View allAll Photos Tagged Order
CRITIQUES IN ALPHABETICAL ORDER:
Dawn: To start off positively i like your fit, denim on denim is a classic and this looks nice. Now what i dont like is how yellow this picture is and how you have no connection with it, like why are you inside a car wash..? The angle dont match, it’s just a lot going one but at the same time nothing. Wish you could’ve done more.
Demara: Okay i see the improvement! This picture is a step up from last week, i actually wanna keep looking at it and i enjoy it a lot. I like all the little details here and there but the bubbles are looking a bit too fake with those dark edges and are not doing the job for me. I also wish this was more "you", it kinda looks like a mash up between Lily's and Franchescas photos, it's good to take inspiration from your competition but make sure to give it your own touch.
Dua: This is sadly such a step down from last week, i remember telling you that less is more and this random clone of yours is again making no sense in this picture. It's just weirdly laying over the car like if you gave up and zooming in to the details they are clearly just dots... I do like how different this is from the others and how on brand this is for you! If it was only alone without the clone and with better posing than just standing there this could've been one of the top picture of the week. You have the talent there, you just need to shape it.
Dylann: Out of all the girls your picture looks the most "in the moment" and i really like that, you hair is wet, you are cleaning the car, everything is nice and simple! My biggest concern is the angle of the picture, it's a bit too high for my liking and its making your head look a little too big making the rest of your body look quite short.
Franchesca: I honestly gasped when i saw this shot, you took this theme and made it absolutely yours! This looks straight out of a music video which i love, your styling along Lily’s is from my faves this week too. Just a small note, i wish you would’ve tilted you head to the side a little bit more to connect with the camera and tying the whole picture together in the process.
Janessa: This is such a nice picture! You look very much like Jessica Simpson and i love it, your styling is nice and it works in this almost country/middle of the park shot. I’d just wish the angle was a little bit more to the side so we could see your arms since from this angle your arms are almost dissapearing and looking like small baby arms.
Keighteigh: Same as Franchesca i love how on brand for you is this picture. I like how you contrasted your colorful persona with this gold opulent car. What really took the picture down for me is the posing, which is overall ok but your hand not touching your hip properly looks a bit odd in this case and your feet barely touching the ground + you laying over the car makes you look very much like you're falling rather than just resting pretty over it.
Lily: This, This and absolutely this! You nailed it out of the freaking park with this shot Lily, Your posing is perfect, you are using every inch of your body to pose and this eye contact is majestic! Your styling is so colorful and chunky with these plain colors contrasting with each other taking us to a neon summer fantasy! Simply amazing and maybe one of the best pictures in the competition history.
Plum: I think you struggled with the fact you dont have a car so you decided to go after this "resting after the work" sort of moment which could've been smart but i really don't like the fact you are clearly just on the floor laying down. That is not the best of the looks, maybe if you were on your knees with the setting and bubbles around you this picture could've been more successful.
Priscila: While this is a nice shot at first glance and does the job for the given theme, when you start to look at it it starts to fall apart in my opinión. Starting from you outfit, it’s nice but the business woman black heels are not doing it for me personally, the pink bra and denim skirt is giving me youthful and these heels are clashing with that, maybe some chunky shoes like Lily’s would’ve done the trick. I like the posing from the waist up, hands on hip, you interacting with the car, al lof that is nice but the legs are just so stiff, it would’ve helped a lot if you could’ve bent one of your kneed so the rest of the leg would’ve rested on the car, it would’ve looked more dynamic and fun. The text in the back is fun, the black graffiti is working while the colored text and white are just not and are kinda distracting to look at. Overall this could’ve been an amazing shot but there were a lot of missed opportunities.
Stella: You look sosososo gorgeous Stella! And this eye contact? I know i can always trust you with giving us stunning connection with the camera. Same as Plum i think you struggled with the no having a car part but you were a bit more successful at handling it. The blurred car is good enough but i wish we could see more of it for it to fully done the trick.
Szoke: Your styling is exquisite this week, I am completely in love with your look. Maybe the fur doesn't make much sense for the context of the picture but it works so i'm not complaining. The lighting here is also beautiful and makes a good job at making the scene look natural. I do have some notes for the picture though. I wish since you actually had a car you were interacting more with it since simply holding a sponge is a bit too safe, if you were interacting with the car i think this would've tied the whole picture together since now it's reading more as a fashion spread of sorts rathen than a car wash.
Veronica : Okay so i see you took my notes from last week and i really, really, really appreciate that! This picture is looking crisp (for the most part, i’ll get to that in a bit) and nicely litten, maybe the eyes are kinda neon looking still but you’re getting there. What brings the photo down for me it’s the styling, i don’t get it and i simply don’t like it, you said you’re supposed to be a cheerleader but honestly that made it worse because when i think in cheerleaders i think in fun bright colors, mini skirts, chunky shoes but this is the complete opposite, it’s just not it. I also don’t like the fact you are just standing there doing nothing/neither posing and with this weirdly liquified fase you just look like a sad wet puppy and to close it off your background quality is quite blurry and it contrasts with the good quality you have going on at the front.
