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I guess we'll call this one an "action roster" and also a way to show my fellow photographers what you're dealing with if you want to go shoot the street in Frankfort. This is 0900 in mid-May. You'll see all those beautiful trees along the old capitol grounds cause some very problematic shadows in the best section of the street running until the sun goes high and nosy.

Arriving in Mansheter, we popped into Piccadilly and fuond this. The last of the 10 AL4 locos built by North British to GEC design, and apparently rather problematic. The loc was bought by GEC on withdrawl and after some experimental use was scrapped in 1980.

The new iPhone XSmax uses HEIC image format that is superior to jpeg (ref: www.howtogeek.com/345314/what-is-the-heif-or-heic-image-f...).

The top images are original unprocessed and the bottom is the iPhone XSmax post-processed a few minutes later. Clearly, the newer iPhone captures ~twice the resolution over the older model. Whether it is worth the higher price tag is problematic depending on how your images are to be used.

D6851 leads the 1Z26 16.34 St Austell - Kingswear LSL private charter past Langham Levels west of Ivybridge with D6817 on the rear. Luckily the sun was watery behind high cloud as this time of the day can be problematical for light angles. Here the line curves in for a short while in a south easterly direction. Hemerdon is my favoured spot for evening return tours but only if it's dull.

Update: The company who were due to do the rubble removal were very understanding and have erected a safe perimiter for the Owls and put off any work until after the chicks have fledged. This pair of Little Owls, Athene noctua have taken up residence in some building rubble in Cambridgeshire. The female is a pleasure to watch and happily preens away paying no attention to much of what is going on. The male is a little more shy but he does show himself occasionally. I believe the birds have laid eggs in a rather problematic place as the rubble is due to be broken up and moved 4 days after taking these pictures. Efforts are being made to accommodate the Owls until their cycle has been completed.

The little owl is a bird that inhabits much of the temperate and warmer parts of Europe, Asia east to Korea, and north Africa. Wikipedia

In my home turf of NM, this species arrives in the spring in early April. It's our most numerous lowland Hummer species. They likely arrive even earlier in this warmer AZ habitat. Juvies of several different species are also now flying... making the Hummer IDs much more problematic! Please comment if you can make a more confident ID... juvies can be difficult (I welcome corrections.) The blooms on which the Hummer is accessing are those of Parry's Penstemon, an early blooming native flower that seems to be the current choice of several birds and insects that thrive on nectar.

IMG_9790; Black-chinned Hummingbird

The theme for a 11/2 lifetime is bringing life into a sense of balance through the analyzing and synthesizing of ideas. Learning to trust in yourself, your intuition, and your psychic abilities.

Justice and the High Priestess (Papess) represent form the gateway into an 11/2 lifetime. Justice (ruled by the planet Libra) places focus on harmony, understanding others, and finding a sense of balance in life. Libra is by nature active and social, with the need to balance between nurturing self and helping others. The High Priestess (Papess) is ruled by the Moon, which places focus on our inner selves, our inner needs, intuition, unconscious, and psychic abilities. Here we are looking at reacting, rather than taking action. The nature here is a passive one. Personal empowerment is the ability to focus our personal and spiritual energy in a manner that enhances how we experience our life. As we define our true power, we actualize out potential and begin to live life from a core of inner confidence.

theworldoftarot.wordpress.com/2014/03/15/birth-card-pairs...

The occult has moved from secrecy to mainstream acceptance, and tarot card reading stands as a testament to this shift. The Rider-Waite deck, named after the mystic A.E. Waite and publisher William Rider and Son, is considered the definitive tarot deck. However, the captivating imagery and symbolism that define this deck come from the artistic genius of Pamela Colman Smith, a woman often forgotten in the history of the occult.

Smith, an artist with possible Jamaican roots, led a bohemian lifestyle and was introduced to the Hermetic Order of the Golden Dawn by the renowned poet William Butler Yeats. She joined the secret society, which explored occult and paranormal aspects, as well as philosophy and magic. There, she met A.E. Waite, who would later request her artistic talents in creating a new deck of divination cards. Despite the immense popularity of the Rider-Waite deck, Smith’s role in its creation was largely forgotten.

However, many tarot enthusiasts today have started acknowledging her contributions by calling it the “Smith-Waite” deck or using decks that feature her name prominently.

culture.org/the-unseen-mothers-of-the-occult-pamela-colma...

"Gospel according to "Myriam" and this Mary is generally identified, without certainty, as being Mary of Magdala....In Christian tradition, the Three Marys also refers to three daughters – all three called Mary – whom Anne, the maternal grandmother of Jesus would have had with three successive husbands. According to Fernando Lanzi and Gioia Lanzi, this tradition would have been condemned by the Council of Trent (16th century), but it is still very much alive, particularly in German-speaking countries16 and in the Netherlands. then retired to the cave of Sainte-Baume where she lived for 30 years as a hermitage, with her only clothing, the fleece of her hair, and as her only food, the song of the angels who daily raised her to the heavens, seven times a day, it is said. She left Sainte Baume to die with Saint Maximin, one of the 72 disciples, in the small town where he had built his oratory and which today bears his name. He buried the saint in an alabaster sarcophagus.The name Magdala comes from Magdal in Aramaic or Migdal in Hebrew and designates a construction in the shape of a tower, representing faith, very similar to the House of God (The Tower) in Marseille's Tarot !

The Tarot de Marseille would then be a testimony to the teaching of Mary Magdalene. In Spanish-speaking countries, the Orion Belt Asterism is called “Las Tres Marias” (The Three Marys). In other Western countries, it is sometimes called "The Three Kings", a reference to the "Magi who came from the East" of the childhood narrative added to the Gospel according to Matthew and to the tradition of the three Magi, bearers of gifts for the child Jesus, whose oldest witnesses are found in Tertullian and Origen (early 3rd century). My "Mary Magdalene theory" is fortunately supported by thousands of codes that all come interconnected. "You will progress on a healthier basis with someone you know. Be authentic. Make sure you reserve moments of relaxation and do not pull too much on the rope, you tend to exceed your physical limits. Mary (mother of Jesus) Mary Magdalene Mary of Clopas. These three women are very often represented in art, as for example in this picture. The Three Marys (also spelled Maries) are women mentioned in the canonical gospels' narratives of the crucifixion and resurrection of Jesus. Mary was the most common name for Jewish women of the period. Mary speaks of strange encounters with Creator Beings. Read about her experiences with them, and how their decree changed her life with Jesus. In this final volume of the trilogy, Magdalene appears to the author by the river in Rennes les Bains, France. There she reveals an ancient healing technique called The True Baptism. Mary illustrates how to organize the life force from the matrix of The All and allow it to trigger our genetic code. Mary then answers more of your questions, this time about the hidden properties of gold, the evolution of her bloodline with Jesus, free will, inner earth, the star knowledge, and much more. The Tarot, in both its origin as a card game and in its transformation into an occult divinatory tool, functions as an iconographic mirror of a particular culture's time and place. By the examining the evolution of the World card, from the 14th century Italian decks to contemporary ones, we will see a shift from male Christ imagery to female anima mundi imagery. Parallel to this iconographic shift is the figure of Mary Magdalene, who in Renaissance painting began to be portrayed less as a sinner and more of a penitent saint. The assumption of Mary Magdalene in art correlates with the finalized form of the World card. The alterations of Christian iconography and symbolism in Tarot cards are the result of occultists’ reappropiation of the Tarot in the late 1700s. The fear/distrust/disbelief of God and Christianity that began at this time funneled into an interest in the occult; in the Tarot, we see a preservation of the luminous but a problematic relationality with Christianity. The World card, as it has been handed down to us today, is a synthesis of the assumption of Mary Magdalene, the Christus Victor, and the anima mundi. A sacred priestess of the ancient Womb Rites, Mary Magdalene was at the center of a great and enduring Mystery tradition. Unveiling the lost left-hand path of the Magdalene, the authors offer rituals and practices to initiate you into the Womb magic of the ancient priestesses and access deeper dimensions of sexuality and feminine power.

www.innertraditions.com/books/magdalene-mysteries

Tarot historians are in agreement that the appropriation of the cards by occultists occurred in the late 18th century. The first known interpretation of the Tarot through an esoteric lens was penned by the French occultist Court de Gebelin. He believed the deck was the lost Egyptian Book of Thoth, containing the secret mysteries of Egyptian wisdom and magic; following Gebelin, occultists began syncretizing the Tarot with the systems of Kabbalah, Hermeticism, and alchemy. I believe we can locate the apex of this appropriation in the Waite-Smith deck from 1909 – the most familiar and popular deck to the contemporary reader. Later we will consider the effect this had on the Tarot symbolism and its relationship to the shifts in religious understanding in France and other European countries.Although there is a clear historical distinction between Tarot as “playing cards” and as occult divination tools, this is not to say that the imagery of the early decks are absent of symbolism or meaning. Rather than esoteric, the early cards are exoteric in their imagery; the symbols are clear referents to religion, culture, and mythology. While they seem esoteric today, as much of Christian iconography is to the contemporary viewer, these cards were probably not hard to decipher by their audiences. While much is admittedly conjecture, (as is a lot of Tarot historical studies), there is still much we can tease out of the visual evolution of the cards over time. It is surprising that there has been so little work done on the correlations and similarities between Tarot and Christian symbolism and iconography. My research hit a lot of dead-end roads in terms of proof, but I believe it is important to reveal my initial observations to show that, while perhaps not conscious, there is a great deal of Christian symbolism in Tarot, even in decks from the post-occult turn of the 18 and 19 centuries and from today as well.In the Waite-Smith deck, the most obvious Christian card is the 20 Major Arcana, Judgment, in which an angel blows a trumpet and the souls of dead bodies rise from coffins. Another obvious example is the Tower card, clearly a depiction of the fall of the Tower of Babel. Less obvious, perhaps, is the Fool card. It depicts a young man walking up to a cliff precipice, as though he does not see it; he carries a bag of money and is followed by a dog. Does this not recall the story of blind Tobias, who also carries money and is followed by a dog? Although in painting he is normally portrayed being guided by the angel Raphael, the similarities are astounding. How did this come to be?

The Hanged Man card is surprisingly consistent from the early Italian decks to the contemporary post-occult decks, and is one of the most mysterious within esoteric interpretation. In the Waite-Smith deck, it depicts a man hanging from a Tau cross by one leg; his other leg is crossed underneath the other to form another cross, and a nimbus glows around the head. Most occult interpretations of this card go along the lines that it is a symbol of self-sacrifice for spiritual gain. Robert Place argues that this can be understood as Christ, in that Christ was executed as a traitor by the state.3 Furthermore, a numerical reading of the card offers insight – being card 12, it might refer also to the self-sacrifice and martyrdom of the twelve disciples. By employing basic gematria, we can add the digits one and two to reach three, which could be the Trinity.

www.academia.edu/8851376/Tarot_and_Christian_Iconography_...

