monist streams of thought in Hinduism, by using "Om which is the symbol for the indescribable, impersonal Brahman".
I am the Father of this world, Mother, Ordainer, Grandfather, the Thing to be known, the Purifier, the syllable Om, Rik, Saman and also Yajus.
— Krishna to Arjuna, Bhagavad Gita 9.17,
The significance of the sacred syllable in the Hindu traditions, is similarly highlighted in various of its verses, such as verse 17.24 where the importance of Omduring prayers, charity and meditative practices is explained as follows,
Therefore, uttering Om, the acts of yajna (fire ritual), dāna (charity) and tapas (austerity) as enjoined in the scriptures, are always begun by those who study the Brahman.
— Bhagavad Gita
Yoga Sutra
The aphoristic verse 1.27 of Pantanjali's Yogasutra links Om to Yoga practice, as follows,
तस्य वाचकः प्रणवः ॥२७॥
His word is Om.
— Yogasutra 1.27,
Johnston states this verse highlights the importance of Om in the meditative practice of Yoga, where it symbolizes three worlds in the Soul; the three times – past, present and future eternity, the three divine powers – creation, preservation and transformation in one Being; and three essences in one Spirit – immortality, omniscience and joy. It is, asserts Johnston, a symbol for the perfected Spiritual Man (his emphasis). BY KAILASH MANSAROVAR FOUNDATION SWAMI BIKASH GIRI www.sumeruparvat.com , www.naturalitem.com
Best viewed in Black. Click on the photo to view in Black .
This was taken on a harsh light. I was looking for landscape those big mountains those running rapids. Greenery was easily noticeable in patches. The monastries are perched on hills. The windows are small and has glass panes. Through one of the window where the Maitreya Buddha resides, i saw this view. Oasis of greenery. I wanted to use the reflction in the window pane as that made the view perfect. Incidentally the view in the indow pane was mirror like. Armed with my Cokin GND Filters, decided to vertically stack them so that the exposure is even across the frame and the transparent glass in the window frame is completely reflective.
Shooting in harsh light taught me a few things.
0. Shoot in manual mode . Auto mode will definitely spoil you pictures which burned highlights.
1. Camera Metering doesn't work (I use a e520 so cannot say about other cameras) as expected in harsh light. Often the metering has to be a few stops, below. Most of my shots in day light had been shot at -1 or below. Control the aperture.
2. For tele (i have a 70-300 mm Zuiko, 4-5.6) the metereing even gets worse at lower aperture (say f9 and higher focal length), in harsh light. At times i had to shoot at -2 to get the correct exposure. Introduce stability in your tripod.
3. It would take a few shots to get the correct metering values for the right exposure. Do it before hand.
He stood emotionless as the barbers performed religious tonsure on the kids outside the Shrine .
The old monk extended his hands towards the mother of the child for alms and blessed the child ..his blessings would protect him from the evil eye .
All the time I shot the religious tonsure he did not speak to me at all and I pondered about him I had never seen him before having come to shoot the Urus of Zinda Shah Madar for 4 years .
What make these old men surrender to anonymity ..moving from Shrine to Shrine spiritual nomads ..no assets no liabilities
Sleeping on the roads begging for food sustenance ..
On retrospection I should have taken him aside shot his video he had a story hidden within him..as a mystic myself I failed to take charge ..now I regret but I am bound by impulses ..my photography too is nothing but strictly storytelling.
A picture shot only as a picture would demean my holistic approach towards photography ,..
Every monk I met shot is a story running away from my pictorial storyboard .
Sufi monks I gathered after almost 25 years were representing not just their Order but also carrying a testimonial of their Teacher ..so when I met monks malangs who behaved rudely abused shouted I felt they had chosen the wrong path and the wrong teacher ..a good teacher teaches his disciple calm control and this is what is missing today in a monks spiritual vocational guidance .
Some of the monks are irreversibly fucked in the head too much hash ganja and opium..