CHECK RESULTS HERE: youtu.be/enC9dYHNBv0
Big Cats are now regularly seen prowling the Furness and West Cumbria lines. 68001 & 68025 take the Dalton Loop at Park South with 6K73 1723 Sellafield-Crewe flasks.
Seen at the Newark airport: tablets for displaying menus and ordering food at every seat. Once you finished ordering the tablets also provided news, magazines, and games (none of which interested me enough to try).
Order : Odonata
Suborder : Zygoptera
Superfamily : Calopterygoidea
Family : Calopterygidae
Genus : Calopteryx
Species : haemorrhoidalis
Hi everyone!
I decided to open a few orders for Abyss. However I couldn't cast lots of dolls (I have a full time job) and so I take few places during these preorders!
To start, I will open only 10 places.
Beware : preorders will be open on flickr and on the french forum matérielceleste (so less than 10 places for flickr only for example!)
To be fair, I will proceed with the "first one, first served" basis, with a small waiting list in case of cancellation within the first 10.
For these pre-order, I will proceed with the email address depths.dolls@live.fr only.
How it will happen?
The preorder will open on November 1st at 8 pm and will end on the November 4th at 8 pm (I will not accept mail sent before that day or that hour - French hour so it's Gmt + 1h).
To take an order, you have to write in your mail :
- Name / first name / nickname / origin (MC or flickr)
- Color choice (I will see it's possible), considering that I can make a monochrome doll, or the tail of another color. I don't cast in bicolor (two colors coexisting in the same piece).
- Customization choice (following acceptance).
Attention! each color is unique, I make my own blends. Do not ask me, "I want the same color as this one" because I couldn't make exactly the same.
I will inform the first 10, announcing the estimated time (considering that I will cast one or two dolls in the month). Those arrived after the first 10 will be notified and placed on a waiting list in case of cancellation. I will open the pre-order again when the first will be completely finished.
Price:
- 250 € monochrome doll
- 270 € the doll with the tail of a different color
- The price will not be different if the doll is requested without makeup. This is the most funky time for me. Cancel this step will not reduce the time of manufacture.
- Add shipping fees, calculated according to the method of delivery, the country ...
- Paypal only for international customers
- Layaways? Yes, in two payments maximum. If there is a cancellation of your order between the payments, I will refund you without 20% of the total price. ^^
- When the payment will happen? In the beginning of the manufacturing of your doll (I will contact you). I will not make you pay while you have to wait 3 monthes.
Dolls will come :
- nude, sanded and hot glued.
- Resin contain anti-UV, and will delay the yellowing of the resin (however, it's still inevitable with time).
- certificate.
"Born in Northumberland in 634, St. Wilfrid was educated at Lindesfarne and then spent some time in Lyons and Rome. Returning to England, he was elected abbot of Ripon in 658 and introduced the Roman rules and practices in opposition to the celtic ways of northern England. In 664, he was the architect of the definitive victory of the Roman party at the Conference of Whitby. He was appointed Bishop of York and after some difficulty finally took possession of his See in 669. He labored zealously and founded many monasteries of the Benedictine Order, but he was obliged to appeal to Rome in order to prevent the subdivision of his diocese by St. Theodore, Archbishop of Canterbury. While waiting for the case to be decided, he was forced to go into exile, and worked hard and long to evangelize the heathen south Saxons until his recall in 686. In 691, he had to retire again to the Midlands until Rome once again vindicated him. In 703, he resigned his post and retired to his monastery at Ripon where he spent his remaining time in prayer and penitential practices, until his death in 709. St. Wilfrid was an outstanding personage of his day, extremely capable and possessed of unbounded courage, remaining firm in his convictions despite running afoul of civil and ecclesiastical authorities. He helped bring the discipline of the English Church into line with that of Rome. He was also a dedicated pastor and a zealous and skilled missionary; his brief time spent in Friesland in 678-679 was the starting point for the great English mission to the Germanic peoples of continental Europe. His feast day is October 12th."
This stained glass of the saint is in St Cuthbert's Chapel in Ushaw, the former Catholic seminary near Durham.
Editors: Reimer
Language: German
Booklet, 248 pages
ISBN-10: 3496027169
ISBN-13: 978-3496027164
Franziska Becker (2001): Ankommen in Deutschland - Einwanderungspolitik als biografische Erfahrung im Migrationsprozess russischer Juden
Die Studie untersucht Migrationsprozesse russischer Juden. Dabei werden sowohl die Einwanderungspolitik als auch die Erfahrungsperspektive der Migranten in den Blick genommen. Dichte biografische Fallstudien eröffnen Einblicke in einen komplexen Umbauprozess sozialer Erfahrung und individueller Verortung.
