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The entire Tree of Life is amazing; from it's sheer size to the multitude of all the sculptures/carvings on its trunk. The owl is one of my favorites.
Disney's Animal Kingdom | Discovery Island | Tree of Life
Thanks for looking. I appreciate feedback!
This was the highlight and reason for my Southern Arizona Adventure 2024. This is stage 8 of 9.
I was lucky to secure permits for the once monthly photography tour of Kartchner Caverns. Kartchner Caverns State Park strictly forbids any cameras or cellphones in the Caverns. Except for one trip per month for 12 to 15 photographers currently $125. I planned a 4 day 3 night road trip around Southern Arizona anchored by my Kartchner Cavern permit.
I was expecting dark conditions. The State Park turned on all the lights in the Big Room. They don't like turning on all the lights since can cause an increase in algae. This is the reason they only have one photography tour a month.
I found myself adjusting my histograms to not clip the highlights. Adapt, Improvise, and Overcome. Next time I am going to bracket my shots. I almost wish I had brought a ND filter or tried a handheld GND filter.
I don't know speleothems so I won't even try to identify. If anyone can help me with the identification, I will appreciate it.
www.nps.gov/subjects/caves/speleothems.htm#:~:text=The%20...)%20when%20needed.
The features that arouse the greatest curiosity for most cave visitors are speleothems. These stone formations exhibit bizarre patterns and other-worldly forms, which give some caves a wonderland appearance. Caves vary widely in their displays of speleothems because of differences in temperature; overall wetness; and jointing, impurities, and structures in the rocks. In general, however, one thing caves do have in common is where speleothems form. Although the formation of caves typically takes place below the water table in the zone of saturation, the deposition of speleothems is not possible until caves are above the water table in the zone of aeration. As soon as the chamber is filled with air, the stage is set for the decoration phase of cave building to begin.
The term speleothem refers to the mode of occurrence of a mineral—i.e., its morphology or how it looks—in a cave, not its composition (Hill, 1997). For example, calcite, the most common cave mineral, is not a speleothem, but a calcite stalactite is a speleothem. A stalactite may be made of other minerals, such as halite or gypsum.
Classifying speleothems is tricky because no two speleothems are exactly alike. Nevertheless, speleologists have taken three basic approaches: classification by morphology, classification by origin, and classification by crystallography. All three of these approaches have their problems (Hill, 1997), so cavers often take a more practical approach that primarily uses morphology (e.g., cave pearls) but includes whatever is known about origin (e.g., geysermites) and crystallography (e.g., spar) when needed.
nocache.azcentral.com/travel/arizona/southern/articles/20...
The Kartchner Caverns, rated one of the world's 10 most beautiful caves, is an eerie wonderland of stalactites and stalagmites still growing beneath the Whetstone Mountains 40 miles southeast of Tucson.
The limestone cave has 13,000 feet of passages and hundreds of formations built over the past 200,000 years, including some that are unique and world-renowned. It's a "living cave," with intricate formations that continue to grow as water seeps, drips and flows from the walls and slowly deposits the mineral calcium carbonate.
The caverns were discovered by amateur spelunkers Randy Tufts and Gary Tenen in 1974 on land owned by the Kartchner family. They kept the cave a secret until 1988, when the Kartchners sold it to the state to become a state park.
The highlights of the Big Room tour are a stretch of strawberry flowstone, which has been colored red by iron oxide (rust) in the water, and a maternity ward for 1,800 female cave myotis bats, with black grime on the ceiling where the bats hang and piles of guano on the floor. Visitors who look closely will see a bat's body embedded in one of the cave's formations.
Though not all are available on the tours, the caverns' unique features include a 21-foot, 2-inch soda straw that's one the world's largest (Throne Room), the world's most extensive formation of brushite moonmilk (Big Room), the first reported occurrence of "turnip" shields (Big Room), the first cave occurrence of "birdsnest" needle quartz formations (Big Room) and the remains of a Shasta ground sloth from the Pleistocene Age (Big Room).
en.wikipedia.org/wiki/Kartchner_Caverns_State_Park
Kartchner Caverns State Park is a state park of Arizona, United States, featuring a show cave with 2.4 miles (3.9 km) of passages.[1] The park is located 9 miles (14 km) south of the town of Benson and west of the north-flowing San Pedro River. Long hidden from view, the caverns were discovered in 1974 by local cavers, assisted by state biologist Erick Campbell who helped in its preservation.
The park encompasses most of a down-dropped block of Palaeozoic rocks on the east flank of the Whetstone Mountains.
The caverns are carved out of limestone and filled with spectacular speleothems which have been growing for 50,000 years or longer, and are still growing. Careful and technical cave state park development and maintenance, initially established by founder Dr. Bruce Randall "Randy" Tufts, geologist, were designed to protect and preserve the cave system throughout the park's development, and for perpetuity.[3]
The two major features of the caverns accessible to the public are the Throne Room and the Big Room. The Throne Room contains one of the world's longest (21 ft 2 in (6.45 m))[5] soda straw stalactites and a 58-foot (18 m) high column called Kubla Khan, after the poem. The Big Room contains the world's most extensive formation of brushite moonmilk. Big Room cave tours are closed during the summer for several months (April 15 to October 15) each year because it is a nursery roost for cave bats, however the Throne Room tours remain open year-round.[8]
Other features publicly accessible within the caverns include Mud Flats, Rotunda Room, Strawberry Room, and Cul-de-sac Passage. Approximately 60% of the cave system is not open to the public.[9]
Many different cave formations can be found within the caves and the surrounding park. These include cave bacon, helictites, soda straws, stalactites, stalagmites and others.[12] Cave formations like the stalactites and stalagmites grow approximately a 16th of an inch every 100 years.[13]
Haiku thoughts:
Beneath earth's cool veil,
Stalactites in silence grow,
Whispers of stone deep.
Kartchner
Southern Arizona Adventure 2024
©Jane Brown2016 All Rights Reserved. This image is not available for use on websites, blogs or other media without explicit written permission
after Elsie had perfected her reindeer face makeup (see previous two photos) she turned to me and said it was time to have my face painted. Oh no, I thought, and held out my hand. Please paint something beautiful on my hand. Taking a photo iwth my left hand only wasn't easy, but I sat down to supper as Grangran and not as something from Elsie's imagination!
This is one of the first views you get as you enter Urquhart Castle. This is looking back towards Drumnadrochit and Loch Ness. You can also see the pier, where the Jacobite Cruise vessel docks for visitors, as part of their Loch Ness tour.
The Assumption of the Blessed Virgin, Ufford, Suffolk
Upper Ufford is a pleasant place, and known well enough in Suffolk. Pretty much an extension northwards of Woodbridge and Melton, it is a prosperous community, convenient without being suburban. Ufford Park Hotel is an enjoyable venue in to attend professional courses and conferences, and the former St Audrey's mental hospital grounds across the road are now picturesque with luxury flats and houses. And I am told that the Ufford Park golf course is good, too, for those who like that kind of thing.
But as I say, that Ufford is really just an extension of Melton. In fact, there is another Ufford. It is in the valley below, more than a mile away along narrow lanes and set in deep countryside beside the Deben, sits Lower Ufford. To reach it, you follow ways so rarely used that grass grows up the middle. You pass old Melton church, redundant since the 19th century, but still in use for occasional exhibitions and performances, and once home to the seven sacrament font that is now in the plain 19th century building up in the main village. Eventually, the lane widens, and you come into the single street of a pretty, tiny hamlet, the church tower hidden from you by old cottages and houses. In one direction, the lane to Bromeswell takes you past Lower Ufford's delicious little pub, the White Lion. A stalwart survivor among fast disappearing English country pubs, the beer still comes out of barrels and the bar is like a kitchen. I cannot think that a visit to Ufford should be undertaken without at least a pint there. And, at the other end of the street, set back in a close between cottages, sits the Assumption, its 14th century tower facing the street, a classic Suffolk moment.
The dedication was once that of hundreds of East Anglian churches, transformed to 'St Mary' by the Reformation and centuries of disuse before the 19th century revival, but revived both here and at Haughley near Stowmarket. In late medieval times, it coincided with the height of the harvest, and in those days East Anglia was Our Lady's Dowry, intensely Catholic, intimately Marian.