The Gospels refer to several women named Mary. At various points of Christian history, some of these women have been identified with one another..look at this picture from the Waite-Rider-Smth tarot:from left to right 1 Mary Magdalene 2 Mary of Jacob (mother of James the Less) 3 Mary, mother of Jesus (Matthew 27:56; Mark 15:40; Luke 24:10) Mary of Clopas (John 19:25), sometimes identified with Mary of Jacob. Mary of Bethany (Luke 10:38–42, John 12:1–3), not mentioned in any Crucifixion or Resurrection narratives but identified with Mary Magdalene in some traditions. Another woman who appears in the Crucifixion and Resurrection narratives is Salome, who, in some traditions, is referred to as Mary Salome and identified as being one of the Marys. Other women mentioned in the narratives are Joanna and the mother of the sons of Zebedee.Marie-Madeleine, Marie Salomé and Marie de Clopas are the 3 Maries of Saintes-Maries-de-la-Mer, a French town, capital of the Camargue, in the department of Bouches-du-Rhône. The designation "of-the-sea" derives from the fact that after the death of Jesus, the three Marys crossed the sea by boat to there and then lived there, thus helping to bring Christianity to France and Europe. These 3 Marys were present during the execution of Jesus and, they were the first witnesses of the empty tomb at the resurrection of Jesus... After the death of Jesus, around 42 J.C. the Christians were persecuted, and the three Marys were arrested and expelled from Palestine. They therefore embarked, with many other Christians, on a ship named "The Ship of Peter" devoid of oars and sails which, led by Providence, managed to reach the shores of Provence, in the south of France in a place which now bears their names.This is where the three Marys were welcomed by Sara, according to some texts, according to others, Sara, herself would be the Holy Grail, the direct descent of Mary Magdalene and Jesus. Only Marie Salomé, Marie Jacobé and Sarah will remain; Marie Madeleine, will retire to a hermitage in a cave...This is a historically attested fact, because Christianity began to spread in Europe precisely from Gaul, which thus became the gateway to the new religion in Europe. Mary Magdalene occupies a privileged place for Christ, at the head of a group of women who accompany him. She will be the first witness to the Resurrection of Christ, the first to whom the Lord appears on Easter morning, a sign, whether we believe in it or not, of an exceptional position. She is Jewish like Christ, like him from the North of Palestine (Israel), from Galilee, probably from Magdala, near Nazareth and Cana. It is believed that she was an aristocrat born in the year 3 AD, who after attending the court of the king of the Jews Herod, was converted by Christ, changed her life and decided to follow him and put her fortune at the disposal of the group. Arrived in the Camargue, with the two other Maries, she evangelized the Marseillais, then withdrew to the cave of Sainte-Baume where she lived 30 years in hermitage, with as only clothing, the fleece of her hair, and as only food, the song of the angels who raised her daily in the heavens, seven times a day, it is said.

www.calistabellini.com/post/les-saintes-maries-de-la-mer-...

Different sets of three women have been referred to as the Three Marys: Three Marys present at the crucifixion of Jesus;

Three Marys at the tomb of Jesus on Easter Sunday; Three daughters of Saint Anne, all named Mary. The three Marys at the

The presence of a group of female disciples of Jesus at the crucifixion of Jesus is found in all four Gospels of the New Testament. Differences in the parallel accounts have led to different interpretations of how many and which women were present. In some traditions, as exemplified in the Irish song Caoineadh na dTrí Muire, the Three Marys are the three whom the Gospel of John mentions as present at the crucifixion of Jesus: However, Jesus was not crucified upside-down. Looking at the Visconti-Sforza deck, we have an almost identical depiction of the Hanged Man. Helen Farley points out that in Renaissance society, there was an art form called pittura infamante – ‘shame painting’ – “in which a person was depicted as a traitor, particularly when beyond the reach of legitimate legal. recourse.”4 By depicting someone hanging upside-down, this could alternately mean the person had turned away from God. It also was used for the execution of Jews, witches, and Christians who had committed perfidy. I immediately thought of Peter, who is said to have asked to be crucified upside-down because he was unworthy to die as Christ died. In Christian iconography, he is the only individual portrayed in this manner. Peter could be said to be a traitor, in that he denied Christ three times, but the negative associations of shame paintings don’t seem to correlate with Peter’s sainthood. Judas is also said to have hung himself, and is traitor par excellance, but I remained convinced that this card was based upon Peter. While the usual understanding of Peter’s request for an upside-down crucifixion is his humility in relation to Christ’s death, there is a different explanation in apocryphal accounts. In the Acts of Peter, Peter speaks from the cross, saying that, “when the first man [Adam] came into the world, he came headfirst. That means that Adam’s perspective, as the one who brought sin into the world, was entirely reversed and upside down. That is why people seem to think that what is true is false and what is false true....All of this is because humans have reverse vision, due to the actions of Adam.”6 Thus, hanging upside-down is a model for Christians to live by, to see the world correctly. This is nearly identical to how Tarot esotericists interpret the Hanged Man; it is both Christ in its self-sacrifice, and also an inversion of corporeal ‘reality’ and perspective through which one gets a better understanding of how to reach God. While one cannot veritably locate a thread between the Acts of Peter and the Hanged Man, this connection exemplifies the latent Christian symbolism that flows through the Tarot, from 14th century Italy to now.

Mary Magdalene, Mary of Clopas and Mary (mother of Jesus). These three women are very often represented in art, as for example in these Flickr's picture.

Women at the tarot like a passkey to heaven; The Three Marys as passkey. What may be the earliest known representation of three women visiting the tomb of Jesus is a fairly large fresco in the Dura-Europos church in the ancient city of Dura Europos on the Euphrates. The fresco was painted before the city's conquest and abandonment in AD 256, but it is from the 5th century that representations of either two or three women approaching a tomb guarded by an angel appear with regularity, and become the standard depiction of the Resurrection. They have continued in use even after 1100, when images of the Resurrection of Jesus in Christian art began to show the risen Christ himself. Examples are the Melisende Psalter and Peter von Cornelius's The Three Marys at the tarot. Eastern icons continue to show either the Myrrhbearers or the Harrowing of Hell. The fifteenth-century Easter hymn "O filii et filiae" refers to three women going to the tomb on Easter morning to anoint the body of Jesus. The original Latin version of the hymn identifies the women as Mary Magdalene (Maria Magdalene), Mary of Joseph (et Iacobi), and Salome (et Salome).

en.wikipedia.org/wiki/The_Three_Marys

The World (XXI) is the 21st trump or Major Arcana card in the tarot deck. It can be incorporated as the final card of the Major Arcana or tarot trump sequence (the first or last optioned as being "The Fool" (0). It is associated with the 21st letter of the Hebrew alphabet, 'Shin' also spelled 'Sin'. The oval shape of the wreath is also used by the Golden Dawn in their Tattva cards. These colorful cards were designed to aid the development of clairvoyance through visual meditation, and one of the symbols in the cards is an oval. The oval corresponds to the Akasha, ether or spiritual realm (see Akashic Records).

Description

Christ in Majesty is surrounded by the animal emblems representing the four evangelists in a German manuscript.

In the traditional Tarot of Marseilles, as well as the later Rider–Waite tarot deck, a naked woman hovers or dances above the Earth holding a staff in each hand, surrounded by a wreath, being watched by the four living creatures (or hayyoth) of Jewish mythology: a man, a lion, an ox, and an eagle. This depiction parallels the tetramorph used in Christian art, where the four creatures are used as symbols of the four Evangelists. Some astrological sources explain these observers as representatives of the natural world or the kingdom of beasts. According to astrological tradition the Lion is Leo—a fire sign, the Bull or calf is Taurus—an earth sign, the Man is Aquarius—an air sign, and the Eagle is Scorpio—a water sign. These signs are the four fixed signs and represent the classical four elements. In some decks the wreath is an ouroboros biting its own tail. In the Thoth Tarot designed by Aleister Crowley, this card is called "The Universe." The World card, the highest ranked Major Arcana card, exists in the early Visconti-Sforza, Marseilles, and contemporary decks. It will serve as our loci in considering the relationship between Tarot and Christian iconography, the evolution of Mary Magdalene in Christian depiction/understanding, and the rise of the female anima mundi in occult and esoteric movements. To recall, the Visconti-Sforza is one of our earliest known decks. Helen Farley notes that the deck’s symbolism reflects concerns and themes of the Italian Renaissance: The proximity of death, the fickle hand of fortune, the desirability of living a life

of virtue, the importance of spirituality but also the contempt with which corporeal concerns were held, namely the corruption of the Church...[it] portrayed the lives and history of the Viscontis...as a game: a potent allegory of Visconti life. These themselves more as we follow the orbit of the World card around the sun of time.reveal themes, particularly the tension between spirituality and Catholicism, will. In the Visconti-Sforza deck, the world is shown as a globe, within which is surrounded by turbulent waters (fig. I). The globe is held aloft by two putti. The blue wings indicate they are Seraphim, the highest rank of angels. In other versions from this time, there is usually a figure of a woman or angel upon the globe and city usually represents Jerusalem, the city of God; “the microcosm of the city symbolically linked the earthly (human) body with the heavenly (cosmic) ‘body’”, observes Farley. This derives, of course, from St. Augustine’s The City of God, wherein the Christian empire is located around the Church of Rome, which links humankind with God. The earthly city reflects the heavenly city, and this card connects the actual city of Milan with the celestial city of heaven. Duke Sforza’s domination of Milan is enforced and made holy through its pictorial self-portrayal as the Augustinian city. This pride in the city-state enforces the power, wealth, and status of Milan; interestingly, as the World card follows the Resurrection/Judgment card, Milan is portrayed as the city Augustine believes will contain the saved souls. One also may observe that the city is separated from the rest of the ‘world’ by the edge of the globe; it is strongly fortified and separated by waters, illuminated by the stars of heaven.

What does 3 stars in the sky mean? many meanings...Each culture gives the Três Marias a different meaning. In Christian tradition, the stars are associated with the three women who visited the tomb of Jesus at the resurrection. They also represent the Three Wise Men -Gaspar, Melchior and Baltasar-, who would be on their way to Bethlehem at the birth of the messiah. What are the three Marias? Mark 16:1 indicates that "Mary Magdalene", "Mary the mother of James" and "Salome" went to the tomb to anoint Jesus....How many stars do the 3 Marias have?

The Belt or Belt of Orion, popularly known as the Three Marys or Three Kings, is an asterism of three stars that form the belt of the constellation of Orion, the hunter. The stars, easily identifiable in the sky by their brightness and alignment, are known as Mintaka, Alnilam, and Alnitak. Where are the three Marias?

To identify it we must locate 3 stars close to each other, of the same brightness, and aligned. They are called Tres Marías and they form the belt of the constellation of Orion, the hunter. Their names are Mintaka, Alnilan and Alnitaka, from the Arabic Al-Mintakah, the belt, An-Nidham, the pearl, and An-Nitak, the rope.