Seit 1991 werden Juden aus der ehemaligen Sowjetunion in Deutschland als „jüdische Kontingentflüchtlinge“ aufgenommen. Franziska Becker lotet die Einwanderungspolitik und ihre rechtlichen und bürokratischen Rahmenbedingungen sowie ihre sozialen und kulturellen Kontexte aus. Dabei wird auch eine (deutsche) Strategie der Identitätszuschreibung vorgeführt, die eindeutig konstruktive und normative Züge trägt. Die Studie zeigt anhand biographischer Fallstudien, wie diese Zuschreibungsdiskurse im individuellen Migrationsprozess wirken, wie sie Migranten dazu herausfordern, ihre Lebensgeschichte reflexiv neu zu bewerten, um das Hiersein plausibel zu machen und zu legitimieren. Eindrückliche Porträts geben Aufschluss darüber, mit welchen Identitätserwartungen und Stereotypen russische Juden im Kontakt mit den Institutionen der Aufnahmegesellschaft wie Flüchtlingsheimen, Ausländerbehörden, der Sozialbürokratie und jüdischen Gemeinden konfrontiert werden und wie sich dabei ihre jüdischen Selbstbilder verändern. Die Studie setzt neue Akzente in der ethnologischen Migrationsforschung und lässt sich zugleich als Ethnografie des deutsch-jüdischen Verhältnisses lesen, eines für die Bundesrepublik zentralen Politikfeldes.
...ein wichtiger Beitrag zur Integrationsforschung, der „Integration“ gegen den Strich liest, nämlich als Resultat eines mühevollen Prozesses der Auseinandersetzung mit den Paradoxien der deutschen Einwanderungspoltik.[H-Soz-U-Kult]
Die ethnologische Dissertation von Franziska Becker über die russisch-jüdische Einwanderung ist eine hervorragende wissenschaftliche Arbeit, die man als eine Einführung in die überaus komplexe Materie empfehlen kann. [Im Gespräch – Martin-Buber-Gesellschaft.e.V.] /
Franziska Becker (2001): Arriving in Germany - Immigration policy as a biographical experience in the migration process of Russian Jews
The study analyses the migration processes of Russian Jews. Both immigration policy and the migrants' experiences are analysed. Dense biographical case studies provide insights into a complex process of transformation of social experience and individual localisation.
Since 1991, Jews from the former Soviet Union have been admitted to Germany as "Jewish quota refugees". Franziska Becker explores immigration policy and its legal and bureaucratic framework as well as its social and cultural contexts. In the process, a (German) strategy of identity attribution is also presented that clearly bears constructive and normative traits. Using biographical case studies, the study shows how these attribution discourses work in the individual migration process and how they challenge migrants to reflexively re-evaluate their life stories in order to make being here plausible and legitimise it. Impressive portraits shed light on the identity expectations and stereotypes with which Russian Jews are confronted in contact with the institutions of the host society, such as refugee centres, immigration authorities, the social bureaucracy and Jewish communities, and how their Jewish self-images change in the process. The study sets new accents in ethnological migration research and can also be read as an ethnography of the German-Jewish relationship, a central political field for the Federal Republic of Germany.
...an important contribution to integration research that reads "integration" against the grain, namely as the result of a painstaking process of coming to terms with the paradoxes of German immigration policy. [H-Soz-U-Kult] Franziska Becker's ethnological dissertation on Russian-Jewish immigration is an outstanding academic work that can be recommended as an introduction to the extremely complex subject matter. [In dialogue - Martin-Buber-Gesellschaft.e.V.] /
Franziska Becker (2001) : Arriver en Allemagne - La politique d'immigration comme expérience biographique dans le processus migratoire des Juifs russes.
L'étude examine les processus migratoires des Juifs russes. Elle s'intéresse aussi bien à la politique d'immigration qu'à l'expérience des migrants. Des études de cas biographiques denses ouvrent des perspectives sur un processus complexe de transformation de l'expérience sociale et de la localisation individuelle.
Depuis 1991, les Juifs de l'ex-Union soviétique sont accueillis en Allemagne en tant que "réfugiés du contingent juif". Franziska Becker explore la politique d'immigration et son cadre juridique et bureaucratique ainsi que ses contextes sociaux et culturels. Ce faisant, elle démontre également une stratégie (allemande) d'attribution d'identité qui présente des traits clairement constructifs et normatifs. L'étude montre, à l'aide d'études de cas biographiques, comment ces discours d'attribution agissent dans le processus de migration individuel, comment ils poussent les migrants à réévaluer leur histoire de vie de manière réflexive afin de rendre plausible et de légitimer leur présence ici. Des portraits impressionnants permettent de comprendre à quelles attentes identitaires et à quels stéréotypes les Juifs russes sont confrontés au contact des institutions de la société d'accueil telles que les foyers de réfugiés, les autorités d'immigration, la bureaucratie sociale et les communautés juives, et comment leur image de soi juive se modifie dans ce contexte. L'étude pose de nouveaux jalons dans la recherche ethnologique sur la migration et peut en même temps être lue comme une ethnographie des relations entre juifs et allemands, un domaine politique central pour la République fédérale.
...une contribution importante à la recherche sur l'intégration, qui lit "l'intégration" à contre-courant, à savoir comme le résultat d'un processus laborieux de confrontation avec les paradoxes de la politique d'immigration allemande.[H-Soz-U-Kult] La thèse de doctorat en ethnologie de Franziska Becker sur l'immigration juive russe est un excellent travail scientifique, que l'on peut recommander comme introduction à cette matière extrêmement complexe. [Entretien - Martin-Buber-Gesellschaft.e.V.] /
Franziska Becker (2001): Llegar a Alemania - La política de inmigración como experiencia biográfica en el proceso migratorio de los judíos rusos
El estudio analiza los procesos migratorios de los judíos rusos. Se analizan tanto la política de inmigración como las experiencias de los emigrantes. Densos estudios de casos biográficos permiten comprender un complejo proceso de transformación de la experiencia social y de localización individual.