The Assumption was almost certainly not the original dedication of this church. There was a church here for centuries before the late middle ages, and although there are no traces of any pre-Conquest building, the apse of an early-Norman church has been discovered under the floor of the north side of the chancel. The current chancel has a late Norman doorway, although it has been substantially rebuilt since, and in any case the great glories of Ufford are all 15th century. Perhaps the most dramatic is the porch, one of Suffolk's best, covered in flushwork and intriguing carvings.
Ufford's graveyard is beautiful; wild and ancient. I wandered around for a while, spotting the curious blue crucifix to the east of the church, and reading old gravestones. One, to an early 19th century gardener at Ufford Hall, has his gardening equipment carved at the top. The church is secretive, hidden on all sides by venerable trees, difficult to photograph but lovely anyway. I stopped to look at it from the unfamiliar north-east; the Victorian schoolroom, now a vestry, juts out like a small cottage. I walked back around to the south side, where the gorgeous porch is like a small palace against the body of the church. I knew the church would be open, because it is every day. And then, through the porch, and down into the north aisle, into the cool, dim, creamy light.
On the afternoon of Wednesday, 21st August 1644, Ufford had a famous visitor, a man who entered the church in exactly the same way, a man who recorded the events of that day in his journal. There were several differences between his visit and the one that I was making, one of them crucial; he found the church locked. He was the Commissioner to the Earl of Manchester for the Imposition in the Eastern Association of the Parliamentary Ordinance for the Demolishing of Monuments of Idolatry, and his name was William Dowsing.
Dowsing was a kind of 17th century political commissar, travelling the eastern counties and enforcing government legislation. He was checking that local officials had carried out what they were meant to do, and that they believed in what they were doing. In effect, he was getting them to work and think in the new ways that the central government required. It wasn't really a witch hunt, although God knows such things did exist in abundance at that time. It was more as if an arm of the state extended and worked its fingers into even the tiniest and most remote parishes. Anyone working in the public sector in Britain in the early years of the 21st century will have come across people like Dowsing.
As a part of his job, Dowsing was an iconoclast, charged with ensuring that idolatrous images were excised from the churches of the region. He is a man blamed for a lot. In fact, virtually all the Catholic imagery in English churches had been destroyed by the Anglican reformers almost a hundred years before Dowsing came along. All that survived was that which was difficult to destroy - angels in the roofs, gable crosses, and the like - and that which was inconvenient to replace - primarily, stained glass. Otherwise, in the late 1540s the statues had been burnt, the bench ends smashed, the wallpaintings whitewashed, the roods hauled down and the fonts plastered over. I have lost count of the times I have been told by churchwardens, or read in church guides, that the hatchet job on the bench ends or the font in their church was the work of 'William Dowsing' or 'Oliver Cromwell'. In fact, this destruction was from a century earlier than William Dowsing. Sometimes, I have even been told this at churches which Dowsing demonstrably did not visit.
Dowsing's main targets included stained glass, which the pragmatic Anglican reformers had left alone because of the expense of replacing it, and crosses and angels, and chancel steps. We can deduce from Dowsing's journal which medieval imagery had survived for him to see, and that which had already been hidden - not, I hasten to add, because people wanted to 'save' Catholic images, but rather because this was an expedient way of getting rid of them. So, for example, Dowsing visited three churches during his progress through Suffolk which today have seven sacrament fonts, but Dowsing does not mention a single one of them in his journal; they had all been plastered over long ago.
In fact, Dowsing was not worried so much about medieval survivals. What concerned him more was overturning the reforms put in place by the ritualist Archbishop Laud in the 1630s. Laud had tried to restore the sacramental nature of the Church, primarily by putting the altar back in the chancel and building it up on raised steps. Laud had since been beheaded thanks to puritan popular opinion, but the evidence of his wickedness still filled the parish churches of England. The single order that Dowsing gave during his progress more than any other was that chancel steps should be levelled.
The 21st of August was a hot day, and Dowsing had much work to do. He had already visited the two Trimley churches, as well as Brightwell and Levington, that morning, and he had plans to reach Baylham on the other side of Ipswich before nightfall. Much to his frustration, he was delayed at Ufford for two hours by a dispute between the church wardens over whether or not to allow him access.
The thing was, he had been here before. Eight months earlier, as part of a routine visit, he had destroyed some Catholic images that were in stained glass, and prayer clauses in brass inscriptions, but had trusted the churchwardens to deal with a multitude of other sins, images that were beyond his reach without a ladder, or which would be too time-consuming. This was common practice - after all, the churchwardens of Suffolk were generally equally as puritan as Dowsing. It was assumed that people in such a position were supporters of the New Puritan project, especially in East Anglia. Dowsing rarely revisited churches. But, for some reason, he felt he had to come back here to make sure that his orders had been carried out.
Why was this? In retrospect, we can see that Ufford was one of less than half a dozen churches where the churchwardens were uncooperative. Elsewhere, at hundreds of other churches, the wardens welcomed Dowsing with open arms. And Dowsing only visited churches in the first place if it was thought there might be a problem, parishes with notorious 'scandalous ministers' - which is to say, theological liberals. Richard Lovekin, the Rector of Ufford, had been turned out of his living the previous year, although he survived to return when the Church of England was restored in 1660. But that was in the future. Something about his January visit told Dowsing that he needed to come back to Ufford.
Standing in the nave of the Assumption today, you can still see something that Dowsing saw, something which he must have seen in January, but which he doesn't mention until his second visit, in the entry in his journal for August 21st, which appears to be written in a passion. This is Ufford's most famous treasure, the great 15th century font cover.
It rises, six metres high, magnificent and stately, into the clerestory, enormous in its scale and presence. In all England, only the font cover at Southwold is taller. The cover is telescopic, and crocketting and arcading dances around it like waterfalls and forests. There are tiny niches, filled today with 19th century statues. At the top is a gilt pelican, plucking its breast.
Dowsing describes the font cover as glorious... like a pope's triple crown... but this is just anti-Catholic innuendo. The word glorious in the 17th century meant about the same as the word 'pretentious' means to us now - Dowsing was scoffing. But there was no reason for him to be offended by it. The Anglicans had destroyed all the statues in the niches a century before, and all that remained was the pelican at the top, pecking its breast to feed its chicks. Dowsing would have known that this was a Catholic image of the Sacrifice of the Mass, and would have disapproved. But he did not order the font cover to be destroyed. After all, the rest of the cover was harmless enough, apart from being a waste of good firewood, and the awkwardness of the Ufford churchwardens seems to have put him off following through. He never went back.
Certainly, there can have been no theological reason for the churchwardens to protect their font cover. I like to think that they looked after it simply because they knew it to be beautiful, and that they also knew it had been constructed by ordinary workmen of their parish two hundred years before, under the direction of some European master designer. They protected it because of local pride, and amen to that. The contemporary font beneath is of a type more familiar in Norfolk than Suffolk, with quatrefoils alternating with shields, and heads beneath the bowl.
While the font cover is extraordinary, and of national importance, it is one of just several medieval survivals in the nave of the Assumption. All around it are 15th century benches, with superbly characterful and imaginative images on their ends. The best is the bench with St Margaret and St Catherine on it. This was recently on display at the Victoria and Albert Museum as part of the Gothic exhibition. Other bench end figures include a long haired, haloed woman seated on a throne, which may well be a representation of the Mother of God Enthroned, and another which may be the Coronation of the Queen of Heaven. There is also a praying woman in a butterfly headdress, once one of a pair, and a man wearing what appears to be a bowler hat, although I expect it is a helmet of some kind. His beard is magnificent. There are also a number of finely carved animals.
High up in the chancel arch is an unusual survival, the crocketted rood beam that once supported the crucifix, flanked by the grieving Mary and John, with perhaps a tympanum behind depicting the last judgement. These are now all gone, of course, as is the rood loft that once stood in front of the beam and allowed access to it. But below, the dado of the screen survives, with twelve panels. Figures survive on the south side. They have not worn well. They are six female Saints: St Agnes, St Cecilia, St Agatha, St Faith, St Bridget and, uniquely in England, St Florence. Curiously, the head of this last has been, in recent years, surrounded by stars, in imitation of the later Our Lady of the Immaculate Conception. Presumably this was done in a fit of Anglo-catholic enthusiasm about a century ago.