I feel sorry for their spiritual waywardness their surrender from worldly life is a mockery sham and humiliates the meaning of Sufism.
I dont bad mouth a spiritual order because of a few rogue elements we find them everywhere sadly I wonder to the myopic vision of the Guru who made him his disciple ,, like Guru like disciple .
The true Guru reaches to be You .. he brings you out from the prison cage of your Ego.
I was perhaps lucky I met good gurus both Syed Masoom Ali Baba Asqan Madari head of the Malangs of Madarriya Order the oldest Sufi Order ..they touched my inner angst and my photography is a product of that holistic Touch.
The other person on the other side of the spiritual spectrum was my Naga Sadhu Guru Late Vijay Giri Maharaj Juna Akhara my Guru for all things Hindu for 14 years he touched me deeply I was his only Shia Muslim disciple ,being a Muslim and being a Shia Muslim is fathomless thought ..but not part of my post or humble memoir ..
I now wont search for a Naga Guru .. a Guru friend of my dear departed Guru found me will take me under his wings ..Guru Bhagwatiji and I we have been close to each other since Mahakumbh Allahabad 2013.
Om Namo Narayan
Dam Madar Beda Par ..
Two sides of my chemical romance and restlessness .
This is my new Series ,, a few sketches on people I met and accidentally photographed ,
Is Photography an Accident ,, or was I the Accident under the crushing Wheels of Photography .. Think UnThink..
The 1,500th anniversary of the coming of St. Patrick to Ireland in 432 AD was celebrated by both the Catholic Church and the Church of Ireland during 1932. For the Catholic Church in Ireland, this event was celebrated through the 31st International Eucharistic Congress in June of that same year.
What's less well-known and overshadowed by the Eucharistic Congress, is that the Church of Ireland (CoI) also held their own commemorations to celebrate the coming of St. Patrick to Ireland during 1932. But did so more discretely and in an atmosphere of introspection, examining how the CoI fitted into an Irish Christian and Celtic lineage which extended back to the time of St. Patrick. Their Conference was held in October of the same year and represented the CoI’s culmination of the commemorations on the coming of St. Patrick to Ireland. The Conference also provided a forum for the CoI, that they “may review the evidence of our spiritual heritage” and to identify themselves with the history and traditions of a “Celtic Church”. A cursory look at the schedule of Conference lectures (listed below) is testament to how the Church of Ireland wanted to see itself in a “modern” Ireland beset with the problems of the time.
This badge was issued during 1932 and shows a scene from the traditional legend of St. Patrick, who is depicted banishing the snakes from Ireland. I found no reference of this badge elsewhere and wonder if this was an official issue?
Another badge similar to this one was sold on eBay 11th June 2016 (Seller; tievenadara1946, Item 381556348232). These enamel badges are rare.
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Planned events for the Church of Ireland’s commemorations:
In September 1930, the CoI established an executive committee representing all the Irish Dioceses and who began preparations for the commemoration of the 15th centenary of the coming of St. Patrick to Ireland. Sub-committees within individual dioceses were also established to plan for celebrations at a local level and for people unable to make it to the main events at Saul, Downpatrick or Dublin. All official celebrations would commence from St. Patrick’s Day in 1932. Events included:
• A General Synod to open at St. Patrick’s Cathedral in Dublin on St. Patrick’s Day 1932.
• Thanksgiving & Remembrance Services with special prayers. Main commemorative services were held during June 1932 at St. Patrick’s Cathedrals in Armagh, Dublin, at Belfast and in the parishes of Saul and Downpatrick.
• Open-air pageants celebrating the life of St. Patrick were staged at Saul and Downpatrick, as well as an indoor pageant later held in Dublin. The Dublin pageant took place in the Mansion House from 15th to the 21st October and followed on from CoI Conference being held there.