Desde 1991, los judíos de la antigua Unión Soviética son admitidos en Alemania como "refugiados de cuota judía". Franziska Becker explora la política de inmigración y su marco jurídico y burocrático, así como sus contextos sociales y culturales. En el proceso, también se presenta una estrategia (alemana) de atribución de identidad que presenta claramente rasgos constructivos y normativos. Mediante estudios de casos biográficos, el estudio muestra cómo funcionan estos discursos de atribución en el proceso migratorio individual y cómo desafían a los inmigrantes a reevaluar reflexivamente sus historias de vida para hacer plausible y legitimar su presencia aquí. Impresionantes retratos arrojan luz sobre las expectativas de identidad y los estereotipos a los que se enfrentan los judíos rusos en contacto con las instituciones de la sociedad de acogida, como los centros de refugiados, las autoridades de inmigración, la burocracia social y las comunidades judías, y cómo cambia su autoimagen judía en el proceso. El estudio establece nuevos acentos en la investigación etnológica de la migración y también puede leerse como una etnografía de la relación germano-judía, un campo político central para la República Federal de Alemania.
...una importante contribución a la investigación sobre la integración que interpreta la "integración" a contracorriente, es decir, como el resultado de un minucioso proceso de reconciliación con las paradojas de la política alemana de inmigración [H-Soz-U-Kult] La disertación etnológica de Franziska Becker sobre la inmigración ruso-judía es un trabajo académico sobresaliente que puede recomendarse como introducción a un tema extremadamente complejo. [En diálogo - Martin-Buber-Gesellschaft.e.V.]. /
Franziska Becker (2001): Arrivare in Germania - La politica di immigrazione come esperienza biografica nel processo migratorio degli ebrei russi
Lo studio analizza i processi migratori degli ebrei russi. Vengono analizzate sia la politica di immigrazione che le esperienze dei migranti. I densi studi di casi biografici forniscono indicazioni su un complesso processo di trasformazione dell'esperienza sociale e di localizzazione individuale.
Dal 1991, gli ebrei dell'ex Unione Sovietica sono stati ammessi in Germania come "rifugiati in quota ebraica". Franziska Becker esplora la politica di immigrazione e il suo quadro legale e burocratico, nonché i suoi contesti sociali e culturali. Nel processo, viene anche presentata una strategia (tedesca) di attribuzione dell'identità che presenta chiaramente tratti costruttivi e normativi. Utilizzando casi di studio biografici, lo studio mostra come questi discorsi di attribuzione funzionino nel processo migratorio individuale e come sfidino i migranti a rivalutare in modo riflessivo le loro storie di vita per rendere plausibile e legittimare la loro presenza qui. Ritratti impressionanti fanno luce sulle aspettative identitarie e sugli stereotipi con cui gli ebrei russi si confrontano a contatto con le istituzioni della società ospitante, come i centri per rifugiati, le autorità per l'immigrazione, la burocrazia sociale e le comunità ebraiche, e sul modo in cui l'immagine di sé degli ebrei cambia nel corso del processo. Lo studio pone nuovi accenti nella ricerca etnologica sulle migrazioni e può essere letto anche come un'etnografia del rapporto tra tedeschi ed ebrei, un campo politico centrale per la Repubblica Federale Tedesca.
... un importante contributo alla ricerca sull'integrazione che legge l'"integrazione" controcorrente, cioè come il risultato di un accurato processo di avvicinamento ai paradossi della politica tedesca sull'immigrazione. [H-Soz-U-Kult] La dissertazione etnologica di Franziska Becker sull'immigrazione russo-ebraica è un'opera accademica eccezionale che può essere raccomandata come introduzione a un argomento estremamente complesso. [In dialogo - Martin-Buber-Gesellschaft.e.V.] /
Франциска Беккер (2001): Прибуття до Німеччини - імміграційна політика як біографічний досвід міграційного процесу російських євреїв
У дослідженні проаналізовано міграційні процеси російських євреїв. Аналізується як імміграційна політика, так і досвід мігрантів. Детальний аналіз біографічних прикладів дає уявлення про складний процес трансформації соціального досвіду та індивідуальної локалізації.
З 1991 року євреїв з колишнього Радянського Союзу приймають до Німеччини як "біженців за єврейською квотою". Франциска Беккер досліджує імміграційну політику, її правові та бюрократичні рамки, а також соціальний і культурний контексти. У процесі дослідження також представлено (німецьку) стратегію атрибуції ідентичності, яка має чітко виражені конструктивні та нормативні риси. Використовуючи біографічні приклади, дослідження показує, як ці дискурси атрибуції працюють в індивідуальному міграційному процесі і як вони змушують мігрантів рефлексивно переосмислювати свої життєві історії, щоб зробити перебування тут правдоподібним і легітимізувати його. Вражаючі портрети проливають світло на ідентифікаційні очікування та стереотипи, з якими стикаються російські євреї, контактуючи з інституціями приймаючого суспільства, такими як центри для біженців, імміграційні служби, соціальна бюрократія та єврейські громади, а також на те, як змінюється їхнє єврейське самоусвідомлення в процесі міграції. Дослідження розставляє нові акценти в етнологічних дослідженнях міграції, а також може бути прочитане як етнографія німецько-єврейських відносин, що є центральним політичним полем для Федеративної Республіки Німеччина.