The arrangement is similar to the south side of the screen at Westhall, and it may even be that the artist was the same. While there is no liturgical reason for having the female Saints on one side and, presumably, male Saints on the other, a similar arrangement exists on several Norfolk screens in the Dereham area.
Much of the character of the church today comes from it embracing, in the early years of the 20th century, Anglo-catholicism in full flood. As at Great Ryburgh in Norfolk, patronage ensured that this work was carried out to the very highest specification under the eye of the young Ninian Comper. Comper is an enthusiast's enthusiast, but I think he is at his best on a small scale like here and Ryburgh. His is the extraordinary war memorial window in the south aisle chapel, dedicated to St Leonard. It depicts Christ carrying his cross on the via dolorosa, but he is aided by a soldier in WWI uniform and, behind him, a sailor. The use of blues is very striking, as is the grain on the wood of the cross which, incidentally, can also be seen to the same effect on Comper's reredos at Ryburgh.
Comper's other major window here is on the north side of the nave. This is a depiction of the Annunciation, although it is the figures above which are most extraordinary. They are two of the Ancient Greek sibyls, Erythrea and Cumana, who are associated with the foretelling of Christ. At the top is a stunning Holy Trinity in the East Anglian style. There are angels at the bottom, and all in all this window shows Comper at the height of his powers.
Stepping into the chancel, there is older glass - or, at least, what at first sight appears to be. Certainly, there are some curious roundels which are probably continental 17th century work, ironically from about the same time that Dowsing was here. They were probably acquired by collectors in the 19th century, and installed here by Victorians. The image of a woman seated among goats is curious, as though she might represent the season of spring or be an allegory of fertility, but she is usually identified as St Agnes. It is a pity this roundel has been spoiled by dripping cement or plaster. Another roundel depicts St Sebastian shot with arrows, and a third St Anthony praying to a cross in the desert. However, the images in 'medieval' glass in the east window are entirely modern, though done so well you might not know. A clue, of course, is that the main figures, St Mary Salome with the infants St James and St John on the left, and St Anne with the infant Virgin on the right, are wholly un-East Anglian in style. In fact, they are 19th century copies by Clayton & Bell of images at All Souls College, Oxford, installed here in the 1970s. I also think that the images of heads below may be modern, but the angel below St Anne is 15th century, and obviously East Anglian, as is St Stephen to the north.
High above, the ancient roofs with their sacred monograms are the ones that Dowsing saw, the ones that the 15th century builders gilt and painted to be beautiful to the glory of God - and, of course, to the glory of their patrons. Rich patronage survived the Reformation, and at the west end of the south aisle is the massive memorial to Sir Henry Wood, who died in 1671, eleven years after the end of the Commonwealth. It is monumental, the wreathed ox heads a severely classical motif. Wood, Mortlock tells us, was Treasurer to the Household of Queen Henrietta Maria.
There is so much to see in this wonderful church that, even visiting time and time again, there is always something new to see, or something old to see in a new way. It is, above all, a beautiful space, and although it no longer maintains its high Anglo-catholic worship tradition, it is is still kept in high liturgical style. It is at once a beautiful art object and a hallowed space, an organic touchstone, precious and powerful.
Remembrance Day 2022 - 4 (of 9) - Canon EOS 1D Mark II with Canon EF 28-135mm 1:3.5-5.6 IS USM (EOS mount) & Polarizer - Photographer Russell McNeil PhD (Physics) lives on Vancouver Island, where he works as a writer.
Is it day 21 already? Closing in fast on the end of the calendar this year.
Tonight's wee bottle is Wemyss Malt's "Gardener's Biscuit Break" bottling of an 18-year-old Linkwood, finished in what is only described as a butt (I'm guessing a refill sherry butt, but I don't know for sure.) The color is a pale gold, and the nose is a bit musty, with a hint of citrus. The palate is honey sweet, with a bit of shortbread and a fruit I can't quite place. Maybe quince, maybe pear. The finish is rather short, and a bit peppery. Nice enough, but not something I'd seek out again.
Another relatively quick setup and search for as-yet-unused props tonight, since I was out at my alumni board meeting for the first part of the evening. Had a bit of a hand from Thing One to hold a makeshift reflector (a.k.a. a new-ish aluminum sheet pan) to get a bit of light, but not too much, on the typewriter.
Heroes a side elevation view of the Taftsville Covered Bridge looking up the Ottauquechee River toward the dam. Note the bridge structure. This is reportedly unique in covered bridge design.
This card is for the Hero Arts June challenge (thinking of you cards) and for a World-Wide Stamping Week challenge at the Stamping Board on Two Peas to use a kraft background. The Radiant Banner was stamped with Colorbox Frost White. The owls were stamped with Archival Jet Black and then coloured with coloured pencils. I love how the look that gives on kraft. Using a stamp positioner, I stamped the owl stamp on the base cardstock and then cut out and layered only the owl bodies on top. The hearts were coloured with pencils and then coated with Glossy Accents. I made a quick and simple card, which I don't do often. TFL!!
Blogpost: layersofink.blogspot.com/2012/06/krafty-owls.html
Supplies: Hero Arts stamps: Radiant Banner CG446, Heart Owls D5302, All Occasion Messages CL272; ColorBox Frost White ink; Archival Ink Jet Black, Derwent coloured pencils; Kaisercraft rhinestones.
Taken somewhere in Qassime - Saudi Arabia. Loved the place.
تم إلتقاطها في مدينة القصيم ، المملكة العربية السعودية
Kiyevskaya is a Moscow Metro station in the Dorogomilovo District, Western Administrative Okrug, Moscow. It is on the Koltsevaya Line, between Park Kultury and Krasnopresnenskaya stations. It is named after the nearby Kiyevsky Rail Terminal. The design for the station was chosen in an open competition held in Ukraine; the entry submitted by the team of E. I. Katonin, V. K. Skugarev, and G. E. Golubev placed first among 73 others and it became the final design. Kievskaya features low, square pylons faced with white marble and surmounted by large mosaics by A.V. Myzin celebrating Russo-Ukrainian unity. Both the mosaics and the arches between the pylons are edged with elaborate gold-colored trim. At the end of the platform is a portrait of Vladimir Lenin.
She is my favorite Poppy from the Supermodel convention. She is wearing a model life silkstone lingerie, ABS Kyori peignoir. Jewels and perfume bottles by me.
“A university is just a group of buildings gathered around a library.” ~ Shelby Foote
Library at the University of Michigan.
This is Vikram, he is 16 years old, married to a pretty 20 year old girl and he already has a 1 year old son (view him in next picture).
He works as a shoeshiner in Jaisalmer, together with his father, his brother and the other guys .
more on www.alfieianni.com
Casa del Sol
***Sun is shining-Bob Marley***
Sun is shining, the weather is sweet, yeah
Make you wanna move your dancing feet now
To the rescue, here I am
Want you to know, yall, can you understand?
When the mornin gather the rainbow, yeah, yeah
Want you to know, Im a rainbow too now
To the rescue, here I am
Want you to know, yall, can you, can you, can you understand?
Sun is shining, the weather is sweet now
Make you wanna move your dancing feet, yeah
But to the rescue, here I am
Want you to know just if you can, here I stand, no, no, no, no, no, no, no, no
Can you understand me now, baby?
Do you believe me?
minus a few touch ups here and there, this is a painting that i've just finished. it is by far the most detailed painting i've ever done and to try and improve the brush skills it's completely painted, with no pens being used.
it's pretty random, probably due to the fact i painted the yellow blobs with no plan and then turned them into heads, birds and arms.
acrylic on a2 heavy paper
here if it tickles your fancy....
One of my passions about photography is SURPRISE. Often I see a composition which grabs me so profoundly I just shoot. Recently someone asked me if I "set up" my still life material! "Never," I said. (Then I remembered my piece with the rock which I "did" place on the railing . . . see below for this exception!)
Now here is an example of something that would take up pages in my visual journal. I LOVED the contrast of the thin, relatively new (comparatively speaking) "Solomon's" book leaning against the old row of ragged books.
C L I C K
Now, I am NO scholar, but fascinated with research! When I began to read about the The Song of Solomon I was totally blown away by the controversies which abound from this piece. Now I'm wondering if someone did, indeed, set up this still life with the juxtaposition between the torn covers and the newness of the Solomon book!
My dear grandmother's favorite saying was:
“A merry heart doeth good like medicine.”