• Lantern lectures accompanied by magic-lantern slides and typed text pages were hired out to parishes. The author of the lectures were George Annesley Ruth and the Rev. William Elder Vandeleur. There were three lecture sets available for hire; 1) St. Partick: His Life and Times illustrated with some 60 slides, 2) The Missionary Traditions of the Irish Church from the earliest times to the present day accompanied by 40 slides and 3) The Continuity of the Church of Ireland with the Early Irish Church as illustrated by its Sacred Sites.
• Publications in both pamphlet and book form about the Life of St. Patrick and the 15th centenary Memorial commemorations were produced. The leading publication was a book on the life of St. Patrick written by the Rev. Canon George Chamberlain.
• Miscellaneous items were also produced such as cloth flags in various sizes and posters.
• A CoI Conference was held in the Round Room and adjoining hall of the Mansion House from the 11th to the 14th October 1932. Included was a series of theological and historical lectures. A pageant on the life of St. Patrick followed on from the Conference.
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Fund raising for the commemorations:
The Committee also arranged for a fund-raising drive, with a target to raise a £1,000 for the Commemoration Fund and any surplus would be donated towards the building of a new St. Patrick Memorial Church at Saul in Northern Ireland. Saul is reputed as the landing place of St. Patrick when he arrived in Ireland. Methods of fund raising included;
• Special collections at all services across the country on St. Patrick’s Day.
• The sale of the official button badge depicting the Saltaire of St. Patrick, a red X-shaped cross on a white background. These badges were sold at 2d each (two pence) and the clergy were asked to promote the sale of these badges in their parishes, as well as encouraging their church-goers to wear them.
• Publication of literature connected with the event for public sale. A book on the life of St. Patrick was specially published and sold at one shilling (paperback) or 1s 6d (one shilling & six pence) for the cloth-bound version. Various titles of educational pamphlets were also produced for sale at one penny each.
• ‘Magic Lantern’ slides and lecture text were hired out to the parishes at 10s 6d per set.
• Church Flags depicting the Saltaire of St. Patrick were produced in various sizes for use on church towers and other buildings. These were also available for public sale at prices from 4s 6d upwards.
• CoI Conference held at the Mansion House in Dublin during October was a ticketed event. A ‘season ticket’ cost 5/- (5 shillings), 1/- for day sessions and 6d (6 pence) for evening sessions.
• Pageants acting out the Life of St. Patrick had admission charges at 2s 6d (2 shillings & 6 pence) and 1/- (one shilling).
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References:
www.ireland.anglican.org/news/6364/the-church-of-ireland-... (A good account of material published by the Church of Ireland for the 15th Centenary Memorial Commemorations of St. Patrick’s arrival in Ireland).
issuu.com/churchofireland/docs/item1a (Church of Ireland Commemoration of St. Patrick, 1932, a 4pp pamphlet dated February 25th 1931).
issuu.com/churchofireland/docs/march2013-a (The Fifteenth Hundredth Anniversary of the Coming of St. Patrick to Ireland - a Handbook of celebrations, lectures and Literature).
issuu.com/churchofireland/docs/march2013-b (Church of Ireland Conference October 11th-14th 1932 - Official Handbook. The handbook gives a list of all the talks, short biographical notes on the speakers and a listing of the pageant play scenes, persons involved in its production and a dramatis personae.)
old.ireland.anglican.org/about/201 (In 2014 further lantern slides used to illustrate the 1932 lectures were recovered from the Deanery of St. Patrick Cathedral in Dublin. This article also includes links to the full text of each of the three lectures and pictures of some of the slides.)
en.wikipedia.org/wiki/Saint_Patrick
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Lecture schedule for Church of Ireland Conference, October 1932 – as per Conference Handbook:
Tuesday, 11th October 1932 – ST. PATRICK
• Conversazione held in Dining Hall of Trinity College Dublin. All lectures below took place at the Mansion House in Dawson Street nearby.
• St. Patrick, His Person and History: Rev Canon G. A. Chamberlain B.D.
• St. Patrick, His Environment: E.H. Alton, Litt.D., F.T.C.D.. T.D.