...важливий внесок в інтеграційні дослідження, які прочитують "інтеграцію" протилежно, а саме як результат кропіткого процесу примирення з парадоксами німецької імміграційної політики. [H-Soz-U-Kult] Етнологічна дисертація Франциски Беккер про російсько-єврейську імміграцію є видатною академічною працею, яку можна рекомендувати як вступ до надзвичайно складного предмету. [У діалозі - Martin-Buber-Gesellschaft.e.V.] /
Франциска Беккер (2001): Прибытие в Германию - иммиграционная политика как биографический опыт в миграционном процессе российских евреев
В исследовании анализируются миграционные процессы российских евреев. Анализируются как иммиграционная политика, так и опыт самих мигрантов. Насыщенные биографические кейсы дают представление о сложном процессе трансформации социального опыта и индивидуальной локализации.
С 1991 года евреи из бывшего Советского Союза принимаются в Германию в качестве "беженцев по еврейской квоте". Франциска Беккер исследует иммиграционную политику, ее правовые и бюрократические рамки, а также социальный и культурный контекст. В процессе работы также представлена (немецкая) стратегия атрибуции идентичности, которая явно несет в себе конструктивные и нормативные черты. На примере биографических примеров исследование показывает, как эти дискурсы атрибуции работают в индивидуальном миграционном процессе и как они заставляют мигрантов рефлексивно пересматривать свои истории жизни, чтобы сделать пребывание здесь правдоподобным и легитимировать его. Впечатляющие портреты проливают свет на ожидания и стереотипы идентичности, с которыми сталкиваются российские евреи в контакте с институтами принимающего общества, такими как центры для беженцев, иммиграционные власти, социальная бюрократия и еврейские общины, и на то, как при этом меняется их еврейское самовосприятие. Исследование расставляет новые акценты в этнологических исследованиях миграции, а также может быть прочитано как этнография немецко-еврейских отношений - центрального политического поля Федеративной Республики Германия.
...важный вклад в исследование интеграции, в котором "интеграция" рассматривается против зерна, а именно как результат кропотливого процесса примирения с парадоксами немецкой иммиграционной политики" [H-Soz-U-Kult]. Этнологическая диссертация Франциски Беккер о русско-еврейской иммиграции - это выдающаяся научная работа, которую можно рекомендовать в качестве введения в чрезвычайно сложную тему. [В диалоге - Martin-Buber-Gesellschaft.e.V.]
Yep my first order and i must say the armor piece's look fantastic,cant wait to get painting,be expecting a Mark 42 suit and Iron patriot soon !!
I just love working on maps. They provide inspiration and a good background in one package. I don't think this map will be guiding anyone very far again now that she's art. I'm thinking the best she can hope for is to guide people to the living room...
Now, From Russia With Love is, of course, the title of a 1963 James Bond movie starring Sean Connery but here I'm referring to the phenomenon of mail order brides - of which the countries of the former Soviet Union provide such a bevy of such available ladies (so the internet tells me!) Hence the use of a map of the region.
Anwyay, this is a map of the good ol' USSR and this is represented by the hammer and sickle tattooed across our bride-to-be's heart to show her proletariat upbringing. Currently she has made her way west and is now betrotherd to a man in Birmingham, Alabama.
She has been constructed using acrylic paint, charcoal, paint pens and glitter. All this on a map! She's 48 cm x 60 cm in size and signed on reverse.
Here is the Ebay link
For further information about us and what we get up to you can visit our blog (www.thisisidiom.wordpress.com) and twitter (@thisisidiom).
Cheers
id-iom
Now, the first question that comes to mind is the ethnicity of this group. The clothes do not all agree.
The spaces between the people raise the next questions.
Why is one man standing almost hidden behind the post?
It is printed just as you see it on a nearly square paper. It is not mounted. There is nothing on the reverse.
What is the story? Read on.
Lost Gallery HATS
.
Abandoned Abused Street Dogs.
Nikon D300 DX Camera.
Nikkor 17-55 2.8 Lens.
,
Flying Ding Bat ..............;-)
Thank You.
Jon&Crew.
Please help with your donations here.
www.gofundme.com/f/help-for-abandoned-thai-temple-dogs
.
Please,
No Awards, Invites, Large Logos or Copy an Pastes.
.
Order 66
Hello,
I built this moc ages ago (it's not there anymore😉).
It shows an unknown Jedi with clones from an also unknown battalion.
It is so small because I only have a few parts in lime green and dark green.
Bye!
The Order 1886
www.facebook.com/PlaneteJeu/photos/a.509745472523819.1073...