And I love:
“All the rivers run into the sea; yet the sea is not full.”
~ King Solomon ~
______________________________________________________________________________________
a bit of trivia from the New World Encyclopedia:
"The Song of Solomon (Hebrew title שיר השירים, Shir ha-Shirim), also known as the Song of Songs, is a book of the Tanakh (and Christian Old Testament), which celebrates and interprets human sexuality within a religious framework. The book consists of a cycle of poems about erotic love, largely in the form of a dialogue between a man and a woman (often labeled a "bride" and a "bridegroom" by conservative translators).
While the nature and function of the Song as a religious document remain controversial, it is undeniable that it is, first and foremost, an inspiring and moving example of poetic art.
Through its use of various poetic and literary devices, it manages to create a vivid and compelling world, one that is inhabited by two (unnamed) characters onto which readers are invited to project themselves.
An intriguing element of this text as poetry is that, in spite of the efforts of various scholars and commentators over the centuries, it simply does not require a single discrete interpretation. As such, any ambiguities, double meanings or circular references could have been intentional elements of the poet's overall purpose in composing the text.
Some of the devices used to great effect include symbolism, sensory imagery, and other line-and strophe-level devices (including alliteration and paronomasia)."
Yes it is, but it doesn't seem at all.
Here rain doesn't stop and I've started to lock myself into the house so that I can begin to study for my July exams...
anyway I feel instantly better looking back at my Zanzibar memories. This is from last september, one of the most delicious fruit drink I've ever tasted.
Have a wonderful weekend!
Tiny Wild Clover,is not easy to Shoot,because you have to get down to ground level for the best Angel.
© 2015 Thousand Word Images by Dustin Abbott
I have been nothing but impressed with Canon's newest telephoto zoom - the EF 100-400mm f/4.5-5.6L IS USM II. I have just completed my thorough review of the lens and found very little to criticize. Here is a series of shots OF the lens. My review of the new Canon EF 100-400mm f/4.5-5.6L IS USM II is now live:
Read it: bit.ly/1zgDghN
Watch it: bit.ly/16ibRAv
Image Gallery: bit.ly/16BbzFW
Direct Comparison with Tamron 150-600 VC: bit.ly/1F77jJt
Technical information Canon EOS 6D, Canon EF 100mm f/2.8L IS USM, Processed in Adobe Lightroom 5, Photoshop CC, and Alien Skin Exposure 7 (use code "dustinabbott" to get 10% off)
Want to know more about me or make contact? Take a look at my website and find a lot of ways to connect and view my work.
PHOTOGRAPHERS THOUGHTS …
Contrast is about light, and photography is painting with light …
When the colours of a scene are just not working, look to creating a B&W. So many times, photographing towards to sun destroys the colour, but creates good B&W.
Here was just that situation, and using my 9mm lens for field-of view, allowed me to capture the drama unfolding in the sky. Remember, getting a black and white image to work requires the image to have black & white elements …
AMBIENT LIGHT
5.30pm pm at the end of January, with light radiating in from top left
COMPOSITION ELEMENTS
B&W, Contrast, Leading lines, Vanishing point, Dramatic, Field-of-view, Scale, Graded light, Light & shade, Texture, Anchoring point (bottom right), Telling a story, Pano crop.
LOCATION
Long Jetty, Central Coast, N.S.W.
SETTINGS
1/1250th, f11 (within sweet spot range of lens), 200 ISO, Manual Exposure based on blinking highlights in viewfinder, exposure meter, and histogram, to expose correctly for the brightest element in the image, EV 0, Manual Focus, RAW, Fuji X-T2, Laowa 9mm Lens (35mm format – 14mm). Note that this is a manual lens and does not record exif data correctly ...
ENHANCEMENT (Lightroom)
Tweaked image using Exposure, Contrast, Highlights, Shadows, Whites, Blacks, Texture, Clarity & Dehaze, sliders, as well as brushing in some Whites & Blacks
These ‘Photographers Thoughts’ are posted to aid photographers to recognise compositional elements, as well as the camera settings used, so you might learn from what worked, or through my mistakes … enjoy Greg
The surface is my car. But what is this on it? And on the ground. And on the balcony, and front steps. Start guessing -- I will reveal the answer tomorrow!
Protea is both the botanical name and the English common name of a genus of South African flowering plants, sometimes also called sugarbushes or fynbos. In local tradition, the protea flower represents change and hope. The extraordinary richness and diversity of species characteristic of the Cape flora are thought to be caused in part by the diverse landscape, where populations can become isolated from each other and in time develop into separate species. The main vectors responsible for the transfer of pollen in protea cultivation are birds, insects, and wind. Some Protea species exhibit both self-pollination and cross-pollination as a method of reproduction. Cross-pollination is preferred, though, as a method of reproduction because it provides genetic diversity in the population. When cultivating proteas, breeders use hand pollination as a controlled method to transfer pollen from one flower to another. Proteas usually flower during spring. The general structure of their flower heads consists of a mass of flowers on a woody receptacle. The ovary is protected by the receptacle, thus is not seen when looking at the flower, but the anthers are present at the top of the flower, which can then easily transfer the pollen to the vectors. 11073
The Ochre Trail in Roussillon is a good way to discover the geological phenomenon of the ochre sands.
Ochre is a natural pigment that is in the sandy soil which makes up the cliffs around Roussillon. Iron oxides colour the sands with shades ranging from yellow to violet. The mineral landscape reflects the effects of erosion and mining work done by man.
Two different trails, one short, one long take you through the ochre lands on a 30-minute or 60-minute walk.
An original geological formation
230 million years ago, Provence lay under the seas, and remained underwater for a long, long period.
Several thousand meters of sediments washed away from the surrounding land masses and slowly built up on the sea floor. This sediment later formed the white limestone so characteristic of this region – Mont Ventoux, the Luberon range, Sainte Victoire, Verdon canyon, the calanques etc.
Then, approximately 110 million years ago, the sea grew deeper. Grey clay formed a new sediment which deposited on top of the limestone, creating a formation which geologists later called the “Aptian stratotype” .
Little by little the sea filled in. The water became very shallow and turbulent, and green sand containing small mineral grains known as glauconite settled on top of the grey clay.
Then, approximately 100 million years ago, major upheavals took place in the land masses around what is now Provence.
After the long period of marine life, the earth shifted and the area that is now Provence found itself totally out of the water.
The climate was tropical at the time. Strong and steady rainfall leached the green sands from the newly emerged land mass. The rain slowly transformed the green sand into ochre sands, then into white sand in several long steps. First the groundwater produced by the heavy rains dissolved all the elements in the green sand except for the sand itself, which was highly resistant. The minerals in this solution, such as kaolinite and goethite, crystallised and filled the empty spaces between the grains of sand, creating the ochre sands.
The iron hydroxide concentrated on the surface, forming a hard, impervious layer similar to laterite.
The red, yellow and orange colours in the ochre sands continue to be somewhat of a mystery. We know that goethite is involved, but what mechanisms has nature applied to create such a profusion of shades? Our work continues !
The legend
Lady Sermonde and Lord Raymond d'Avignon lived in the castle in Roussillon. Guillaume de Cabestan, son of the Lord of Cabestan in the Hautes Alpes was taken on at Roussillon castle to work as a page and to apprentice to a knight in order to learn knightly ways.
Raymond d'Avignon, who was an avid hunter, preferred the company of his horses and huntsmen, and often left his wife alone. And with time, Dame Sermonde and Guillaume fell in love.
The young page’s songs became more insistent and obvious, and the domestics at the castle reported their suspicions to Lord Raymond d'Avignon.
Wanting to know more about the situation, Lord Raymond invited young Guillaume on a hunting party, and turned the conversation to his wife. So as not to betray Dame Sermonde, Guillaume told Lord Raymond that indeed he was in love, but with Dame Sermonde’s sister, Agnès.
To be sure, Raymond d'Avignon decided to travel to the nearby town of Tarascon, with Guillaume, in order to have confirmation of Guillaume’s story. Agnès quickly understood all that was at stake, and to save the two lovers, she played along. Dame Sermonde learned of her husband’s actions, and was both furious with his behaviour and indignant that her love for Guillaume went unacknowledged. She demanded that Guillaume tell their story in one of his songs.