What are the stars we see in the sky? Stars are large spheres formed by plasma heated to thousands of degrees. Its shape is due to its gravity, which points towards the core of the star. Stars are large spheres of plasma that are powered by nuclear fusion. Stars are large spheres of plasma, held together by their own gravity. > Constellation of ORION: Why are the three Marias called Três Marias? Origin and meanings of Três Marias.Each culture gives the Três Marias a different meaning. In Christian tradition, the stars are associated with the three women who visited the tomb of Jesus at the resurrection. They also represent the Three Wise Men -Gaspar, Melchior and Baltasar-, who would be on their way to Bethlehem at the birth of the messiah. What are the three Marias? Mark 16:1 indicates that "Mary Magdalene", "Mary the mother of James" and "Salome" went to the tomb to anoint Jesus....How many stars do the 3 Marias have? The Belt or Belt of Orion, popularly known as the Three Marys or Three Kings, is an asterism of three stars that form the belt of the constellation of Orion, the hunter. The stars, easily identifiable in the sky by their brightness and alignment, are known as Mintaka, Alnilam, and Alnitak.Where are the three Marias? To identify it we must locate 3 stars close to each other, of the same brightness, and aligned. They are called Tres Marías and they form the belt of the constellation of Orion, the hunter. Their names are Mintaka, Alnilan and Alnitaka, from the Arabic Al-Mintakah, the belt, An-Nidham, the pearl, and An-Nitak, the rope.The most curious thing of all is that, in reality, their names are Mintaka, Alnilan and Alnitak, Arabic names that mean, respectively, the "Belt", the "Pearl/Precious Stone" and the "Rope". Another is knowing that they are actually very close together in the sky, approximately 1,500 light-years from Earth.There are three enormous stars visible in the winter sky and in the center of the constellation Orion, the celestial cathedral. These three stars form a nearly perfect tilted alignment, separated by seemingly nearly equidistant distances. They are known as the three Marys, the three wise men or the belt of Orion -a giant hunter from mythology-, but these names are not enough to understand the mysteries that such colossal stars contain. We must look towards the south, at half height; between the horizon and the zenith. It has no loss, it is a brilliant stellar alignment, which is unique in the firmament. Three blue stars, three giants: Mintaka, Altinak and Alnilam.

Источник: planetariodevitoria.org/estrelas/qual-e-o-nome-das-estrel...

An engineer born in Alexandria in 1948, Robert Bauval, with a background in astronomy and an interest in Egyptology, discovered that the three Marys are positioned exactly like the three great pyramids of Giza in Egypt. The star Mintaka, in the upper part of the alignment of the three Marys, is somewhat deviated with respect to the previous two, the same imperfect alignment has the three great pyramids. But also, the pyramid deviated from the straight line that joins the other two, is the smallest of the three (Micerino), like Mintaka, which is the star that shines the least of the three Marias. Also, the pyramid that is highest on the plateau of the three and that stands out the most (Kefren) is the central one, as is the central star of Las tres Marías, which is the brightest. Did the Egyptians also know that these stars are visible from all over the world? And more specifically Mintaka, which is right on the celestial equator. Everything can be the product of chance, but many coincidences bear the truth. Curiously, the Egyptians believed that after their death, the gates of heaven opened in the place occupied by Orion's belt, but they never understood the greatness of those three spectacular stars. The three Marys were the place where the soul of Osiris, the Egyptian god of resurrection, rested and presides over the court of the judgment of the deceased, among other powers.Alnitak, an Arabic name meaning "belt", is the lowest of the three stars. A new star 6 million years old, while the Sun is about 5,000 million. This blue giant, 16 times the diameter of the Sun, with a visual magnitude of 1.79, located 700 light years from the Sun, of spectral type O9, shines with an intensity 100,000 times greater than that of our Sun, which next to it is a tiny star with a mass 20 times less than Alnitak. It ranks 35th among the most luminous stars we know of, including stars from other galaxies. Alnitak is a peculiar star, whose surface temperature reaches 29,000 degrees. The Sun only reaches 6,500. But it is also a very intense source of X-rays, due to the strong stellar winds that are projected from the surface in the form of particles, essentially hydrogen and helium, sweeping the surrounding space at speeds of 2,000 km/s. These types of giant stars have their days numbered. The bigger the stars are, the less time they live, so that Alnitak, in a short time will become a red supergiant, it will explode in the form of a supernova, which can be seen even during the day from Earth, to end up as a tiny star about 10 km in diameter, called a neutron star, a star so dense that a teaspoon of its surface would weigh as much as a mountain. Also Alnitak is a triple star. Alnilam. Located in the center of the stellar trio that make up Las tres Marías, it is a true celestial spectacle. It shines with a magnitude of 1.70, being the fourth brightest star in Orion and the brightest of the three Marys, in addition to being the furthest at 1,340 light years, but that is nothing compared to the luminosity of the star, equal to 380,000 times greater than the Sun, ranking 27th of all known stars. It is a blue supergiant star, 31 times the diameter of the Sun and 40 solar masses. Extraordinarily young, only 4 million years old, somewhat colder than the previous one, with about 25,000ºC on the surface. It also has a powerful stellar wind with speeds of 2,000 km/s, 20 million times more than the solar wind. The temperature and radiation are so high in this star that it lights up a nebula of gas and dust called NGC 1990 by reflection. Alnilam is so young that it is not yet a stable star, but variable in its brightness (pulsating variable), due to its continuous expansion and contraction. The Sun is a stable star, it does not pulse, expand, or contract. The force of gravity pulling in on the Sun has been offset by the expansive force of thermonuclear reactions by converting hydrogen to helium, but in Alnilam, both forces continue without agreeing. If it is possible to have planets, life there as we know it would be impossible, due to the instability of the star. Alnilam will end its days as Alnitak, becoming a premature red supergiant, exposing its superdense core; a neutron star. Meanwhile, it is moving away from us at a speed of 26 km/s. Mintaka: Arabic word meaning "for belt." Another blue giant star, although the faintest in brightness of the three Marias reaching 2.5 magnitude. It contains 20 solar masses and a luminosity 90,000 times greater than that of the Sun. Located at a distance of 915 light years, it is surprising that it shines with such intensity, not in vain its surface temperature is 31,000ºC. Mintaka is one of the most complex multiple systems known. The main star, that is to say Mintaka, has a companion of magnitude 6.8 at a real distance of more than 2.3 trillion km, or what is the same, ¼ of a light year. But in turn, this star that appears to be 1' of arc distant from Mintaka, is a spectroscopic binary, that is, it has another companion so close to it that it is impossible to take it off with telescopes, but it can be done using spectroscopy; the only thing we can detect is the spectrum of the companion, but we can't see it. Between the spectroscopic binary and Mintaka, there is a faint 14th magnitude star that may belong to the system. But in addition, Mintaka has an extraordinarily close companion to her, which is why she is a spectroscopic binary. Curiously, the companion star has almost the same characteristics as Mintaka, the same mass, temperature and luminosity and must be the same size. A complex 5-star star system. Almost all stars are double or multiple, the rarity is our Sun, which is a solitary star. However, many researchers look for dwarf stars that may be trapped by the Sun's gravity.

www.abc.es/ciencia/20140122/abci-tres-marias-estrellas-co...

The two putti slowly disappeared in other decks, to be replaced by either a male or female figure. In this example from the Museo Civico, we see a woman holding a wand and a globe as she stands upon the globe (fig. II). Another early example of a female World card is the Cary-Yale Visconti deck (fig. III), depicting a royally-clothed woman wielding a scepter and a crown. It was not uncommon to portray the earth as a feminine figure, but these early examples seem to be stressing not so much a personification of the earth but rather the domination of earth by something/someone. Consider figure IV and figure V. Here we have a male figure, one clothed and the other nude, ruling over the world. Consider also the nude male in the Jacques Vieville deck and the Bologna deck (fig. VI). In Christian art, when Jesus is portrayed as the Christus Victor, he looms over the world holding a globe with a cross fixed to it. He is often surrounded by the four evangelists as he stands upon God’s throne. When he is surrounded by the four evangelists, Christ is enclosed within a mandorla, and the four evangelists are often in the four corners. Should we understand these male figures as Christ? The examples we’ve looked at that have a clothed male figure can clearly be an iconographic Christus Victor; the World card, being the last Major Arcana, is Christ victorious over the entire world after the Resurrection. But what of the nude figures? The only instance of Christ nude in Christian art, that I know of, is Michelangelo’s altar wall in the Sistine Chapel; there, Christ is nude and beardless, as with these particular cards. But there is a shift from the Christ standing upon the world to the Christ on God’s throne. As we see with the Jacques Vieville card (fig. VI), the nude Christ holds his standard iconographic scepter with attached globe, is enclosed by a mandorla (a laurel wreath), and surrounded by the four evangelists. Again, following the tradition of Christian art, Matthew is a human with wings, Mark is a lion, Luke is an ox, and John is an eagle. There is no essential difference between this Tarot card and an atypical Christus Victor. It should be noted that this visual structure was also used in alchemy through the 16 to the 18 century. The four

evangelists are correlated with the four elements of the world, the four seasons, and the four directions. Consider figure VII; note the chalice with the serpent, the attribute of John the Evangelist, unusually associated with the anima mundi. But something happened. Recall that the Marseilles deck, circa blueprint structure and pattern for most subsequent decks created in France, Italy, and Belgium, and also for the decks created by occultists in the 19th century deck is unusual considering its forerunners. We have the same iconography of the four evangelists and the mandorla, but instead of the Christus Victor or royally-clothed woman, there is a nude woman (figure VIII). There are many versions of this, of course, but we can say that she is often portrayed with long hair, with a loose banner rippling around her nude body. She sometimes holds a bottle and a scepter; more often, two equal wands (that is, wands with a knob on both ends). She is always enclosed within a laurel wreath, and the four evangelists remain in the four corners of the card. Suddenly, a nude woman is dancing, or floating, on God’s throne instead of Christ; perhaps, she is being assumed up into heaven. This card serves as the bridge between the City of God and the Christus Victor depictions to most of the subsequent World cards: the rather curious and baffling conflagration of Christian iconography and feminine/Goddess imagery. What does this shift mean, and how can we situate it within Christian art? Let us turn our attention, now, to the portrayal of Mary Magdalene in Christian art. Mary Magdalene underwent quite a transformation through Renaissance art. The sinner Magdalene ultimately becomes the penitent, holy reformer to which many upheld as an exemplary and relatable model. Mrs. Jameson locates the rising popularity of Magdalene as penitent in the 16th and 17th into heaven. Magdalene became “still more endeared to the popular imagination by more affecting and attractive associations, and even more eminently picturesque...We have Magdalenes who look as if they never could have sinned, and others who look as if they never could have repented.”11 Magdalene became more sexualized just as she became more penitent. Rachel Geschwind observes that in the 16th century, paintings like Rossiglio’s Conversion of the Magdalene began to give Venus-like characteristics to Magdalene; she is both divine and corporeal. and art, and sometimes one might even mistake a Venus for a Magdalene. Courtesans at this time would write of divine love and the desire to enter the ‘paradise of Venus’, which was a metaphor where she is praying for forgiveness or being reconciled and/or assumed up for the city. (Recall the City of God from the Visconti deck). Magdalene seemed to serve as a perfect model for passion and romance that was acceptable religiously, and as a locus for the world of divine love. The dichotomy between the corporeal and the divine is also inherent in Correggio’s Noli Me Tangere; Margaret A. Morse writes that “Correggio evoked a natural style, while maintain a beauty and sanctity for which his subjects called, whereby the beholder...would be able to recognize the divine in the physical.”14 She is a bridge between the viewer and Christ, between the body and the spirit. Given that Neo-Platonism was on the rise during the Renaissance, it makes sense that this balance between two kinds of love, “sacred and profane, formulated by Plato in the Symposium”15, found Mary Magdalene as the perfect template and model. In addition to Venus-like characteristics, Magdalene was also beginning to assume the role as a “new Eve” from the Virgin.The relationship between the images of the Tarot de Marseille and the medieval heresy of the Holy Grail. The followers of this heresy claimed that Jesus of Nazareth had married Mary Magdalene. In this work are presented all the symbols of the Tarot in relation to this heresy and, for the first time, it is revealed that these images constitute the secret heritage of Mary Magdalene. that the game was the lost Egyptian book of Thoth, containing the secret mysteries of Egyptian wisdom and magic; following Gebelin, occultists

2 began to syncretize the Tarot with the systems of Kabbalah, Hermeticism and Alchemy. We believe we can place the pinnacle of this appropriation in the Waite-Smith game of 1909 - the most familiar and popular game for the contemporary reader. Later we will look at the effect this has had on Tarot symbolism and its relationship to changes in religious understanding in France and other European countries.