Source : site de jeux vidéos
.……………………………….
- “Do not touch me…”
Gospel of John, chapter 20, verse 17 (John 20, 17)
+++++++++++++++++++++
I was with you, Father,
at the moment of creation.
I could not fail to know the elements and master them.
What would it be to
lift the stone of a tomb
compared to your will as Creator?
You taught me how the world is composed
and made me your son,
but I was a participant
in creation.
The followers who followed me
believed in You and in me,
Your son.
They will be happy to see me rise again,
but I will weep
for those still chained
in hell,
and my hands
will silence their strident cries.
Poor souls,
who migrate toward nothingness.
The fear,
God,
of these blind depths,
of these people who have not had
the splendor of your reins.
Because you do not know,
Father,
what it means
to sit at Your right hand
as a king.
A gentle but not cowardly king
who mediates
between your divine wrath
and the lust and unbelief of man.
I,
who am just,
love man
and ask your forgiveness
through this slow agony
that has lasted for centuries
for the world.
Behold, Lord, I give you back my spirit
in the form of a white dove
that will fly toward heaven.
And no other way
have you built peace
than with the groins of a bird
that brings the olive branch to your lips.
Father,
I will rise again,
and I will sit at your right hand.
POEM OF THE CROSS - Alda Merini
+++++++++++++++++++++++++++++++++++++
- “Noli me tangere …”
Vangelo di Giovanni, capitolo 20, versetto 17 (Giovanni 20, 17)
++++++++++++++++++
- Ero con te, Padre,
al momento della creazione.
Non potevo non conoscere gli elementi e dominarli.
Cosa vuoi che sia
sollevare la pietra di un sepolcro
in confronto alla tua volontà di Creatore.
Tu mi hai insegnato come è composto il mondo
e mi hai reso figlio,
ma ero partecipe
della creazione.
I seguaci che mi hanno seguito
hanno creduto in Te e in me,
Tuo figlio.
Saranno felici di vedermi risorgere,
ma io piangerò
per quelli che sono ancora incatenati
nell'inferno
e le mie mani
faranno tacere i loro stridori.
Povere anime,
che migrano verso il nulla.
Lo spavento,
Dio,
di queste profondità cieche,
di questa gente che non ha avuto
lo splendore delle tue redini.
Perché tu non sai,
Padre,
cosa vuol dire
sedere alla Tua destra
in veste di re.
Un re mite ma non codardo
che fa da intermediario
tra la tua collera divina
e la lussuria e la miscredenza dell'uomo.
Io,
che sono giusto,
amo l'uomo
e ti chiedo perdono
attraverso questa lenta agonia
che dura da secoli
per il mondo.
Ecco, Signore, io ti rendo il mio spirito
in forma di bianca colomba
che volerà verso il cielo.
E non altrimenti
Tu hai costruito la pace
se non con gli inguini di un uccello
che porta l'ulivo alle tue labbra.
Padre,
io risorgerò,
e siederò alla Tua destra.
POEMA DELLA CROCE - Alda Merini
-----------------------------------------------------------------
click to activate the icon of slideshow: the small triangle inscribed in the small rectangle, at the top right, in the photostream;
or…. Press the “L” button to zoom in the image;
clicca sulla piccola icona per attivare lo slideshow: sulla facciata principale del photostream, in alto a destra c'è un piccolo rettangolo (rappresenta il monitor) con dentro un piccolo triangolo nero;
oppure…. premi il tasto “L” per ingrandire l'immagine;
www.worldphoto.org/sony-world-photography-awards/winners-...
www.fotografidigitali.it/gallery/2726/opere-italiane-segn...