Guillaume sang of their love and, hearing the truth, Raymond d'Avignon flew into a rage and took his revenge. During a hunting party, he stabbed Guillaume in the back, cut off his head, and cut out his heart.
He returned to the castle with the heart and had his cook prepare it with a spicy sauce.
Dame Sermonde delighted in the dish, until her husband informed her that she had just partaken in dining on the heart of her lover. "Seigneur”, she said, “you have given me such a good meal, that I never want to taste anything else again”.
Realising that his wife was escaping his control, Raymond d'Avignon drew his sword, but Dame Sermonde fled out of the castle to the edge of the cliff, and threw herself over the top. It is said that her blood coloured the lands all around, and that a spring gushed forth at the point where her fall ended.
Castle Campbell is a medieval castle situated above the town of Dollar, Clackmannanshire, in central Scotland. It was the lowland seat of the earls and dukes of Argyll, chiefs of Clan Campbell, from the 15th to the 19th century, and was visited by Mary, Queen of Scots, in the 16th century.
History
The castle was originally known as Castle Gloom, possibly deriving from the Scottish Gaelic: glom, meaning a chasm, and referring to the narrow gorges to either side of the site. The naturally defended position may have been the site of a motte in the 12th century. The present tower was built in around 1430 for John Stewart, Lord Lorn, (d.1463) or one of his kinsmen.
In 1465 the property was acquired by Colin Campbell, 1st Earl of Argyll, (d.1493) on his marriage to Isabel, Lord Lorn's daughter. The first historical record of the castle dates from the following year, when Pope Paul II issued a bull against Walter Stewart, son of Lord Lorn, for attacking and damaging the "Place of Glowm". Argyll, who was at the papal court at the time, may have been instrumental in arranging the Pope's intervention. The tower shows signs of early rebuilding following this episode.
The acquisition of Gloom expanded the power of the Campbells from Argyll in the west into central Scotland, and suited his position as Master of the Household to James III, which required his frequent presence at court. In 1488 Argyll petitioned the newly crowned James IV to formally change the name of Gloom to Castle Campbell, and this was done by an act of parliament. The change in name may imply that the term "castle" was seen as particularly prestigious, requiring royal approval for its use. At this time, the castle would have comprised the tower house, with other buildings arranged around the courtyard, and gardens outside. The east range was probably added first, and some time after the accession of the 2nd Earl in 1493 the large south range was begun. This building shows the influence of the contemporary works at Stirling Castle, now known as the King's Old Building. It included a state apartment of hall, outer chamber and bedchamber, with large south-facing windows overlooking the gardens and the view across the Devon Valley. The range also provided additional private lodgings, and was accessed via two symmetrically placed stairways facing the courtyard
16th century
In the 16th century, the 4th Earl of Argyll (d.1558) embraced the cause of religious Reformation, and became one of the leading Protestant lords of his day. His family supported the Calvinist preacher John Knox while he was in Scotland in the 1550s. Knox visited Castle Campbell and preached there, some time in 1556. In January 1563 Mary, Queen of Scots, stayed at Castle Campbell on the occasion of the marriage of Margaret, sister to the 5th Earl of Argyll, and James Stewart, Lord Doune. However, on the marriage of Queen Mary and Lord Darnley two years later, Argyll joined other Protestant lords in rebellion. During the Chaseabout Raid which followed, Mary and Darnley received the surrender of Castle Campbell. In the more peaceful 1590s Archibald Campbell, 7th Earl of Argyll, rebuilt the east range of the castle to link the south range with refurbished guest chambers in the tower. The new work consisted of a fine two-arched loggia facing the courtyard, with a façade of polished ashlar masonry above. Behind this were galleries, fashionable additions to the accommodation within the castle, and new stairs to north and south. The east range has been compared to the north courtyard façade at Crichton Castle which was erected around the same time. An inventory of 1595 records the furniture, tapestries, carpets and other items in each room of the castle, including a total of 47 beds.
Destruction and later history
The Earls of Argyll continued to support the Protestant cause, and in the religious conflicts of the mid-17th century Archibald Campbell, 8th Earl of Argyll, became the leader of the Presbyterian Covenanters, in opposition to the leading Royalist James Graham, 1st Marquess of Montrose. In 1645 Montrose's troops, on their way to the Battle of Kilsyth, laid waste to the lands around Castle Campbell, including Dollar and Muckhart. Many of Montrose's men were MacLeans, long-standing adversaries of the Campbells. The castle itself was undamaged, and no siege was attempted. In response, Argyll ordered the destruction of Menstrie Castle and Airthrie Castle, both seats of Royalists. After the execution of Charles I the Campbells initially supported Charles II, with Argyll placing the crown of Scotland on Charles' head at Scone in 1651. However, Argyll opposed Charles' invasion of England, and in 1652 he submitted to Oliver Cromwell's Commonwealth. Cromwell's forces were garrisoned in Castle Campbell in 1653. In July 1654, Royalist rebels attacked and burned Castle Campbell over two nights.
Argyll was executed following the Restoration of 1660 and his son, the 9th Earl, built Argyll's Lodging in Stirling rather than renovate Castle Campbell. Apart from being briefly garrisoned during the Jacobite rising of 1715 the castle was abandoned, and in 1805 the 6th Duke of Argyll sold it to Crawford Tait of Harviestoun, an adjacent estate. In 1859 Harviestoun, and Castle Campbell, was bought by businessman and former Lord Provost of Glasgow Sir Andrew Orr. His son James Orr had excavations carried out at the castle in the 1870s, turning up fragments of stained glass from the windows of the south range.
In 1948 the then-owners of the Harviestoun estate gave Dollar Glen to the National Trust for Scotland, who arranged for the castle to be cared for by the Ministry of Works. Restoration works have included a new roof on the tower, and excavations in the 1980s which revealed charred timbers from the 1654 burning. The castle is now managed by Historic Scotland. [Wikipedia]
Is it just me or can no one else see any pictures within the new format of the groups? Why does Flick have to keep changing the layout. Takes ages to sign in, have to sign in through another website now as it wont accept on Flickr. The menus don't open properly and now the groups. What are they going to change next ???
AGHHH I LOVE THAT NEW JONAS BROTHERS SONG, LOVE IS ON ITS WAY!
holy guacamole! its so beautiiiiful.
i can listen to it like,
1234567890111213141516171819203333 times! :D
This is one of three (that I know of) out in our backyard. A baby. Three babies. Second time this has happened. They are sort of cute, but oh, so destructive! Say goodbye to the garden. Oh, and they are nocturnal. And this was something like 4:30 in the afternoon. Ugh.
Now summer is over and my lack of photographs being uploaded has continued despite my many attempts and many apology's. I do wish I had more time to upload my photographs but I have been working extra shifts and focusing on my Alevels as it is my last year before university. I hope sincerly that my efforts are being put to good use although I miss my efforts put in sharing my photographs on Flickr and I regret my neglect for it deeply. I enjoy sharing my photographs as photography is my biggest passion as is what I strive to study beyond Alevel, thus being my chosen course in which I want to study at university next year. With the thought of university and actually applying to university I am going to have to have to take an extra focus in on my photography and do everything I can to improve my chances of receiving an offer to my particular choices. Needless to say that Flickr plays a big role in this therefore I hope but do not promise that photo's will be being uploaded more frequently and more regularly.
Aside from my personal life and goals this is another awaited image from my vist to Stratford-Upon-Avon in April earlier this year. It only seems appropriate that I continue to upload these photographs before any recent ones as they have been sitting on my computer without a purpose. I want to give these images a purpose as the weekend was beautiful and one which the memories will live on forever. I enjoyed taking these photographs and I am proud to say that these photographs are mine.
Az önhipnózis, egyrészt mint egy természetes, mélyen ellazult tudatállapot, másrészt, mint egy rendkívül lecsendesült, fókuszált figyelmi állapot rengeteg jótékony hatással bír. Tovább is megyek. Az általános jótékony hatásokon túl, ez egy olyan tudatállapot, amely képessé tesz bennünket önmagunk és magunkon keresztül az egész életünk megváltoztatására. Ez a tudatállapot a lelki "svájci bicskánk", roppant sokoldalú eszköz. Hogy mennyire? Lássuk!