Mary Magdalene (Mary of Magdala), the woman with jars in Christian symbolism, could very well in this case be represented in the star map. But their assumptions stopped there. No one had ever imagined that the Tarot itself represents in its entirety the teaching and life of Marie-Madeleine on the one hand and even less that the Tarot was created by Marie-Madeleine herself in the 1st century. This is the entirely new Tarot theory that I have been expounding since the beginning of the second millennium. If my theory of the Tarot turns out to be correct, it completely changes the vision and the understanding that one could have of the Tarot. It changes the dating of the Tarot which goes from the 14th century to the 1st century AD with Mary Magdalene, the Tarot de Marseille thus becoming the ancestor of all Western tarots, that is to say "the Tarot". Historians and experts said that the Tarot originated in Italy during the Renaissance era around the end of the 14th century the beginning of the 15th century. On the other hand, no one thought that the Tarot de Marseille itself originated from Marseille. When I started to propose the theory of a Marseille origin of the Tarot de Marseille, Tarot historians and Tarot experts thought that I was an eccentric or that I wanted to make a publicity stunt. In 1999, I explained publicly that in my opinion the Tarot had been transmitted to Europe around 415 by the monk Jean Cassien who was entirely dedicated to Marie-Madeleine and who founded the order of the Abbey of Saint-Victor in Marseille. My Tarot theory is based on thousands of secret codes that can be found in the new Tarot de Marseille Camoin that I drew in the 90s. The Mandorla that surrounds the naked woman indicates that it is a saint who has reached the beatific state. The most significant secret Tarot code in "The Mary Magdalene Theory" that I have discovered resides in the last two cards of the Tarot Major Arcana, Judgment and the World. Indeed, by their number, these two cards are naturally placed next to each other. I revealed that the two cards put together give the key to the mystery of the Tarot character that is found in the World card. Because the identity of this character had remained a mystery for centuries. Almost all Tarot researchers claimed that it was the androgynous Christ, so much so that it had become a real dogma in the Tarot world. Historians could not imagine that it was a woman because of the presence of the four living beings who are attributed to Christ in Christian sacred art. Some had interpreted this mysterious young woman as being the soul of the World, "Anima Mundi".

But the Tarot is coded in another way. Tarot codes are embedded in other Tarot codes and so on. Also, if we disregard the four living beings in the World map, we obtain a naked woman surrounded by an almond-shaped oval. This oval called mandorla symbolizes the state of beatific vision. We find the mandorla around some saints. This means that in the Tarot de Marseille, the woman on the World Map is a saint. My "Mary Magdalene theory" continues like this. In the pantheon of Western saints, there is only one saint who is depicted naked, and that is Saint Mary Magdalene. However, Marie de Magdala lived in the vicinity of Marseilles for 30 years. My theory, which is unique in the history of the Tarot, states that it is Mary Magdalene who is represented in the map of the World and that the Tarot de Marseille is therefore dedicated to this saint.

The two cards form a new symbol. Mary of Magdala is the Saint who sees the Resurrection of Christ (in blue. Furthermore, we can locate similar attributes to Magdalene from apocryphal sources as well as the writings of Origen. In the apocryphal Pistis Sophia, Magdalene is the sole recipient of Christ’s gnosis, rather than Peter and the other disciples. Christ says, “Well done, Mary. You are more blessed than all women on earth, because you will be the fullness of fullnesses and the completion of completions.”17Although this apocryphal account could not have been known to people during the Renaissance, it reveals that even within the early Christian communities there was a holiness attributed to Magdalene that transcended all others. Yet the Gnostic contempt for materiality seems to clash with the embrace of dualism during the Renaissance. This dualism can be found in Origen’s writings, however. In his commentary on the Song of Songs, he allegorically reads the bride as the Christian church. The bride anoints her lover with an ointment; Origen connects this with the scriptural account of Mary Magdalene anointing Christ. He interprets the line spoken by the bride, “I am dark but comely, O daughters of Jerusalem” (Song 1:5), as follows: “She has repented of her sins...beauty is the gift conversion has bestowed; that is the reason she is hymned as beautiful. She is called black, however, because she has not yet purged of every stain of sin, she has not yet been washed unto salvation, nevertheless she does not stay dark-hued, she is becoming white.”18 The dualism of black/evil and white/good is unfortunate, but the connection between the Bride of the Song of Songs and Magdalene reinforces her movement away from sin into penitence, and her positive association with the Church and Christ. The sexual language employed in the Song of Songs has always been difficult for commentators; however we see that when Magdalene is associated with the Bride, the sexuality is compounded with Magdalene’s penitence, in the same way we’ve seen in Renaissance painting. The portrayals of Magdalene’s assumption into heaven connect us back to the Tarot. Mrs. Jameson observes, dryly, that Italian paintings of Magdalene’s assumption began “to recall the idea of a Venus Meretrix.”19 Let us consider Giovanni Lanfranco’s La maddalenan portata in cielo, (fig. IX) and Sandro Botticelli’s Birth of Venus (fig. X). Jameson is quite correct in her observation, despite her negativity towards this shift. In the Lanfranco, Magdalene’s hair barely covers her nude body as she is borne aloft by three putti. She holds out her hands at an angle, and below her is the world’s expanse of mountains, lakes, and forests. It is sexual and chaste, physical and divine. Her figure is very much the Platonic divine love, the ideal Venus. In some of the Assumptions, she is almost dwarfed by the sublime immensity of the landscape. The fact that the very earth is prominent in these paintings underscores Magdalene’s dualistic characteristics of corporeality and divinity; the world gapes below her as she rises above it into the sky. Although she is always borne by putti in her assumption, she seems to float and dance in ecstasy as she rises. We observed the replacement of the Christus Victor with a female nude in the Marseilles World card. That card is remarkably similar to the Lanfranco, Durer’s Assumption of the Magdalene, and others. One gets the same sense of elevation and completion (recall Christ’s words in the Pistis Sophia) in the rise of Magdalene as one gets in the World card. I argue for a parallel between Magdalene’s evolution and the World card’s evolution; just as painting was infusing Magdalene with traits of divine love and worldliness, Tarot decks began to see the post- Resurrection world not in light of Christ but in a neo-Platonic Venus, a Magdalene/New Eve that encompasses the new World. We saw that some World cards have the woman holding a bottle of some sort, which is an attribute of Magdalene. Also, the instances of the two equal wands supports the dualism of divinity and corporeality, dark and light, sinner and penitent, in the portrayals of Magdalene. Robert Place agrees, writing that “She takes her position in the sacred center, which identifies her as the Anima Mundi and the Quinta Essentia...she has mastered or transcended duality...the World Soul is depicted as both Christ, or Sophia his female counterpart....divine wisdom.”20 She is the completion, the alchemical Great Work, the culmination of all earthly phases into the elevation of the world into heaven. This is, of course, an esoteric alchemical interpretation, which as we noted did not apply to Tarot until the late 1700s. I hold that Magdalene’s iconographic transition in the Renaissance parallels the exoteric symbolism of the World; but what to make of the occultists’ appropriation of this image in the late 1700s? Farley argues that, “With tarot removed from its original environment, its symbolism lost its previous relevance and context, rendering its imagery mysterious.”21 Institutionalized religion was being questioned at this time; indeed, the first publications by occultists on the Tarot coincide with the French Revolution. While we cannot delve deeply into the Revolution here, suffice it to say that it was characterized by a rejection of Christianity but a preservation of Christian structure. “It had its creeds, liturgies and sacred texts, its own vocabulary of virtues and vices...and the ambition of regenerating mankind itself, even if it denied divine intervention or the afterlife. The result was a series of deified abstractions worshipped through the denatured language and liturgy of Christianity.”22 Much of the Revolution’s tactics was the replacing of old symbols with new ones, but maintaining the same essential religious structure. Similarly, I argue that the occult appropriation of the Tarot was also an appropriation of Christian iconography, in a general sense; esoteric interpretations and the revisions of Tarot symbolism was an attempt to escape Christian doctrine through fabricated ancient lore (Egyptian roots, e.g.) and synthesized connections between the Tarot and old esoteric traditions such as Kabbalah.

Interpretation

According to A.E. Waite's 1910 book The Pictorial Key to the Tarot, the World card carries several divinatory associations:

Mary Magdalene (Mary of Magdala), the woman with jars in Christian symbolism, could very well in this case be represented in the star map. But their assumptions stopped there. No one had ever imagined that the Tarot itself represents in its entirety the teaching and life of Marie-Madeleine on the one hand and even less that the Tarot was created by Marie-Madeleine herself in the 1st century. This is the entirely new Tarot theory that I have been expounding since the beginning of the second millennium.

If my theory of the Tarot turns out to be correct, it completely changes the vision and the understanding that one could have of the Tarot. It changes the dating of the Tarot which goes from the 14th century to the 1st century AD with Mary Magdalene, the Tarot de Marseille thus becoming the ancestor of all Western tarots, that is to say "the Tarot". Historians and experts said that the Tarot originated in Italy during the Renaissance period around the end of the 14th century the beginning of the 15th century. On the other hand, no one thought that the Tarot de Marseille itself originated from Marseille.

21.THE WORLD—Assured success, recompense, voyage, route, emigration, flight, change of place. Reversed: Inertia, fixity, stagnation, permanence.

The World represents an ending to a cycle of life, a pause in life before the next big cycle beginning with the fool.[3] The figure is male and female, above and below, suspended between the heavens and the earth. It is completeness. It is also said to represent cosmic consciousness; the potential of perfect union with the One Power of the universe.[4] It tells us full happiness is to also give back to the world: sharing what we have learned or gained. As described in the book The New Mythic Tarot by Juliet Sharman-Burke and Liz Greene (p. 82), the image of the woman (Hermaphroditus in Greek Mythology) is to show wholeness unrelated to sexual identification but rather of combined male and female energy on an inner level, which integrates opposites traits that arise in the personality charged by both energies. Opposite qualities between male and female that create turmoil in our life are joined in this card, and the image of becoming whole is an ideal goal, not something that can be possessed rather than achieved.

According to Robert M. Place in his book The Tarot, the four beasts on the World card represent the fourfold structure of the physical world—which frames the sacred center of the world, a place where the divine can manifest. Sophia, meaning Prudence or Wisdom (the dancing woman in the center), is spirit or the sacred center, the fifth element. Prudence is the fourth of the Cardinal virtues in the tarot. The lady in the center is a symbol of the goal of mystical seekers. In some older decks, this central figure is Christ, whereas in others it is Hermes. Whenever it comes up, this card represents what is truly desired.

In other media

In the manga JoJo's Bizarre Adventure: Stardust Crusaders, tarot cards are used to name the character's powers, named 'Stands'. The overarching antagonist of Stardust Crusaders, DIO, has a Stand named The World, named after The World card. This stand has the power to stop time whenever DIO commands it to, and he can move during frozen time. In Steel Ball Run, an alternate version of DIO, Diego Brando, later gains this Stand after being summoned by Funny Valentine.