…………………………………………………………………
This photographic story, with text, which I propose as my last work for Flickr in 2025 (2026 is now just a few minutes away), tells of the procession of the Holy Crucifix of Aracoeli, which took place in March of this year 2025 in the town of San Marco d'Alunzio (in the province of Messina). The procession normally begins on the morning of the last Friday of March each year, but there is an exception to this rule: when it coincides with Good Friday, then the procession is brought forward to the previous Friday. The procession of the Holy Crucifix of Aracoeli is an ancient penitential rite. On the feast day of the Crucifix, Holy Mass is celebrated in the Church of Aracoeli in San Marco d'Alunzio. On this occasion, the Holy Crucifix is celebrated. Crucifix (which is located in the church at the end of the right nave, at its feet is the painting of the Virgin of Sorrows pierced by seven swords), Christ on the Cross is removed by the devotees from the hook on which it is hanging, is carried outside the church, here it is raised and fixed on the float, the sermon of the priest who has climbed onto the float next to the Crucifix takes over, under the Cross is fixed the painting of His Sorrowful Mother, then they are carried in procession by the men (and women) in blue hoods called "babbaluti", they proceed invoking the pity and mercy of the Lord with a constant and rhythmic lament, saying "Signuri, Misericordia, Pietà!"; this is the norm, but this year the bad weather has brought some changes, the float on which they hoisted the SS. The crucifix with the kneeling babbaluti was not located in the churchyard, but inside the church. Christ was covered with a large sheet of cellophane to protect it from the rain, while the painting of the Madonna with swords in her heart was placed at her Son's feet only after the procession returned to the church. San Marco d'Alunzio is a charming town in the Messina area, located in the Nebrodi Mountains of Sicily. The procession takes place in honor of the Holy Crucifix of Araceli. This religious-penitential event is also known as the "procession of the babbaluti." These are those who, by vow or grace received, have chosen to carry the fercolo containing the crucifix and the painting on their shoulders in procession. they head to the nearby Church of Santa Maria dei Poveri or to some private home nearby where, sheltered from the curiosity of the faithful, they wear a simple but characteristic indigo-colored cloth habit, consisting of a tunic and a conical hood that covers the entire body and leaves only the eyes and hands free. It is not uncommon, however, for the penitents, rendered anonymous by the habit they wear, to also include women, who, to avoid any possibility of recognition, wear a pair of gloves; The babbaluti are 33 in number to commemorate the 33 years of Christ. The number is odd, in fact the 33rd babbaluto does not carry the vara. He (should be the “capo vara”) proceeds backwards, looking towards Christ and his Mother, and at the same time checks that everything is in order among the babbaluti, guiding the vara along the path, even if it is moving backwards (this is a way of proceeding in carrying the vara or fercolo, present in various Sicilian religious processions). So, the 32 (+1) "babbaluti" carry on their shoulders the float that bears the Holy Crucifix of the Araceli church (the statue of Christ was created by Scipione Li Volsi, in the year 1652, he was a sculptor and plasterer of the Sicilian Baroque), at whose feet, on the float, is tied the painting of Our Lady of Sorrows, whose chest appears pierced by seven swords (it is an 18th century painting), however, as already described, this year the painting, to protect it from the rain, was placed on the float only upon the return of the procession to the church. Before the procession begins, the babbaluti advance barefoot, wearing only heavy, hand-knitted stockings of raw wool. Before entering the church, they must walk a path of purification. When they approach the ancient church of Araceli, they bow and kiss the ground, thus receiving permission to enter the church. This, however, occurs through a side door, called the "false door" (in Sicilian dialect, "porta fausa"). Having entered the church from the side, they now exit through the main entrance, allowing them to take their places, kneeling in front and behind the float. To enter the "porta fausa," the babbaluti proceed in pairs, with the last babbaluti, the eldest, proceeding alone. After the priest's long-awaited speech, the procession can begin, winding through the streets of the picturesque and welcoming village of San Marco d'Alunzio. Along the way, the Babbaluti pace their steps, accompanying the mournful and plaintive jugular vein that invokes the Lord. Devout men and women walk alongside the Babbaluti, walking alongside the float, touching it, sometimes caressing it... just to have physical (and spiritual) contact with it. Finally, after completing a specific route, the procession returns to the ancient church (of Norman origins) of Aracoeli. Every time I attend this touching event, I am completely overwhelmed by emotion (which, however, I cannot abandon, lest I lose concentration while taking photos). The highlight is when the crucified Christ is removed from the hook fixed to the wall by expert men, and then carried (it seems to float) above the heads of the devotees, supported aloft with their hands, and hoisted and secured to the float. In these moments of intense emotion, it is common to see in the eyes of the devotees, shining with tears, that profound emotion of their relationship with this Christ, which has lasted forever: it is as if they were in the presence of the true Christ, in flesh and blood. This is the atmosphere experienced in those moments, this is the magic of the procession of the Most Holy Crucifix and His Mother, represented by the painting of Our Lady of Sorrows pierced by seven swords (an iconography of Spanish origin).
+++++++++++++++++++++++++++++++++++++++++