1. Stresszoldó
A stressz lelki, fizikai hatásait mindenki ismeri, a paletta széles; közéjük tartozik az ingerültség, rosszkedvűség, izomfeszültség, hasi panaszok, vérnyomás ingadozás, fokozott verejtékezés, kedélyhullámzás, memória romlása, koncentrálási zavarok és így tovább. Egyre inkább terjed az a nézet is, hogy nagyon sok betegség kialakulásában is jelentős szerepet játszik a stressz.
A Wikipédia szerint:
"Hosszabb ideig fennálló tartós stressz hatására kialakulhat
Tartósan rossz közérzet
Szorongás
Pánikrohamok, esetleg pánikbetegség
Depresszió, Ingerlékenység
Soványság, elhízás
Csökkent ellenálló képesség
Menstruáció megszűnése
Hajhullás"
Az önhipnózis egy olyan természetes, megváltozott tudatállapot, melynek során egy rendkívül mély fizikai, érzelmi és mentális ellazulást élünk meg. Ez a szent hármas teszi lehetővé azt, hogy a testünk fellélegezzen és gyors ütemben elkezdje magát regenerálni. Egy szóval: nagyon-nagyon egészséges!
Az önhipnózis elsajátításakor a gyakorlók megtanulják, hogyan tudják a testüket és elméjüket gyorsan és akaratlagosan ellazítani, illetve megtanulják felismerni és tudatosan ellazítani az esetleges belső feszültségeket.
Az önhipnózis pusztán ezért az egy tulajdonságáért is megérdemli a helyet a kedvenc szabadidős tevékenységek között.
2. Önbizalom növelő
Ezt leginkább azok az emberek emelik ki, akik korábban nagyon is hadilábon álltak az önbizalommal.
Az önhipnózis során megtanuljuk a tudatalattink erőforrásait felismerni és felhasználni. Minél többet gyakorlunk, annál biztosabban érezzük ezt az erőt, és annál könnyebben tudjuk azt irányítani, a fejlődésünkre, illetve a céljainkra fordítani.
Egy idő múlva már nem lesz számunkra kérdés, hogy egy nagyszerű segítségünk van a mindennapok gondjainak leküzdésére, és fokozatosan a gondokat megtanuljuk kihívásokként értelmezni, amikhez minden eszközünk megvan, hogy megoldjuk.
Fokozatosan letesszük azokat a káros hiedelmeinket, miszerint kicsik és erőtlenek vagyunk a körülményekkel szemben, hiszen a belső tudatunk megadja számunkra azt a bölcsességet, amivel tisztán kezdjük látni az életünket és szerepünket.
3. Érzelmi intelligencia, empatikus képesség növekedése
Egyre divatosabb kifejezés manapság az érzelmi intelligencia. Mit is takar?
"Az érzelmi intelligencia (EI) az intelligencia vagy a képességek azon fajtája, ami a saját és mások érzelmeinek érzékelésével, kezelésével és pozitív befolyásolásával kapcsolatos." /Wikipédia
Ez számunkra a mindennapi életben azt jelenti, hogy az önhipnózis gyakorlásával egyre inkább tudatában leszünk érzelmeinknek, és nem csak akkor amikor már kitörtek vagy bajt okoztak. Lépésről lépésre, egyre inkább felismerjük az érzelmek valódi, mélyebben fekvő okait.
Egyre könnyebben észrevesszük azt, hogyan rángatnak minket ezek az érzelmek és egyre könnyebben megértjük és elfogadjuk más emberek szempontjait. Ezáltal könnyebben és tudatosabban irányítjuk az érzelmileg telített helyzeteket.
4. Problémamegoldó képesség javulása
A problémamegoldó képesség javulása egyenes következménye az érzelmi intelligencia fejlődésének. Ebben az esetben nem rohanunk vadul bele érzelmeinktől elvakítva konfliktusokba, hiszen az nem a probléma megoldását segítené csupán a feszültségek levezetését. A feszültségek kisütésének a következménye, hogy a másik fél is feszült lesz és egyre inkább a saját érzései vezérlik, mintsem a probléma mindkét fél számára való megoldásának a vágya.
Ugyanakkor nem is fojtjuk magunkba az érzéseket a konfliktustól való félelmünkben, vagy a "béke kedvéért", hiszen az elfojtás rengeteg negatív energiát hoz létre, ami így vagy úgy, de kihat mind a saját egészségünkre, mind a környezetünkre.
A két rossz megoldás helyett egyre jobban tudatában leszünk annak, hogyan hozzuk létre ezeket a negatív érzéseket, mivel hozzuk létre magunkban a feszültséget és belső tudatunk segítségével azt is elsajátítjuk, hogy hogyan lehet ezeket az érzéseket időben feloldani, transzformálni. Így energiánkat átalakítjuk, hogy inkább segítsen a probléma megoldásában, ahelyett, hogy súlyosbítaná azt.
5. Kiegyensúlyozottság, belső nyugalom erősödése
Szintén "mellékhatása" a rendszeres önhipnózis gyakorlásnak, hogy egyre nyugodtabbá válunk a hétköznapokban.
Mivel érzelmeink egyre jobban tudatosulnak és egyre jobban megtanuljuk ezeket az érzelmi energiákat felismerni és pozitív érzelmekké alakítani, így nem halmozódnak fel bennünk a feszültségek.
A nehéz helyzeteket is egyre higgadtabban tudjuk kezelni, ami ismét csak visszahat ránk, hiszen a környezetünk is csillapodik a mi hatásunkra. Ez a hatás-ellenhatás elve.
6. Öröm, felszabadultság és egyéb pozitív érzések erősödése
Ez a személyes kedvencem. Az öröm és felszabadultság érzet természetes közegünkké válik. Ez nem jelenti azt, hogy örökké rózsaszín szemüvegben röpködünk a föld felett, egyszerűen csak annyit jelent, hogy egyre több apróságban megéljük az élet szépségét. Emellett ugyanilyen tisztán megéljük a szomorúságot vagy egyéb érzelmeket, amikor azoknak jön el az ideje, de nem ragadunk bennük, nem kötjük magunkat hozzájuk, mintha minden pozitív érzelem pusztán illúzió lenne.
Megéljük azt, hogy az életöröm természetes állapotunk. Ez az az állapot, amikor az élet minden mozzanata jelentőséggel bír, bármily csekélynek tűnjön is. Elkezdjük észrevenni, mennyi öröm és szépség vesz minket körül, mennyi csodának vagyunk részesei.
Megtanultuk, hogy természetesnek vegyük, mindazt, ami minket körül vesz. Természetes, hogy van kezünk, lábunk, szeretteink vagy nap és égbolt. Mintha mindez járna nekünk, így nem is fordítunk ezekre a dolgokra különösebb figyelmet.
Ha visszaemlékszünk a gyerekkorunkra, akkor talán felrémlik, milyen apróságok tudtak minket elvarázsolni, mennyi örömet rejtett a pocsolyában való ugrálás (amíg valamelyik kevésbé megértő szülő véget nem vetett a röpködésnek), a homokvár építés friss sárga homokból vagy egy szarvasbogár nézegetése. Ez volt az a tudatállapot, amikor a lehetőségek még ott hemzsegtek körülöttünk, bennünk. Ehhez a tudatállapothoz térünk vissza, csak ezúttal már több megértéssel (remélhetőleg), de semmivel sem kevesebb örömmel.
7. Életcélunk, a világlátásunk tisztul
Amíg érzelmeink és a tudatalattiba száműzött energiáink nincsenek rendbe téve, úgy csetlünk-botlunk az életben, mint egy telezsúfolt, teleszemetelt, sötét lakásban. Célunk homályos, nehezen kivehető, és időnként azt vesszük észre, hogy rossz irányba megyünk, ez a cél nem is a mienk, vagy ha a mienk is volt, mégsem lettünk boldogabbak tőle. Nem beszélve a keresgélés során összetört kis lábujjakról.
Amikor elkezdjük az önhipnózist rendszeresen gyakorolni és a belső tudatunkkal végre kapcsolatot felvenni, akkor az olyan, mintha elemlámpát gyújtanánk. Egyszerre ugyan csak egy kis részt világít be, de ahogy elkezdjük a szobákat apránként rendbe rakni, egyre nagyobb tér szabadul fel bennük önmagunk és a számunkra fontos emberek számára. Ezzel együtt egyre tisztábbá válnak valódi, belső lelki céljaink.