In the film Cryptozoo, a tarot reading is done with the Waite-Smith Deck that reveals The World card as part of the protagonist's journey.

en.wikipedia.org/wiki/The_World_(tarot_card)

The relationship between the images of the Tarot de Marseille and the medieval heresy of the Holy Grail. The followers of this heresy claimed that Jesus of Nazareth had married Mary Magdalene. In this work are presented all the symbols of the Tarot in relation to this heresy and, for the first time, it is revealed that these images constitute the secret heritage of Mary Magdalene. that the game was the lost Egyptian book of Thoth, containing the secret mysteries of Egyptian wisdom and magic; following Gebelin, occultists began to syncretize the Tarot with the systems of Kabbalah, Hermeticism and Alchemy. We believe we can place the pinnacle of this appropriation in the Waite-Smith game of 1909 - the most familiar and popular game for the contemporary reader. Later we will look at the effect this has had on Tarot symbolism and its relationship to changes in religious understanding in France and other European countries.The Mandorla that surrounds the naked woman indicates that it is a saint who has reached the beatific state.

The most significant secret Tarot code in "The Mary Magdalene Theory" that I have discovered resides in the last two cards of the Tarot Major Arcana, Judgment and the World. Indeed, by their number, these two cards are naturally placed next to each other. I revealed that the two cards put together give the key to the mystery of the Tarot character that is found in the World card.

Because the identity of this character had remained a mystery for centuries. Almost all Tarot researchers claimed that it was the androgynous Christ, so much so that it had become a real dogma in the Tarot world. Historians could not imagine that it was a woman because of the presence of the four living beings who are attributed to Christ in Christian sacred art. Some had interpreted this mysterious young woman as being the soul of the World, "Anima Mundi". But the Tarot is coded in another way. Tarot codes are embedded in other Tarot codes and so on. Also, if we disregard the four living beings in the World map, we obtain a naked woman surrounded by an almond-shaped oval. This oval called mandorla symbolizes the state of beatific vision. We find the mandorla around some saints. This means that in the Tarot de Marseille, the woman on the World Map is a saint. My "Mary Magdalene theory" continues like this. In the pantheon of Western saints, there is only one saint who is depicted naked, and that is Saint Mary Magdalene. However, Marie de Magdala lived in the vicinity of Marseilles for 30 years. My theory which is unique in the history of the Tarot stipulates that it is Mary Magdalene who is represented in the map of the World and that the Tarot of Marseilles is therefore dedicated to this saint.

fr.camoin.com/tarot/Tarot-Marie-Madeleine-Magdala.html

What is the name of the brightest star?

Sirius, also called Sirius, α Canis Majoris is the brightest star in the night sky visible to the naked eye, with an apparent magnitude of −1.46. In Greek mythology, Orion's hunting dogs are said to have ascended to heaven at the hands of Zeus, taking the form of the star Sirius.,What are the stars called?

they are called bright stars. How the stars are classified? Astronomers classify stars by size and surface temperature. Based on their size, stars can be called supergiants, bright giants, giants, subgiants, dwarfs or normals, and subdwarfs.

Источник: planetariodevitoria.org/estrelas/qual-e-o-nome-das-estrel...

Hebrew Letter: Tave

In this article The World Symbols, I refer to The World card from the Rider Waite Tarot deck, also known as the Waite-Smith, or Rider-Waite-Smith, or Rider tarot deck. The symbolism found on this trump card is primarily drawn from mythology, Christianity, alchemy, astrology. Contents

The World: Key Symbol. Compare The World Tarot Card Symbols with Historical Decks

What Does The Dancer Symbolize in The World Tarot Card? Dancer Purple Sash Red Hairband

Two Wands Crossed Legs Symbolism What is The Meaning of The Laurel Wreath in The World Card?Laurel Wreath Two Red Ribbons Who Are The Four Figures in The World Card and What do They Symbolize? Man Lion Eagle Bull What is The Meaning of The Blue Background? The Rider Waite World card borrows heavily from the Marseille Tarot. Waite himself says, “this final message of the Major Trumps is unchanged – and indeed unchangeable – in respect of its design”. In both instances the naked World dancer moves encased within a victory wreath. The four corners of the card contain tetramorphs, mystical creatures of antiquity and mythology depicting a bull, lion, bird and human face.

The dancer holds dual magical wands, as opposed to The Magician who only holds one. What Does The Dancer Symbolize in The World Tarot Card? Dancer. The dancer symbolizes the fetus waiting to be born again, as the Fool prepares to start over through the procession of the Major Arcana. However, this is no babe starting from scratch, we are presented with a woman at her height of beauty and youth. She signifies the next stage of evolution. Some occultists claim that the figure is a hermaphrodite, because her sexual gender is hidden by the scarf. They say she is the union of male and female, and that sexual identity is no longer relevant or defining. The dancer perfectly integrates aspects of the male and female. Wouldn’t this card be a suitable iconographic image for gender fluidity in todays times! The dancer is both the bride and bridegroom. Purple Sash. The purple sash is the color of divinity and wisdom. It evokes the images of a Catholic priest who puts on a purple stole when offering the sacrament during mass. The sash curves in the figure of eight, suggestive of the cosmic lemniscate or infinity sign.

Red Hairband. The dancer wears a red hairband, which draws fire energy to her head area. It symbolizes that her mind and conscious is active. This is not someone who exists only in the spiritual realm.

Two Wands. The dancer holds two double-sided wands, which represent the polarity powers of involution and evolution. Involution is the decent of God into the soul or consciousness, and evolution is the assent of the soul back to God or the creator. ⭐Wands also appear here: The Magician Symbols

Crossed Legs Symbolism. The dancer crosses her legs in a similar manner to the Hanged Man. However, the triangle he represents is under the cross of the tree, symbolizing he is still bound by earthly things. The dancer is reversed, she forms a triangle pointing upwards, from the tip of her head to her two outstretched hands. Thus the triangle of Spirit now overturns the cross of the material earthly plane. What is The Meaning of The Laurel Wreath in The World Card? Laurel Wreath. The woman is surrounded by a large laurel wreath, traditionally a symbol of success and victory. The implication here, on the Fools Journey, is that there is cause for celebration. This is the end of the road before a new era begins. The wreath forms the shape of a zero, which is the number of The Fool card. The wreath also symbolizes the womb, signaling that the woman is like an embryo waiting to be reborn. The oval shape of the wreath is also used by the Golden Dawn in their Tattva cards. These colorful cards were designed to aid the development of clairvoyance through visual meditation, and one of the symbols in the cards is an oval. The oval corresponds to the Akasha, ether or spiritual realm (see Akashic Records). See Shamanism for more information on Tattva cards. ⭐A laurel wreath also appears here: The Chariot Symbols, Ace of Swords Symbols, Seven of Cups Symbols, Six of Wands Symbols Two Red Ribbons. The red ribbon bindings at the top and bottom of the wreath indicate completion, the circle has been made complete.

It also reminds one of the ancient quote, “as above, so below”. Who Are The Four Figures in The World Card and What do They Symbolize? The four beasts represent the four living figures or hayyot, which are a class of heavenly beings in Jewish mythology. According to both Jewish and Christian tradition, the creatures vary by description. In this card we see the four tetramorph, a lion, man, eagle and bull.

These creatures represent the four seasons, as well as the four elements of Fire, Air, Water and Earth. Their presence implies that they are the cornerstones of a balanced life. Man. The blond-haired man represents the astrological sign of Aquarius, winter season and the element Air. Lion. The Lion represents Leo, summer and fire. Eagle. The Eagle represents Scorpio, autumn and water.

Bull. The Bull represents Taurus, spring and earth. What is The Meaning of The Blue Background?

The blue background is the cosmic mind or ‘Universe’ as it has come to be known in the New Age. The dancer is able to manipulate this realm easily with her two wands.

karinastarot.com/world-symbols/

Furthermore, we can locate similar attributes to Magdalene from apocryphal sources as well as the writings of Origen. In the apocryphal Pistis Sophia, Magdalene is the sole recipient of Christ’s gnosis, rather than Peter and the other disciples. Christ says, “Well done, Mary. You are more blessed than all women on earth, because you will be the fullness of fullnesses and the completion of completions.”17Although this apocryphal account could not have been known to people during the Renaissance, it reveals that even within the early Christian communities there was a holiness attributed to Magdalene that transcended all others. Yet the Gnostic contempt for materiality seems to clash with the embrace of dualism during the Renaissance. This dualism can be found in Origen’s writings, however. In his commentary on the Song of Songs, he allegorically reads the bride as the Christian church. The bride anoints her lover with an ointment; Origen connects this with the scriptural account of Mary Magdalene anointing Christ. He interprets the line spoken by the bride, “I am dark but comely, O daughters of Jerusalem” (Song 1:5), as follows: “She has repented of her sins...beauty is the gift conversion has bestowed; that is the reason she is hymned as beautiful. She is called black, however, because she has not yet purged of every stain of sin, she has not yet been washed unto salvation, nevertheless she does not stay dark-hued, she is becoming white.” The dualism of black/evil and white/good is unfortunate, but the connection between the Bride of the Song of Songs and Magdalene reinforces her movement away from sin into penitence, and her positive association with the Church and Christ. The sexual language employed in the Song of Songs has always been difficult for commentators; however we see that when Magdalene is associated with the Bride, the sexuality is compounded with Magdalene’s penitence, in the same way we’ve seen in Renaissance painting.

The portrayals of Magdalene’s assumption into heaven connect us back to the Tarot. Mrs. Jameson observes, dryly, that Italian paintings of Magdalene’s assumption began “to recall the idea of a Venus Meretrix.”19 Let us consider Giovanni Lanfranco’s La maddalenan portata in cielo, (fig. IX) and Sandro Botticelli’s Birth of Venus (fig. X). Jameson is quite correct in her observation, despite her negativity towards this shift. In the Lanfranco, Magdalene’s hair barely covers her nude body as she is borne aloft by three putti. She holds out her hands at an angle, and below her is the world’s expanse of mountains, lakes, and forests. It is sexual and chaste, physical and divine. Her figure is very much the Platonic divine love, the ideal Venus. In some of the Assumptions, she is al

I find this mural to be super problematic. It made me uncomfortable as a kid and here it still is, making me uncomfortable.

Yes, I have stooped to a new low - actually posting an image of a Pigeon, but before you judge, keep in mind that the Pigeon is in the same family as the Dove.

Pigeons and doves constitute the bird family Columbidae, which includes about 310 species. Pigeons are stout-bodied birds with short necks, and short, slender bills They primarily feed on seeds, fruits, and plants

Pigeons are actually beautiful birds, but do tend to have a bad reputation because they congregate in urban areas where they can find abundant food and nest in and around the roofs of buildings where their droppings become problematic for people. But regardless, they are special birds - at least to me.

Pickering, Ontario

Canada

When I go out on my walks, there are days that I take a series of photos intended to be stitched together for a panorama. In the past, I've used various stitching software, from Autostitch to AutoGiga Pano to Microsoft ICE to Photoshop and Lightroom's Merge feature. Most often, lately, I've pretty much stuck with Microsoft ICE as it seems to do the best job overall. However, the Merge function in the most recent update of Lightroom has been knocking it out of the park, with fewer stitching errors than in the others. I did three panoramas today (this one included), two of which I expected to be somewhat problematic for the software, but no... they both stitched beautifully. I fully expected the birds in this photo to disappear when the overlapping images were joined, but nope. It's the little things that make me happy.