• St. Patrick, Sacred Sites: The Very Rev W.P. Carmody M.A., dean of Down.
• St. Patrick, His Teaching: The Ven W.S. Kerr B.D., Archdeacon of Dromore.
Wednesday morning, 12th October – THE ANCIENT IRISH PERIOD
• The Relation between the Early Irish Church and the Church of the West: The Rev Canon N.J.D. White D.D., Regius Professor of Divinity in the University of Dublin.
• The Early Irish Church and Paganism: E.J. Gwynn Litt. D., Provost of Trinity College Dublin.
• Early Irish Monasticism: H.C. Lawlor M.A.
• Religious and Literary Movements within Ireland of the 9th Century: Robin E.W. Flower D.Litt. Celt; Deputy Keeper Department of Manuscripts, British Museum.
• Celtic Christianity: The Rev J.L. Gough Meissner M.A.
Wesnesday evening, 12th October – THE RELIGIOUS WITNESS OF THE CHURCH
• Its Missionary Witness: The Right Rev H. Vere White D.D., Bishop of Limerick; The Right Rev J. Godfrey Day D.D., Bishop of Ossory.
• Its Theological Witness in pre-Reformation Times: The Rev Canon J.E.L. Oulton B.D., Archbishop King’s Professor of Divinity in the University of Dublin.
• Its Theological Witness in post-Reformation Times: The Rev T.C. Hammond M.A.
Thursday morning, 13th October – THE MEDIEVAL, REFORMATION AND POST-REFORMATION PERIODS
• The Medieval Period: The Ven St. John D. Seymour Litt.D., Archdeacon of Cashel.
• The Reformation Period: The Rev Canon G.V. Jourdan D.D.
• Three post-Reformation Leaders of the Church: D.A. Chart Litt.D., Public Record Office, Belfast.
Thursday afternoon, 13th October – IRISH SESSION (conducted wholly in Gaelic)
• The Bible and the Book of Common Prayer in Irish and their earliest Translators: The Rev P. Quigley B.A.
• Other speakers: The Rev J.B. Shea B.A.; The Rev M.W. Naughton; G.A. Ruth B.A.
Thursday evening, 13th October – THE MORAL WITNESS OF THE IRISH CHURCH
• War and Peace: The Right Rev J.F. McNiece D.D., Bishop of Cashel.
• Gambling: The Rev Bolton C. Waller M.A.
• Tolerance: Senator Sir John Keane Bart.
• Social Service: The Rev Professor R.M. Gwynn B.D., F.T.C.D.; The Very Rev H.B. Kennedy B.D., Dean of Christ Church.
Friday morning, 14th October – THE CHURCH OF IRELAND TODAY
• Church and State: W.E. Thrift M.A., S.F.T.C.D., T.D.
• Church Building since Disestablishment: His Honor Judge Thompson, Recorder of Belfast.
• Primary Education: The Rev E.C. Hodges B.D., Principal of the Church of Ireland Training College.
• Secondary Education: The Rev C.B. Armstrong B.D., Warden of St. Columba’s College.
• The Administration of the Poor Law: Miss S.C. Harrison.
Friday evening, 14th October – CLOSING SERVICE at 8pm.
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Enamels: 1 (blue).
Finish: Gilt.
Material: Brass.
Fixer: Pin.
Size: 7/8” diameter (23mm).
Process: Die stamped.
Imprint: No maker’s name or mark. This badge carries the Déanta i nÉirinn (Made in Ireland) national trademark.
upload.wikimedia.org/wikipedia/en/thumb/8/82/D%C3%A9anta_...
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Stuart Williams
25th November 2016
Tala Madani (b. 1981) - Flashlight in mouth (2013). In the collection of the Fundação de Serralves - Museu de Arte Contemporânea, Porto.
Tala Madani is an Iranian born American artist.