A lelki szobánk egyre világosabb és otthonosabb lesz, így válik életünk is egyre "otthonosabbá" önmagunk és szeretteink számára.
8. Az emberi kapcsolatok javulása
Az önhipnózis önmagunk megváltoztatásának egyik leghatékonyabb módja.
De mit is értünk önmagunk megváltoztatásán?
Belső önmagunk, lelkünk már most is tökéletes. Nem szorul változtatásra.
Ami változtatásra szorul az a viselkedésünk, szokásaink, berögzült hiedelmeink és ezáltal az energiánk. Az, ahogyan az energiánkat használjuk, torzítjuk és kisugározzuk. Ez kihat miránk és a környezetünkre is, és ez alapvetően meghatározza az emberi kapcsolatainkat.
Az önhipnózis során megtanuljuk, hogyan használjuk a saját energiánkat, hogyan merevítjük káros viselkedésmódokká, szokásokká majd jellemvonásokká.
"Én már csak ilyen vagyok." Ismerős? Kényelmes kifogás azért, hogy ne kelljen szembenézni önmagunkkal.
A tudatosítás azt jelenti, hogy megtanuljuk megkülönböztetni önmagunkat és azt a sok belső, tudatalatti programot, amely a mai személyiségünket alkotja. Egyre jobban megtanuljuk a saját káros programjainkat felismerni és átírni pozitív, hasznos módon.
Az emberek tudat alatt a viselkedésünkön, hozzáállásunkon és lényünkön keresztül kisugárzott energiára reagálnak.
"Jó kisugárzása van."
Ez nem más, mint valaki, aki nyitott, pozitív módon, használja az energiáját. A pozitív energia pedig vonzerővel bír, ezzel nem árultam el titkot.
9. Az önismeret rendkívüli mértékben megnő
Talán nem is kell ragozni, hogy egyenes következménye a belső énünkkel való munkának, hogy egyre többet tudunk meg magunkról.
Aki szereti magát abban a tévhitben ringatni, hogy már mindent tud önmagáról és már semmi újat nem lehet neki ezzel kapcsolatban mondani, annak sajnos azt kell mondanom, hogy igaz a közhely, ez egy végtelen út. Minél többet ismerünk meg önmagunkból, annál inkább rádöbbenünk arra, mennyi új megismerni való vár még ránk.
Ez ne riasszon meg senkit. Ez egy nagyon gyümölcsöző út, ami önmagunk felé vezet. Érdekes, izgalmas és gyönyörű, mint egy nagyon érdekesen megírt könyv. Tele van csavarokkal, és a kép egyre jobban kitágul, egyre több részlet mutatkozik meg. Lassanként rájövünk, hogy sokkal többek vagyunk, mint ahogy gondoltuk.
Ezzel együtt a felismeréssel együtt, érdekes módon, kialakul egy csodálattal vegyes alázat saját lényünk iránt. Minél inkább rálátunk, ráérzünk belső, isteni lényünkre, annál inkább felismerjük, milyen pici dobozba próbáltuk bepréselni téves elképzeléseinkkel. Tisztelni kezdjük önmagunkat a szó legnemesebb értelmében, mert meglátjuk a lélekben a végtelent.
10. Spirituális fejlődés
Ezzel el is érkeztünk ahhoz a ponthoz, ahova tudat alatt mindannyian törekszünk.
Önmagunkon, belső tudatunkon keresztül nyílik ki a kapu a belső, végtelen fény felé. Ahogy elkezdjük egyre jobban beengedni a fényt önmagunkba, megértjük, mennyi érzésünk pusztán annak a következménye volt, hogy elzártuk magunkat a saját belső fényünktől, amely a végtelen fény része.
A belső tudat fényében világossá válik, hogy a magány, az elhagyatottság, az elveszettség mind nem más, mint "hiánybetegség". A fény hiányának betegsége. Érezni fogjuk, hogy ezt a fényt nem vette el tőlünk senki, nem vonta meg tőlünk senki, senki nem taszított minket a sötétségbe, hanem mi zártuk ki magunkból a belső energiáinkat. Burokként összezárultunk magunk körül, kizárva a fényt és a sötétben megéltük a fény hiányát, mint végtelen magányt és elhagyatottságot.
Belső tudatunk segít megérteni a fontos összefüggéseket az életünkben. A látszólag kívülről ránk szakadt körülmények törvényszerűségeit. Természetesen mindezt lépésről lépésre tanuljuk meg, mindenki a saját ütemében, a saját módján, a saját fejlődési szintjén. Sürgetni nincs értelme. A belső tudat mindent a mi képességeinkhez mér.
Ugyanakkor biztosak lehetünk benne, hogy ez a tanulás mindannyiunknak nagyon sok hasznot hoz.
Annyi haszontalan dolgot megtanultunk életünkben, ideje végre életünk legfontosabb leckéinek nekilátnunk.
És +1: Az önhipnózis roppant kellemes!
Az ellazulás, illetve az érzelmek feloldása, felszabadítása egyre kellemesebb élménnyé teszi az önhipnózist.
Javaslom napi rendszerességgel végezni (ismerem a kifogásokat, de gondoljunk arra, hogy a számunkra igazán fontos dolgokra mégis szoktunk tudni időt szakítani!), egy idő múlva már kifejezetten igényelni fogjuk!
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The harsh realities of life in the desert are etched in the face of this hardy Rajasthani farmer. He is watching a small girl performing acrobatics at a fair. He is not amused, obviously!
And so is our vacation. California was great. Still there, where we left it. Weather on the coast was crappy, as it always is in the summer. We ate more than we should have, saw more people that time made appear feasible and had the best time seeing Sara enjoy every place we took her.
We will be back!
P.S. Who said nothing good comes out of jet-lag? I can finally process and upload in peace, the whole house quiet and to myself!
Here is a complete set of orders with clearance card from LaCrosse, Wisconsin on February 1st, 1977. Reads as follows:
Clearance Card (white paper)
CMStP&P RR Co. Clearance
Station-LaCrosse, Wisconsin
Date-February 1st, 1977
Addressed to C&E Extra 155 East
Clearance No.-103
To-Portage
"4 Orders for your train, #'s 102, 838, 864 & 866.
OK time was 0118 am
Supt.-NHM
Opr-Proksch
Train Order #102 (yellow paper)
At LaCrosse
Date-February 1st, 1977
Addressed to C&E eastward trains reads:
"Men and equipment on Eastward track between MP 280 and MP 279 Between LaCrosse and Medary From 8:01 am until 401 pm.
All trains on this track proceed through these limits at reduced speed unless a different speed is verbally authorized by employee in charge or entire train has passed a green flag."
Supt-NHM
Made complete at 0115 am by operator Proksch
Train Order #838 (bottom left)
At LaCrosse
Date-January 19th, 1977
Addressed to C&E eastward trains reads:
"The trailing point crossover east of Depot Sparta and the west switch of the eastward siding at Sparta is out of service."
Supt-NHM
Made complete at 1017 pm by operator King
Train Order #864 (center bottom)
At LaCrosse
Date-January 27th, 1977
Addressed to C&E eastward extra trains reads:
"On westward track between Portage and LaCrosse frt trains do not exceed
Between MP 179 and MP 215 40 MPH
Between MP 215 and MP 223 35 MPH
Between MP 223 and MP 256 40 MPH
Between MP 256 and MP 257 35 MPH
Between MP 257 and MP 266 40 MPH
Between MP 266 and MP 273 35 MPH
Between MP 273 and MP 278 40 MPH"
Supt.-NHM
Made complete at 341 pm by operator Ristow
Train Order #866 (bottom right)
At LaCrosse
Date-January 27th, 1977
Addressed to C&E eastward extra trains reads:
"On eastward track between LaCroose and Portage frt trains do not exceed:
Between MP 278 and MP 273 40 MPH
Between MP 273 and MP 266 35 MPH
Between MP 266 and MP 257 40 MPH
Between MP 257 and MP 256 35 MPH
Between MP 256 and MP 243 40 MPH
Between MP 243 and MP 239 35 MPH
Between MP 239 and MP 223 40 MPH
Between MP 223 and MP 208 35 MPH
Between MP 208 and MP 190 40 MPH
Between MP 190 and MP 179 35 MPH"
Supt.-NHM
Made Complete at 341 pm by operator Ristow
*Published Canadian Geographic’s Ontario 2017 calendar
The white-tailed deer is the most common of all of North America’s large mammals. It is also the most widely distributed. A deer's home range is usually less the a square mile. Deer collect in family groups of a mother and her fawns. When a doe has no fawns, she is usually solitary. Male bucks may live in groups consisting of three or four individuals, except in mating season, when they are solitary. White-tailed deer mate in November and the female has one to three fawns after about six months after mating.