2021 in Black and White

Pudsey Clough is a hidden gem. A ravine full of elegant little falls of peat-stained water tumbling over beds of tilted gritstone.

Although late autumn is probably the best time of year to photograph them, physically accessing the locations down steep mud with a coating of fallen leaves is distinctly problematic...

This was the first shot I ever posted from our last Yellowstone trip. I'm hoping to get something even sharper this time, but I have no complaints. He wasn't paying any attention to us. He was intent on a squirrel that had scampered past. I was close, not so close as to disturb him, but close enough to make it exhilarating! I was so happy to have a brand new camera with a longer lens that I bought specifically for this trip.

We're going again this May. It's probably our last trip to Yellowstone, and we're spending more time in the Tetons this time. From here on, we'll probably stay with Utah and Arizona, but planning has become problematic. More shooting from a car than on foot. Still, we haven't been to Bryce and Zion since 1968, and I have a few more years in me.

One of the problematic "U-boat" class 219 locos built for the DR in 1984 in Bucharest, Romania at the 23 August Locomotive Works as 119 187-4. The requirement was for an electric-heating lightweight diesel loco with an output of over 2000hp. Russian locos were too heavy and GDR companies were only permitted to built lower-powered machines; the Romanian works was the only one interested in building such a loco. Still in DR colours, 219 187 is arriving at Müncheberg (Mark) with a train from Seelow-Gusow to Berlin.

The Grade II* Listed Clifton Cathedral, the Roman Catholic Cathedral of the city in Clifton, Bristol.

Clifton cathedral was built to replace the previous diocesan seat of Pro-Cathedral of the Holy Apostles in Bristol (1850-1973). The pro-cathedral had a history of problematic construction work. It was built as a church on a challenging hillside site, making work there difficult. Building started in 1834, stopped a year later, started again in 1843, stopped shortly after and the building lay abandoned until 1848 when a roof was placed on the half-completed building so that it could be used as a church.

Two years later, in 1850, Clifton was made an episcopal see and the church became the Pro-Cathedral, intended to act in this capacity until a more fitting cathedral church could be constructed.

In 1965, architects were commissioned to undertake the design of a new cathedral on a different site in Clifton. The design was primarily by R.J. Weeks, working with F.S. Jennett and A. Poremba of the Percy Thomas Partnership.

Construction began in March 1970 and completed in May 1973 by John Laing & Son Ltd, also the main contractor at Coventry Cathedral. That same year, on 29 June, the Feast of Saints Peter and Paul, the new cathedral was consecrated and opened and the pro-Cathedral was closed.

The internal shape is due to the architect's innovative response to the requirements set down by the Second Vatican Council. It was decreed in the Council that the congregation should all have a good view of the altar; accordingly, the sanctuary is Hexagonal to allow the 1,000-capacity congregation a close and clear view of the altar, and there are no windows within the congregation's line of sight of the altar.

Information Source:

en.wikipedia.org/wiki/Clifton_Cathedral

I cannot build just one......

• 29/52 •

• blending in •

This week’s photo comes a bit late and I apologize for that. I had a crazy busy week and weekend, and with a migraine on Sunday I just couldn’t make the damn idea I had work (it involved looking past a strong light and there’s nothing worse for my headaches). Excuses aside, here it is!

I’ll never be a wallflower. I’ll never be the one who shuts up. And oftentimes, that makes me ‘the problematic one’, the one who speaks up, the one who is always bringing up the elephant in the room. I’m using this photo as a conscious, loving pat on my own back. Because I wasn’t born to be quiet. I wasn’t born to let things slide by. There’s a valid lesson in learning to pick your battles, and to choosing the ones that are worthy — that’s where I’m at, right now — but I hope it will never, ever involve me shutting up and being the quiet one. I hope it will never have me blend in with the atmosphere to save my own ass.

[ somos seis, amigas e fotógrafas, a fazer um '52 semanas' em conjunto. publicaremos semanalmente nas nossas redes sociais, e podem seguir-nos através da hashtag #52sisterhood. caso se queiram juntar a nós, podem usar a hashtag #52sisterhoodchallenge! contamos convosco desse lado, nesta aventura! vamos lá!

-

there’s six of us, friends and photographers, doing a '52 weeks’ project together. we’ll publish every week, and you can keep up with us through the hashtag #52sisterhood. If you’d like to join us, you can use the #52sisterhoodchallenge! we’re counting on you to join us on this journey! come along! ]

The view here is roughly southwest. Immediately across the cove from the lobster boat is the Penitentiary, with the ruin of the Hospital lying father up the hill on the left.

The term “Penitentiary” is something of a misnomer. It would be more accurate to describe it as a “Convict Barracks”. The central section was originally a flour mill and granary built between 1843 and 1845 but already by the end of the decade its operation was proving problematic. At the same time the rough timber structures originally built to house the prisoners were in serious disrepair. For these reasons, between 1854 and 1857, the mill was remodelled to serve as convict accommodations.

The completed building had four stories. The two lower floors contained 136 cells for “prisoners of bad character” who were undergoing additional punishment. The top floor provided space for 480 better behaved convicts to sleep on bunks. These convicts ate in the Mess Hall that was constructed on the floor below, while the men on the first two floors were fed in their cells.

All convicts worked at various jobs during the day; and a large industrial area near the Penitentiary included workshops where prisoners worked and were trained in a range of skills such as carpentry, shoemaking and blacksmithing. At night classes in literacy and numeracy were offered in the Mess—which by 1871 was reputed to hold some 13,000 books.

The Penitentiary was gutted by fire in 1897 and lay derelict until the 1960’s when a concerted conservation program began. As of 2014 it is undergoing further conservation work—as is evident in this photograph.

The Hospital had four 18-bed wards. At the end of the century, well after the penal settlement had closed, it was in the process of being converted to a Catholic boys college when it was burnt out in the 1895 bushfires. It was rebuilt only to be burnt again in the 1897 fires. The ruin is now stabilised and is accessible to the public.

Note: For more more photographs and additional information about Port Arthur, see my other images in this series (images 0254 to 0264).

© Irwin Reynolds, all rights reserved. If you are interested in using one of my images or would like a high quality fine art print, please send an email to irwinreynolds@me.com.

Metro-Cammell body RTLs was a bit problematic for LT as the bodies were not interchangeable with standard body makes. This meant they could not be placed on RTs or other RTL chassis on overhaul.

RTL 653 - KXW 3 - Chassis Leyland Titan

Jan 1950 In stock

Jan 1967 Out of stock

Oct 1967 Scrapped at Johnson (South Elmsall)

Garaged at Cricklewood.

Ian's Bus Stop RTLs

MORE 1900s LONDON BUSES AND COACHES.

Dating by m kenny. See more in comments.

Copyright P J Jones supplied by Bus of Yesteryear.

The long-tailed jaeger (Stercorarius longicaudus), known as the long-tailed skua outside the Americas, is a seabird in the skua family Stercorariidae.

This species is unmistakable as an adult, with grey back, dark primary wing feathers without a white "flash", black cap and very long tail. Adults often hover over their breeding territories. Juveniles are much more problematic, and are difficult to separate from parasitic jaeger over the sea.

They are slimmer, longer-winged and more tern-like than that species, but show the same wide range of plumage variation. However, they are usually colder toned than Arctic, with greyer shades, rather than brown.

This is the smallest of the skua family at 38–58 cm (15–23 in), depending on season and age. However up to 29 cm (11 in) of its length can be made up by the tail which may include the 15 cm (5.9 in) tail streamers of the summer adult. The wingspan of this species ranges from 102 to 117 cm (40 to 46 in) and the body mass is 230–444 g (8.1–15.7 oz).

This image was taken in the middle of the Atlantic Ocean.

The Snowshoe hares have a seasonal variaton of their fur color. They are white in the winter and gradually change color to earthy brown for the summer. The color replacement happens from bottom to top and is triggered by the changes in the day length.

Climate change is proving problematic for these color changing hares. As the snow cover melts earlier and earlier each year, the hares still have their white winter coats and they become easy prey for the predators.

www.toniduarte.tk

Toni Duarte Freelance Photographer

Please don't use this image on websites, blogs or other media

without my explicit permission.

© All rights reserved

Contac: toniduarte[a]cmail.cat

El cementiri General de València va ser construït després de la decisió del govern de Carles III de prohibir els enterraments a les parròquies i nucli urbà, la qual cosa era la pràctica habitual a l'Espanya del segle XVIII i causava nombrosos problemes de salut.

El projecte, ideat per l'arquitecte Cristóbal de Sales, va començar el 1805. El seu disseny es va basar en la necròpolis francesa de Père Lachaise, un dels grans cementiris construïts en l'època i en el qual es va basar la construcció de nombrosos cementiris europeus.

El recinte es va inaugurar el 1807 amb un "arrencada" problemàtic, avui aquest cementiri té ja més de 200 llargs anys d'història.

Fins a mitjans del segle XIX els burgesos no començarien a interessar-se per construir panteons, ostentació del seu poder econòmic i classe social. És a dir, que l'encàrrec de panteons i criptes monumentals es posaria de moda bastant temps després de l'obertura del cementiri.

Per aquells anys, el Cementiri General de València va realitzar obres d'ampliació, ideant un vast projecte anomenat "Els Pòrtics", d'estil neoclàssic i molt monumental. Prova d'això és que la construcció té 170 columnes dòriques.

En el Cementiri General de València es pot trobar una gran col lecció d'estils artístics com el neoegipci, el modernisme, el neogòtic o el neogrec, tots ells plasmats en impressionants escultures i dissenys que van enviar construir els burgesos valencians. Un dels més espectaculars és el panteó en honor a la filla adolescent de Gaspar Dotres, un temple d'estil clàssic preciós. A més dels panteons, és interessant fer una ullada al cementiri civil, on jeu l'escriptor Vicente Blasco Ibáñez, ia la secció musulmana a la qual el cementiri ha dedicat gairebé 700 hectàrees. Avui, el cementiri també compta amb unes instal.lacions de cremació.

A més de Blasco Ibáñez, el Cementiri General de València és l'eterna domicili d'altres il.lustres personatges com el cantant Nino Bravo, el pintor Joaquim Sorolla, la cantant d'òpera Lucrecia Bori ... I és que 200 anys d'història són molts per a un cementiri que tanca bona part de la història de la capital valenciana, per a una necròpolis que es troba entre les més monumentals d'Espanya i que no té res a envejar als més visitats cementiris europeus.

A partir de juny de 2009 el Cementiri General va posar en marxa una iniciativa pionera a la Comunitat Valenciana: visites guiades pel cementiri. D'aquesta manera, el recinte pretén mostrar el seu patrimoni artístic i arquitectònic. Així, el de València ingressa en el cèlebre Circuit Europeu de Cementiris.

---------------------------------------------------------------------- ------------------------------------------------

El cementerio General de Valencia fue construido tras la decisión del gobierno de Carlos III de prohibir los enterramientos en las parroquias y núcleo urbano, lo cual era la práctica habitual en la España del siglo XVIII y causaba numerosos problemas de salud.

El proyecto, ideado por el arquitecto Cristóbal de Sales, comenzó en 1805. Su diseño se basó en la necrópolis francesa de Père Lachaise, uno de los grandes cementerios construidos en la época y en el cual se basó la construcción de numerosos camposantos europeos.

El recinto se inauguró en 1807 con un "arranque" problemático, hoy este cementerio tiene ya más de 200 largos años de historia.