Fonte TDWP official webpage:
The Devil Wears Prada is the musical embodiment of a generational shift. Built on a diverse array of heavy, dark, melodic and genre-defying music; hardened and sharpened by putting in road work together since the days when they had to skip class to tour: The Devil Wears Prada is at the forefront of a movement that bridges the gap between Rockstar Mayhem and the Vans Warped Tour.
The passionately inspired band’s album for Roadrunner Records, cryptically titled 8:18, embodies an unflinching, uncompromising authenticity born from revelatory introspection and obsessive workmanship. The dichotomies are refreshing, invigorating and boundless. There’s an oppressive, suffocating darkness to their heavy music, counterbalanced by the hope within their collective faith. The most brutal of crowd-moving breakdowns ignite with friction, bristling against soaring melodies, progressive yet catchy riffing and keyboard soaked atmospheric esotericism. To put it simply: The Devil Wears Prada have developed the chops, the cred and the audience of a true-blue thinking person’s heavy metal band, while simultaneously welcoming fist-pumping hellraisers and youthful moshers alike. 8:18 continues the war against humanity’s dark urges, pointing the finger inward and outward through a medium that is itself both bleak and grand.
"Much of the heavy music around us suffers from a total lack of emotion. It's sort of losing an audible sense of sincerity," observes vocalist Mike Hranica. "The guitars, the drums, the songs themselves create that sorrow that I want the lyrics to tell on 8:18. And I made sure that my vocals created emotions that I have heard in post-hardcore, but that I rarely hear in breakdown-heavy metal bands like us."
The overriding theme on 8:18 is misery, exploring that mental and emotional state through its various guises, manifestations and interpretations. Tracks like Gloom, War, Black & Blue and Home for Grave spring forth from that foundation, exploiting concepts like mediocrity, existential angst and life's bigger questions under an atmosphere of musical dread, hostility and darkness.
Mike Hranica is blessed with a commanding roar, but infuses the proceedings with a literary sensibility, a commitment to self-evaluation and a painstaking modesty that levels the playing field between performer and listener beneath the surface.
Rhythm guitarist Jeremy DePoyster contributes the hook-laden underbelly to Prada’s brutal musical beast, handling the “clean” singing with a fine-tuned abandon to rival the pop stars dominating the charts. He grew up listening to Rob Zombie and Korn, but his iPod these days is packed with just about everything one can name. His singing vocals shine particularly on 'Care More,' a heavily electronics infused song with a dark mood. "There's so much of this crappy auto-tuned singing thing happening right now. It's disappointing to me because I've been singing since I was a kid," DePoyster says. "We all know what auto-tune is and we all use it to get things to work a little better, but when I hear things that are using it just as a crutch, that is extremely disappointing to me. Mike does a lot of passionate, raw, vibey screaming on this record, too. It's great."
Andy Trick has a Minor Threat-inspired tattoo that exhibits his early inclinations toward hardcore punk, an ethos and a mindset that still courses through the bass player’s veins even as he takes the stage playing guitar-driven metal music around the world. His bass playing anchors the theatrics and fluid, tasteful beats of Daniel Williams. Prada’s drummer carries the class and finesse of the indie crowd, while pummeling the drums with the power of metal's finest. "Since the beginning, we have liked breakdowns, we have liked heavy sounds, we have liked melodic singing, we have liked heavy metal in general," notes Hranica. "Those are the most basic fundamentals of what this band has been about."
The overseeing hand of executive producer and Killswitch Engage axeman Adam Dutkiewicz (August Burns Red, Shadows Fall, Parkway Drive) and producer Matt Goldman (Underoath, The Chariot, As Cities Burn) resulted in a sonic time capsule representing not only this present moment for TDWP, but a crossroads for heavy music itself. Progressive strains of experimental trailblazers Converge, Botch and Underoath seep beneath The Devil Wears Prada’s unique reverse-engineering of modern metal. 8:18 convincingly detours into Nine Inch Nails-isms, then comes full circle with some killer throwbacks to TDWP's earliest work.