To read more about white-tailed deer please read my stories here
One Foggy Morning and here The Ottawa Rut
To purchase prints, cards, mugs, photos, shirts and more you can visit my Redbubble site
Jerebikovec is the highest summit in Mežaklja range, a small fore-hills group of Julian Alps. This is the view on some of the highest summits of Julian Alps from the north and east. On the left are the mountains above Pokljuka plateau, then the valley of Krma, then Triglav group and towards the right Škrlatica and Martuljek group.
This is the collection of pillow cakes made by me sometime ago. The first cake and still my favorite one (blue and white) was created for my best friends wedding 3 years ago. I used to call her "my princess" for her exquisite style and love to luxury :-) She was wearing a beatiful blue-and-white dress for her civil ceremony that inspired the colors on the cake. She, her husband and all the guests absolutely loved it and still are talking about it 3 years later :-)
Since then I was asked to make a couple of other pillow cakes, and even though each time I tried to convince people to go for another idea and explained the story behind this cake, sometimes I failed and had to make it once again, feeling myself bad, like I was kind of stealing from my friend :-) Even though she doesn't mind :-)
This is one of the most peaceful, beautiful, and difficult spots to photograph in Zion National Park. You are basically right up against canyon walls on three sides. Not even 11mm on crop can capture more then a fraction of the scene.
My friends and I had hiked up to this spot a little earlier in the day. We got hit by heavy rain right when we got to the upper emerald pool. With the stormy conditions in Zion the pool was full and covered much of the land where you can normally sit and relax. So we didn't spend long there and I didn't pull out my camera. We left and just below the middle pool the rain stopped. I told my friends I wanted to hike back to the upper pool and get some shots, and would meet them back at camp.
I hiked back and found I was the only person there. I started shooting and it started sprinkling. No problem I thought. Shortly after I took this shot the sprinkle turned into a flash flood. The waterfall became twice as wide, and the wind was blowing more water from the falls onto me than rain. I was completely drenched, but it was worth it.
Manual blend of two exposures made with my Canon 7D and Tokina 11-16 f/2.8, tripod mounted. Processed using ACR/Photoshop CS4.
This picture is #2 in my 100 strangers project. Find out more about the project and see pictures taken by other photographers at the 100 Strangers Flickr Group page
Today was time I got my project moving again. I had been into my local town to post my trusty a100 which had been sold and I was carrying the replacement which I am still learning how to get the best out of. Pop of built in flash.
I found a nice location and waited, and waited and nobody caught my eye as a suitable candidate., it was early and not many people about.
I had already missed one guy I had seen with an amazing beard as I had not really had the time to approach him, so when I saw Cindy I thought go for it (dont forget I'm still only on #2). Cindy had her headphones on and once I caught her up and explained the project she was happy to be part of it.
Cindy is in college studying Law and hopes to eventually have a career in that field. Thanks for being part of my group, and good luck with your studies.
Not as sharp as I would have liked, but the lens was wide open, tamron 17-50 f2.8 I think I'll close it down a little next time.
Seaside is an unincorporated master-planned community on the Florida Panhandle in Walton County, between Panama City Beach and Destin. One of the first communities in America designed on the principles of New Urbanism, the town has become the topic of slide lectures in architectural schools and in housing-industry magazines, and is visited by design professionals from all over the United States. On April 18, 2012, the American Institute of Architects's Florida Chapter placed the community on its list of Florida Architecture: 100 Years. 100 Places as the Seaside – New Urbanism Township.
Beach of Seaside
The idea behind Seaside came in 1946, when the grandfather of future founder Robert S. Davis bought 80 acres (32 ha) of land along the shore of Northwest Florida as a summer retreat for his family. In 1978 Davis inherited the parcel from his grandfather, and aimed to transform it into an old-fashioned beach town, with traditional wood-framed cottages of the Florida Panhandle. Davis, his wife Daryl and, the architectural partners and Driehaus Prize winners, Andrés Duany and Elizabeth Plater-Zyberk of Duany Plater-Zyberk & Company toured the south studying small towns as a basis for planning Seaside. The final plan was complete around 1985. The town was used as the main filming location of the 1998 film The Truman Show.
Seaside is located along County Road 30A immediately adjacent to the Gulf of Mexico. Via County Road 30A, Rosemary Beach is 8 mi (13 km) to the southeast, and Miramar Beach is 16 mi (26 km) to the northwest (via County Road 30A to US 98).
Seaside is one of three planned communities on Florida's Gulf coast designed by Andrés Duany and Elizabeth Plater-Zyberk. The other two are Rosemary Beach and Alys Beach. The three are examples of a style of urban planning known as New Urbanism. As Seaside is privately owned, no other municipal governments had planning jurisdiction over Seaside, and therefore the developers were able to write their own zoning codes. Seaside's commercial hub is located at the town center. The streets are designed in a radiating street pattern with pedestrian alleys and open spaces located throughout the town. There is a mix of uses and residential types throughout the community.
Individual housing units in Seaside are required to be different from other buildings, with designs ranging from styles such as Victorian, New Classical, Modern, Postmodern, and Deconstructivism. Seaside includes buildings by architects such as Léon Krier, Robert A. M. Stern, Steven Holl, Machado and Silvetti Associates, Deborah Berke, Gordon Burns & Associates, Thomas Christ, Walter Chatham, Daniel Solomon, Ronnie Holstead, Jeff Margaretten, Alex Gorlin, Aldo Rossi, Michael McDonough, Samuel Mockbee, David Mohney, Steve Badanes, Walker Candler, and David Coleman. Another Driehaus Prize winner, the architect Scott Merrill designed the Seaside Chapel, an interfaith chapel and local landmark.
Seaside has no private front lawns, and only native plants are used in front yards.
Thank you for commenting and faving my photos :-)
Best view by pressing "L"
Creative Commons License: Attribution 3.0 Unported
Here it is guys! My entry into McLaren's design competition.
Performance
• Acceleration: 0-100 km/h in 2.0
• Top Speed: (electronically limited): 350km/h
• Braking: 97-0 in 2.5 seconds (in 30 meters).
• Fuel Consumption: 8.3L/100km/h
Design
Drivetrain:
• 5 liter counter-rotating flatplane twin crank V8
• Variable ratio twin screw supercharger
• 6-speed triple clutch gearbox with KERS and hybrid 500kW electric motor
Chassis:
• Carbon cockpit tub with titanium rollover frame
• Titanium trellis front subframe with inboard suspension
• Rear suspension mounted directly to engine and gearbox
• Forged magnesium wheels and airless tires with internal aluminium skeleton
Computer:
• 1.2 Billion bit solid state optical processor with braided carbon nanotube optical paths
• Honeycomb aluminium nitrogen cooling cell in center of bonnet
Specs credit goes to my good friend Kieran.
Let me know what you think!
I just adore Dollits Miso sculpt! So I thought yesterday, what if she was a vampire? This photo mockup was the result. XD
She looks like this adorable, cute and derpy vampire!! <3 Eeep! Not sure if I would make her a vampire, but this head is now on my wishlist. ;)
Thank you for allowing me to use your photo, Trillian! The original is here.
*Project Neverland is a way for us to show our love for Movies, TV Shows and Books in a Fashion way. We make references, not cosplays.
Model: Jenniré Narváez.
Team:
-Daniela Salvador
-Jenniré Narváez
-Julia Olivo
Project Neverland Instagram: instagram.com/projectneverlandpn/
Project Neverland Twitter: twitter.com/ProjNeverland
Facebook: www.facebook.com/jennireanarvaez
Twitter: twitter.com/TheJennire
Instagram- Jenniré: instagram.com/thejennire
Instagram- Daniela: instagram.com/danisalvador/
Instagram- Julia: instagram.com/olivojulia/
Instragram 2: instagram.com/jennirenarvaezphotography
Tumblr: thejennire.tumblr.com/