Hasta mediados del siglo XIX los burgueses no comenzarían a interesarse por construir panteones, ostentación de su poder económico y clase social. Es decir, que el encargo de panteones y criptas monumentales se pondría de moda bastante tiempo después de la apertura del cementerio.

Por aquellos años, el Cementerio General de Valencia realizó obras de ampliación, ideando un vasto proyecto llamado "Los Pórticos", de estilo neoclásico y muy monumental. Prueba de ello es que la construcción cuenta con 170 columnas dóricas.

En el Cementerio General de Valencia se puede hallar una gran colección de estilos artísticos como el neoegipcio, el modernismo, el neogótico o el neogriego, todos ellos plasmados en impresionantes esculturas y diseños que mandaron construir los burgueses valencianos. Uno de los más espectaculares es el panteón en honor a la hija adolescente de Gaspar Dotres, un templo de estilo clásico precioso. Además de los panteones, es interesante echar un vistazo al cementerio civil, donde yace el escritor Vicente Blasco Ibáñez, y a la sección musulmana a la que el cementerio ha dedicado casi 700 hectáreas. Hoy, el cementerio también cuenta con unas instalaciones de cremación.

Además de Blasco Ibáñez, el Cementerio General de Valencia es la eterna morada de otros ilustres personajes como el cantante Nino Bravo, el pintor Joaquín Sorolla, la cantante de ópera Lucrecia Bori… Y es que 200 años de historia son muchos para un camposanto que encierra buena parte de la historia de la capital valenciana, para una necrópolis que se halla entre las más monumentales de España y que no tiene nada que envidiar a los más visitados camposantos europeos.

A partir de junio de 2009 el Cementerio General puso en marcha una iniciativa pionera en la Comunidad Valenciana: visitas guiadas por el camposanto. De esta manera, el recinto pretende mostrar su patrimonio artístico y arquitectónico. Así, el de Valencia ingresa en el célebre Circuito Europeo de Cementerios.

🔴 Problem Ink - Hockey Set

ALPHA EVENT

maps.secondlife.com/secondlife/ACCESS%203/132/111/1001

LM STORE:

maps.secondlife.com/secondlife/Smooth%20Peaches/235/78/2501

🔴:RBento:: Dave - Bento single static poses

Lazy Sunday February 23 round Marketplace Link marketplace.secondlife.com/p/RBento-Dave-Bento-single-sta...

MAINSTORE

maps.secondlife.com/secondlife/Lorena%20Blue/45/16/23

Although it was a disappointment that Henry was rejected as an aspiring member of the alpine search and rescue dog squadron, the little fellow still enjoys his summer visit to the Alps.

The training school disqualified him, not based on his fierce and dogged demeanor, but mainly due to his white coat and short legs that is cited as problematic in an avalanche scenario.

My first time lapse of a night sky. A bright moon and fast moving clouds were problematic in capturing a lot of star motion, but it's early days :-)

Individual images were taken with an HD PENTAX-DA 20-40mm f2.8-4 lens on a Pentax K3 camera.

Peeking through the canopy of a Spotted Gum forest on the Far South Coast, NSW, Australia.

Day 17 of Pentax Forum's Daily in August 2019 Challenge.

Theme: Multiple exposures

This is one of the shots I made on film from a new box of Delta. WAY different from my problematic negatives. I fear I have 75 sheets of ruined film. I'm suspecting the motherfuckers at TSA took it out of the lead bag and xrayed it. I hate those bastards.

Hi everyone!

It happened to me earlier as well, that I worked on a part of a MOC so much, as on the MOC. In such a case this part deserves an own picture! So here it is, the parking spot for disabled people.

Downtowns are problematic places. At the city where I spent most of my time during the school years (Győr, Hungary), these spots were only signed by a road sign. But it was often not clear, which spot, or how many spots are actually for disabled people. And the downtown has in general too many sings with too many information on them. So it happened often, that people parked their cars not on purpose there. A few years ago the city decided to paint the whole spots blue to make it easier to realise them. It looks really cool! So I decided I recreate it with Lego bricks.

I build the first version in 2018 I guess. I didn´t published it because it looked like a man sitting on a toilet and not on a wheelchair. A few month later I went back to the model and changed it a bit. A few month ago I could travel back to Hungary despite of the COVID-rules. And I took the BIG Brother picture. Hope you like it!

The MOC in which it is will come a bit later! Thank for watching!

VM-housing, copenhagen, 2002-2005.

architects: PLOT, now BIG and JDS architects.

the VM houses is an interesting project in a problematic new part of copenhagen, ørestad, which is situated so close to the centre of town that it could easily have been integrated into the existing urban fabric but which was instead planned as a suburb with green and urban spaces equally unappealing.

in general, units in the ørestad plan are very large (c. 120 flats pr building) and entirely independent of each other, bureaucratic decisions made to please investors but resulting in very poor urbanism.

the VM-houses was the only project to engage critically with the flawed plan and ultimately the only project to succeed architecturally out there.

the plans of the two blocks of flats are twisted into the shape of the letters V and M, hence the name. these are not arbitrary shapes, they are derived from an analysis of sun, views, scale and space-making between the houses, issues that the masterplan ignored.

as such, we are looking at a basic funktionalist approach, even if PLOT achieved just a little more funk than what is commonly seen in scandinavia.

in questions of large scale urbanism, the shape of balconies loses much of its importance. their triangular plan is experienced, to some degree, as an extension of the angular geometry of the buildings. they are loud but not incoherent.

this photo was uploaded with a CC license and may be used free of charge and in any way you see fit.

if possible, please name photographer "SEIER+SEIER". if not, don't.

www.big.dk

www.jdsarchitects.com

Wishing you all good health and happiness for 2023!

As I still have an odd/ problematic upload issue with my camera, I'll be attempting to join in Flickr Lounge happiness this week using my phone ... and keeping my fingers crossed a solution is found asap.

Emirates 412 to Christchurch (CHC/NZCH) getting up and away 34L Sydney Airport (SYD/YSSY), whilst Jetstar 403 from the Gold Coast (OOL/YBCG) is taxiing to the gate - smoke and heat were a little problematic given the bushfires about the place.

Linking Hull and Leeds with a journey time of just under two hours, Stagecoach’s X62 service has proven problematic for the company in recent years. An expanded timetable launched in early 2014, was followed quickly by a drastically scaled down version implemented in February 2015. The service pattern established by this reduced timetable is still current, with three journeys in each direction during the week, four on Saturdays, and two on Sundays. This followed a period of relative stability for the service after co-operator EYMS withdrew their journeys in 2005. In the week, the current timetable makes it impossible to commute into Leeds on the X62, and leaves it essentially useless for trips into Hull given that the maximum stay possible is two hours - the service is effectively only usable for shopping trips into Leeds. Hull enjoys an hourly train service to Leeds which – much like the X62 – additionally serves Brough and probably does much to limit longer distance use of the bus.

Having left the M62 to serve Goole, E400MMC SN66VWL (10743) is seen as it passes Howden with fourteenth century minster visible whilst operating the 10:10 Hull-Leeds. Three branded B7Rs were allocated to Hull for the 2014 relaunch, and one presently remains at the depot for the service. In recent weeks, members of the fifteen-strong batch of E400MMCs new to Hull a year ago seem to have become common allocations, particularly on Sundays when the reduced timetable can be maintained using a single vehicle.

"What an honor to work with Paper Magazine this week! This competition has been an incredible journey so far and I have learned so much. It's been amazing doing photoshoots and getting styled. I love the feeling when I get best photo! This shoot was so fun and very cool. I felt like a genie princess!" - Lisa

Panorama view from the Apollo 16 Lunar Module (LM) window taken on-orbit during Revolution 16 of the mission. The panoramas were built by combining Apollo 16 images starting with frame AS16-113-18297 thru end frame AS16-113-18307. The panoramic images received minimal retouching by NASA imagery specialists, including the removal of lens flares that were problematic in stitching together the individual frames and blacking out the sky to the lunar horizon. These adjustments were made based on observations of the Moon walkers who reported that there are no stars visible in the sky due to the bright lunar surface reflection of the Sun.

In Chinese cities, the coexistence of cars and transportation by traditional bicycles and tricycles becomes increasingly problematic.

It's a shame because the carbon footprint of tricycles is much better than that of cars!

See also :

flic.kr/p/cRtgrY

* * *

Dans les grandes villes chinoises, la cohabitation entre les voitures et le transport traditionnel en vélos et tricycles devient de plus en plus problématique.

Ç'est bien dommage car l'empreinte carbone des tricycles est bien meilleure que celles des voitures !

Voir également :

flic.kr/p/cRtgrY

Marham Tornado take off time exposure, it is a composite of 2 frames, the technique is still problematic in that you need to have the camera (ideally a second one so you can keep shooting) locked-off very solidly for a while in order to get the aircraft taking the same line so that the nozzles and nav lights align at the correct angle to match the light trails, you also need fairly consistant lighting. It's taken several attempts to get this shot.

_26K0066

Mezco One:12 Collective

Untitled (Hunger 4), 1996, 7" x 7" x 4", tempera on ceramic bowl. Private collection.

This painting is from a series of 21 paintings on the bottom surface of traditional Korean bowls - done for an exhibition I had at Art Space Seoul in Korea in 1997. A couple years ago, as I was writing some thoughts on my work to a colleague, it occurred that I had not explained publicly my thinking about and reason for making this work. This seems pretty important given the problematic territory that this work wanders into. What follows is an excerpt from my correspondence:

Around 1995 the “special needs” school that our daughter Temma had been attending for 6 years – Lakeview Learning Center – was preparing to close. I was working at the school on a large painting (titled Big Picture) of the classroom for “severely and profoundly disabled” children that Temma was part of. While working on this large painting I was given a collection of miscellaneous photographs documenting the students in their daily life at the school. Also around this time I was offered an exhibition with a gallery in South Korea, the country where I grew up (my parents were medical missionaries). I decided to make work for this show based on the photographs that I had been given of students from Lakeview Learning Center as a way of making present a population that was largely invisible / marginalized in Korea at that time. My goal in making these paintings was to select photographs that (for me) most powerfully expressed the humanity of these children. In making the paintings my intent was to try to represent them as best as I could in accordance to how I perceived them via the photographs: that is, as completely and compellingly human. Despite my ambivalence about using other people’s photographs as sources for paintings, these photographs – apparently taken by the staff of the school - offered a kind of “objective” perspective on the children somewhat fitting for my relative distance from them personally. That said, to the extent that these children were part of a community of which my daughter was a part I felt it was appropriate to make paintings based representing them.

This latter point is important in relation to the fundamental intent of this project. While I was attempting to portray the children in all their individuality evident in the photographic sources, I was doing so with the primary goal of presenting them as a community: a community as evidently diverse and complex (in various respects) as any other.

There is a well-known (in Korea) poem by the Korean Catholic “Minjung” writer Kim Chi Ha that has an essentially Eucharistic refrain: “God is rice”. In allusion to that poem I decided to do a series of 21 paintings on Korean rice bowls (a very commonly used kind of bowl). More specifically, as an allusion to the marginalization of this population I made the paintings on the bottom / underside (typically unseen) surface of the bowls. In using the rice bowl I not only wanted to draw a connection to Kim Chi Ha’s poem, but further to the movement of Minjung Art that had grown in vitality at the ending period of Korea’s long dictatorship (the early ‘80s). The Minjung Art movement (which, especially in the person of the artist Im Ok Sang, had been very influential for me) made the empowerment of the poor and the marginalized their priority. My hope was to situate the subject of the work I was making – at that time still a largely marginalized community - in the context of the Minjung political imperative.