Il presente racconto fotografico, con testo, che propongo come ultimo mio lavoro per Flickr dell’anno 2025 (oramai mancano pochi minuti al 2026) parla della processione del Santissimo Crocifisso di Aracoeli che si è tenuto nel marzo di quest’anno 2025 nel paese di San Marco d’Alunzio (in provincia di Messina). La processione normalmente inizia la mattina dell’ultimo venerdì del mese di marzo di ogni anno, c’è però una eccezione a questa regola, quando si realizza la coincidenza col Venerdì Santo, allora la processione viene anticipata al venerdì precedente. Quella del SS.Crocifisso di Aracoeli è un antico rito penitenziale, il giorno della festa del Crocifisso, a San Marco d'Alunzio si celebra la S. Messa nella Chiesa dell'Aracoeli, in questa occasione il SS. Crocifisso (che si trova nella chiesa in fondo alla navata di destra, ai suoi piedi è posto il quadro della Vergine Addolorata trafitta da sette spade), il Cristo sulla Croce viene tolto dai devoti dal gancio sul quale è appeso, viene portato all’esterno della chiesa, qui viene innalzato e fissato sulla vara, subentra il sermone del sacerdote salito sulla vara accanto al Crocifisso, sotto alla Croce viene fissato il quadro di sua Madre Addolorata, quindi vengono portati in processione dagli uomini (e donne) incappucciati di colore blu detti “babbaluti”, essi procedono invocando la pietà e la misericordia del Signore con un costante e ritmato lamento, dicendo “Signuri, Misericordia, Pietà!”; questa è la norma, ma quest’anno il cattivo tempo ha portato qualche cambiamento, la vara sulla quale hanno issato il SS. Crocifisso con i babbaluti messi in ginocchio, non si trovava sul sagrato davanti la chiesa, ma era dentro la chiesa, il Cristo veniva ricoperto con un ampio foglio di cellophane per proteggerlo dalla pioggia, mentre il quadro della Madonna con le spade nel cuore, è stato messo ai piedi di Suo Figlio solo al rientro della processione nella chiesa. San Marco d’Alunzio è un ameno paese del territorio Messinese, sito sui monti Nebrodi, in Sicilia; la processione si svolge proprio in onore del Santissimo Crocifisso di Araceli, è questa una ricorrenza religioso-penitenziale conosciuta anche come "processione dei babbaluti", essi sono coloro che per voto o per grazia ricevuta, hanno deciso di portare in processione sulle loro spalle il fercolo con il Crocifisso ed il quadro; essi si dirigono nella vicina Chiesa di Santa Maria dei Poveri o in qualche abitazione privata lì vicino dove, al riparo dalla curiosità dei fedeli, indossano un semplice ma caratteristico saio di tela di colore indaco, costituito da una tunica e un cappuccio di forma conica tale da coprire l'intero corpo e lasciare liberi solo gli occhi e le mani, non è raro purtuttavia che tra i penitenti, resi anonimi dal saio che indossano, vi siano anche delle donne, le quali per evitare qualsiasi possibilità di riconoscimento, indossano un paio di guanti; i babbaluti sono in numero di 33 per rievocare i 33 anni di Cristo, il numero è dispari, infatti il 33° babbaluto non porta la vara, egli (dovrebbe essere il “capo vara”) procede all’indietro, rivolgendo lo sguardo al Cristo ed a sua Madre, e nel contempo controlla che tutto sia in ordine tra i babbaluti, guidando la vara lungo il percorso, anche se il suo andamento è a ritroso, (questo è un modo di procedere nel portare la vara o fercolo, presente in diverse processioni religiose siciliane). Quindi, i 32 (+1) "babbaluti" portano sulle loro spalle la vara che reca il Santo Crocifisso della chiesa dell’Araceli (la statua del Cristo è stata creata da Scipione Li Volsi, nell'anno 1652, egli fu uno scultore e stuccatore del barocco SIciliano), ai cui piedi, sulla vara, viene legato il quadro della Madonna Addolorata, il cui petto appare trafitto da sette spade ( è un dipinto del XVIII secolo), purtuttavia come già descritto, quest’anno il quadro, per proteggerlo dalla pioggia, è stato messo sulla vara solo al rientro della processione in chiesa. I babbaluti prima dell'inizio della processione avanzano a piedi scalzi indossando solo delle pesanti calze di lana grezza realizzate a mano, devono percorrere, prima di entrare in chiesa, un cammino di purificazione: quando essi giungono in prossimità dell'antica chiesa dell'Araceli, essi si chinano e baciano in terra, ricevendo in tal modo il permesso per poter accedere dentro la chiesa, questo però avviene da una porta laterale, chiamata "falsa porta" (In dialetto siciliano “porta fausa”), una volta entrati in chiesa lateralmente, ora fuoriescono dall'ingresso principale, potendo così prendere posto, inginocchiandosi sul davanti ed alle spalle, della vara; i babbaluti per accedere alla “porta fausa” procedono in coppia, l’ultimo babbaluto procede da solo, lui è il più anziano tra i babbaluti; seguirà l'atteso discorso del sacerdote, terminato, potrà iniziare la processione che si svolge per le vie del pittoresco ed accogliente paese di San Marco d'Alunzio. Lungo il percorso i Babbaluti cadenzano la propria andatura accompagnandosi alla mesta e lamentosa giugulatoria che invoca il Signore . Ci sono uomini e donne devoti che procedono assieme ai babbaluti camminando a lato della vara, toccandola, ora accarezzandola...pur di avere un contatto fisico (e di rimando spirituale) con essa. Infine, dopo aver compiuto un preciso percorso, la processione fa rientro nell'antica chiesa (di origini Normanne) dell'Aracoeli. Ogniqualvolta sono presente a questa toccante ricorrenza sono completamente inondato da emozioni (alle quali però non posso abbandonarmi, perderei la concentrazione nel realizzare le foto), il momento clou è quando il Cristo Crocifisso viene tolto dal gancio fissato sul muro da uomini esperti, per poi essere portato (sembra galleggiare) sopra la testa dei devoti, sostenuto in alto con le mani, ed essere issato e fissato sulla vara; in questi momenti di intensa emozione è comune vedere negli occhi dei devoti, lucidi di lacrime, quella emozione profonda del loro rapporto con questo Cristo, che dura da sempre: è come se si trovassero al cospetto del Cristo vero, in carne ed ossa, questa è l’atmosfera che si vive in quei momenti, questa è la magia della processione del SS. Crocifisso e di Sua Madre, rappresentata dal quadro dell’Addolorata trafitta da sette spade (iconografia di origine spagnola).
++++++++++++++++++++++++++++++++++++++++