"We love a lot of the records Matt has made and obviously we love Adam and he's a great friend," DePoyster points out. "Adam was very involved in doing the vocal stuff with Mike and I and had given us ideas when we were making demos. Both of those guys were great with us and were able to make contributions and make us think about things in different ways without making us uncomfortable.
With 8:18, The Devil Wears Prada cement their status as a band who have not only weathered the pressures of early, youthful popularity, but grown into masters of their craft. From album packaging to merchandising, from video production to stage lighting, The Devil Wears Prada are hands-on and pay excruciating attention to detail to ensure they always deliver their best, that their overwhelming passion will endure. They push themselves to create a lasting work that inspires, empowers and challenges, in equal measure.
"We're not kids who just want to hit the road and see where this goes," adds DePoyster. "We're making a conscious choice to do this because we love it."
The Devil Wears Prada are unwavering in their commitment to each other, their fans, their art, their higher calling toward truth and to their desire to engage. The emotion remains sincere, the musicianship supreme.
Taking a Df and some of my good vintage Nikkors for a test run. Haven't posted for a while, so I thought it'd be nice to at least throw up some snapshots while away on a bit of a family vacation.
Model Emily Bunclark wears a Daniella Christina dress
Makeup Kelly-Marie Saunders
Assistants Louise Gardner and Josie McCann
Shot at the ONCA Gallery in Brighton,UK
You and me
We used to be together
Every day together always
I really feel
I'm losing my best friend
I can't believe
This could be the end
It looks as though you're letting go
And it it's real,
Well I don't want to know
Don't speak
I know just what you're saying
So please stop explaining
Don't tell me 'cause it hurts
I know what you're thinking
I don't need your reasons
Don't tell me 'cause it hurts
Our memories
They can be inviting
But some are altogether
Mighty frightening
As we die, both you and I
With my head in my hands
I sit and cry
It's all ending
I gotta stop pretending who we are...
You and me
I can see us dying ... are we?
A tea seller along the streets of Kolkata, India.
I spent the past week in Kolkata for a school trip. We served at Mother Teresa's Missionaries of Charity (Shanti Dan), Anando, and DAS. It was such an memorable and meaningful experience.
I didn't bring my DSLR on this trip (I wish I did!), but I was lucky to capture some great photos - Kolkata is such an amazing place that filled with streets bustling with life.
Flamingo Introspection
A flamingo preens and becomes a work of art. Flamingos have a bad reputation always being portrayed as tacky, but these proud birds deserve better. I photographed this one to prove that it's not easy being pink.
52 Weeks of Pix 2013, Street Photography - possiblity 4?
I don't smoke but this moment of introspection and "shutting out the annoyances" was very tempting today after an hour of shopping with a 7 year old who clearly possesses the shopping gene. I was not a little envious of her moment of introspection, although it's probably sandwiched between the demands of a tedious job or routine or something, so I should really just be grateful to have had the opportunity to share the whole shopping for a "sparkly top and stuff" experience with my daughter who has another party this weekend and a school disco next week… I'm not a shopper - see LG's observation below. I'm also not entirely comfortable with a trend-conscious 7 year old, although I think this is a case of trying to fit in with what the other girls wear so I reckoned it wasn't worth pointing out that she has plenty of lovely things to wear already. However, 1 hour and much trying-on-of-clothes later I was shattered and wondered if instilling a lesson about making the most of what you have might have been less arduous. There was a lot of negotiation as to what we were both happy with, i.e. what she liked and what I thought was acceptable for a 7 year old to wear, a process I may not always navigate successfully I suspect :-)
As I sat on the tiny, hard, very low-down stool in the changing room, buried under the pile of discarded clothes being tried on by my budding fashion victim, I realised that I may need to ensure I have a book and a supply of chocolate in my bag to stop me from losing the plot in years to come.
P.S. LG observed, as I sat in a clothes-covered puddle on the tiny, hard changing room stool, that I am rather weird as all women love shopping. I pointed out that calling the person who was about to pay for her clothes weird might mean that she didn't get anything :-)