In this work I was attempting to represent these children as faithfully as I could. It might be helpful to unpack my thinking “representation” a bit: Painting, particularly realistic / representational painting is frequently thought of / received in relation to the convention of “mastery”. That is, when one makes a realistic painting it might be understood as an artists’ claim of mastery and, implicitly, as their claim to an authority over the subject represented. I do not have any interest in that way of approaching painting. I am interested in painting that is a kind of conversation with the material used to make it (as opposed to painting as about control or domination of the material). No less importantly, I’m interested in painting as a regarding of the subject in humility: an attempt to represent the subject as honestly, accurately and respectfully as possible. Put another way: painting for me is learning how to make this painting in relation to trying to understand and represent this subject.

Taking that word representation a bit further: it is of course a reasonable question to ask whether one has the right to represent (make or take a picture of) another person – particularly someone who is not able to give consent. And it is reasonable to question whether I – even as the parent of a member of that community and trusted by the staff of that community – have the right to represent the students. But no less important is the other side of this question: the right of each person to be represented (both literally, in the sense of being pictured, and - via metaphoric implication - politically). In the case of this particular population and the particular context in which these paintings were being shown my intention was to make and show these representational paintings of these children as a claim to their right (authority) to be represented: Particularly towards the goal of advocating the presence of members of this population as they existed in that country at that time.

Click the following link for an essay on this and other work included in an exhibition at Art Space Seoul in Seoul, South Korea in 1997.

www.timlowly.com/resources/tglparksj.html

The No.21 leads the No.40 through the Bombhole corner during Sunday afternoon. The White G R Racing car finished 12th overall and 6th in class and the Blueberry Muffins team had a problematic race but still took the chequered flag in 21st and 13th in class.

I just got my Westcott umbrella flash kit and just testing it out....yay! For the entire week, I will post nothing but portraits to get used to it :=) I don't know yet how to use it properly/correctly so your positive criticism, comments, or suggestions are very welcome!

Strobist Info:

Canon 430ex II left of subject @ 1/4 power, bounced off Westcott umbrella

Vivitar digital slave flash right of subject, bare

Thanks for your visit, comments, and faves!

View large on black

My grand Scandinavian Aviation Tour 1982

After taking the night ferry from Sweden, we arrived at Turku on the morning of 3rd June, and after a bit of sightseeing we went to visit my first Finnish airport/airfield at Turku Åbo. Like many of those we visited, the civil and military operated side-by-side.

On the second day of our 'grand tour' we visited Tampere and Jyväskylä. Near to the latter's airport, in Tikkakoski, is the Finnish Air Force Museum which has an impressive collection of aircraft both old and new. See: airforcemuseum.fi

GN-104 Folland Gnat F.1 The Finnish Air Force received the first of its 13 Gnats (11 fighters and 2 photo-reconnaissance planes) on 30 July 1958. It was soon found to be a problematic aircraft in service and required a lot of ground maintenance. In early 1957 a licence agreement was reached to allow Valmet to build the Gnat at Tampere in Finland, although, in the end, none were built. On 31 July 1958, Finnish Air Force Major Lauri Pekuri, a fighter ace of the Second World War, became the first Finnish pilot to break the sound barrier while flying a Gnat at Lake Luonetjärvi.

The Gnat F.1 proved initially problematic in the harsh Finnish conditions. Finland was the first operational user of Gnat F.1, and the plane still had many issues yet to be resolved. All Gnats were grounded for half a year on 26 August 1958 after the destruction of GN-102 due to a technical design error in its hydraulic system, and the aircraft soon became the subject of severe criticism. Three other aircraft were also destroyed in other accidents, with two pilots ejecting and one being killed. Once the initial problems were ironed out, the plane proved to be extremely manouevreable and had good performance in the air, but also to be very maintenance intensive. The availability of spare parts was always an issue, and its maintenance a challenge to the conscript mechanics. The Gnats were removed from active service in 1972 when the Häme Wing moved to Rovaniemi, and when the new Saab 35 Drakens were brought into use.

The Finnish Air Force serial codes for Folland Gnat were GN-100 - GN-113 and its usual nickname was Nutikka ("Stubby"). Several Finnish Gnat F.1s still survive either as museum pieces or memorials. One airframe, GN-113, is in private ownership.

In the background is Mil Mi-4 HR-1 which was also awaiting restoration, looking awfully similar to a Westland Whirlwind :)

My grand Scandinavian Aviation Tour 1982

After making four successful tours of Northern Europe, in 1978, 1979, 1980 and 1981, made primarily to visit some of the major airports to feed my need to see 'exotic' aircraft, but also to take in the experience of travel abroad, I was lucky to take part in my most interesting and adventurous tour in 1982 - to Scandinavia! Inspired by my long-term affinity with the region (being 6' 2" and blonde I am obviously descended from the Vikings :) I planned the trip to take in the following countries: Norway, Sweden and Finland. For some reason, I couldn't engineer Denmark into my two-week itinerary! The main goal for me was to explore some of Finland, and in particular, to at least see the border with Russia a.k.a. the U.S.S.R. :)

As Finland was the most interesting country of the three for me, I engineered quite a long visit to the country [six days] and managed to visit six of the nine military airfields located in the southern part of the country:

1) Helsinki-Malmi

2) Utti

3) Turku-Abo (shared civil airport)

4) Tampere-Pirkkala

5) Jyväskylä-Luonetjarvi (shared civil airport)

6) Kuopio-Rissala

as well as

7) Helsinki-Vantaa (shared civil airport)

Jyväskylä Airport is an airport in Jyväskylä, Finland. It is located in the center of the Finnish Lake District approximately 20 km north of the centre of Jyväskylä. The Air Force Academy Flight School and the Air Force Academy Supporting Air Operations Wing are stationed at the airport. The main campus of the Air Force Academy is about 5km from the airport. The Finnish Air Force Museum (Aviation Museum of Central Finland) is located near the airport.

The Finnish Air Force Museum, formerly the Aviation Museum of Central Finland is an aviation museum located near Jyväskylä Airport in Tikkakoski, Jyväskylä, Finland. The museum exhibits the aviation history of Finland, from the early 1900s until today. The museum is owned by the Foundation of Aviation Museum of Central Finland (Finnish: Keski-Suomen Ilmailumuseosäätiö). More info here: en.wikipedia.org/wiki/Finnish_Air_Force_Museum

The exhibition consists of aircraft, engines and aircrew equipment which has been used by the Finnish Air Force.

Taken with a Soviet made Zenith TTL camera and standard lens.

You can see a random selection of my aviation memories here: www.flickriver.com/photos/heathrowjunkie/random/

DCR 60055 travels along the West Anglia Main Line at Ely on Friday 9th August 2024. The grey livery 'Tug' hauls a rake of empty JNA box wagons from Brandon to Kings Lynn, via a run round opposite Ely station. The lineside growth at this location in particular is becoming more problematic, especially at this time of year. Even the full height of my pole has not enabled me to get above the first bush by the locomotive. (Photo taken with pole)

El Valle de los Caídos -- literally, the Valley of the Fallen -- is a problematic place. It was commissioned by Franco to commemorate those who perished in the Spanish Civil War that brought him to power, and was designed to be monumental in every regard: the 150-meter cross topping the hill over the basilica is the largest in the world, and the basilica itself, carven into the mountain below, actually had to be redesigned after it was discovered it would have been larger than St. Paul's in Vatican City, which would have been a step too far.

It also, even more controversially, serves as Franco's burial site, and thus attracts a certain Francoist attention. This led the Cortes -- Spain's parliament -- to pass a law directing that Franco be re-interred somewhere less troubling. That directive was tied up in courts for some time, as the law sidestepped the difficult question of whither exactly Franco should be moved. That standstill was in place when we visited, and thus Franco's grave -- reading simply Francisco Franco in unadorned and unpolished stone -- was still there. Shortly afterwards, on 24 September, the stay of action was lifted by the unanimous decision of the nation's highest court, and the exhumation was expected to occur within a month or two. We may thus be some of the final visitors to ever see Franco in situ.

The weather was perfectly appropriate: cloudy, dismal, and grey, with a thick mist pouring over the rock hill. It cleared for a moment at one point, and the cross loomed dimly into view from the swirl of fog.

The open drawbridge over the Maumee River at Toledo, and the "new" (not new anymore) bridge that replaced it. The drawbridge was problematic because that is I-280, and Interstate Highway that essentially links I-80, the Ohio Turnpike, with I-75 to Detroit. In other words, this is the main artery from the Eastern U.S. to Detroit...

The cable-stayed bridge is massive, and very high, enabling ships into Toledo off Lake Erie.

One of Bolles' best but also most problematic covers. It was painted 75 years ago yets its transgressive frisson remains undimmed with time. As just one example, notice how the posing (not positioning) of the fingers adds an additonal element of tension and more important, self-awareness. She was not caught unawares.

🔴Problem Ink - Convict Set

7 Single Colors

12 Colors + Hud Customizable

12 Extra Decals on Hud Fatpack

Bodys: Legacy - Kario - Gianni - Davis - Jake

Manhood Event

Problem ink

We tend to gather ourselves in homogenous groups. And generally with good justification - the familiar is safe, and we tend to expand on our own interests.

As a first step, it's deeply problematic. "I want to know what I know". It's a step that faces inward.

To face the unknown, have courage to look away from the familiar, is to have faith. To expand your energy and become a new person - it comes across a bit airy-fairy but it makes for a fulfilling life.

So do something different - step out of the comfort zone. Turn away from the familiar. There's a lot more out there.

During the early stages of World War II, US Army observers realized that they would need a self-propelled artillery vehicle with sufficient firepower to support armored operations.

The 105 mm Howitzer Motor Carriage M7 was an American self-propelled gun vehicle produced during World War II. It was given the official service name 105 mm Self Propelled Gun, Priest by the British Army, due to the pulpit-like machine gun ring, and following on from the Bishop and the contemporary deacon self-propelled guns.

During the Korean War, the limited elevation of the howitzer became noticeably problematic. 127 M7B1 were modified to permit an elevation of 65° to increase the effective range of the howitzer. The machine gun mount also had to be raised to give a 360° firing arc.

Ontario Regiment R.C.A.C. Museum acquired the very rare M7 Priest from BAIV of the Netherlands, where it had been expertly restored to running condition after being rescued from a German scrap yard.

The tank was put up for auction at Tracks & Trade in Holland where it was purchased for the museum with the support of The Dunkley Charitable Foundation.

The Ontario Regiment RCAC Museum

Aquino Tank Weekend

June 9, 2023

Photographing in the dark woods, in shadows, makes exposure niceties problematic. Subject trumps (er...maybe I need a different word there) exposure. Catching this Robin with a beak full of food was very fortunate.

A general view of Nottingham Freightliner Terminal sees Peak no. 45117 waiting time with 4S86 Nottingham FLT - Coatbridge on 10th July 1978.

This shot was taken from Boots Bridge and the skyline of Nottingham some 3-4 miles away can be seen in the distance.

I used to look forward to the summer months when snapping this train became possible. However with a departure time around 7.10pm, and my diehard addiction to Agfa CT18 (50asa), it required good weather to get a passable result. Even then Toton Yard was about as far as it could get before shutter speeds became too problematical. What price digital back then!