1) The profoundly tender or passionate affection for another person.

2) A feeling of warm personal attachement or deep affection, as for a parent, child, or friend.

[Webster's Encyclopedic Unabridged Dictionary 1989]

Saudade (European Portuguese): is a deep emotional state of nostalgic or profound melancholic longing for an absent something or someone that one loves. Moreover, it often carries a repressed knowledge that the object of longing might never return. A stronger form of saudade might be felt towards people and things whose whereabouts are unknown, such as a lost lover, or a family member who has gone missing, moved away, separated, or died.

Saudade was once described as "the love that remains" after someone is gone. Saudade is the recollection of feelings, experiences, places or events that once brought excitement, pleasure, well-being, which now triggers the senses and makes one live again. It can be described as an emptiness, like someone (e.g., one's children, parents, sibling, grandparents, friends, pets) or something (e.g., places, things one used to do in childhood, or other activities performed in the past) that should be there in a particular moment is missing, and the individual feels this absence. It brings sad and happy feelings altogether, sadness for missing and happiness for having experienced the feeling.

Saudade is a word in Portuguese and Galician (from which it entered Spanish) that claims no direct translation in English. In Portuguese, "Tenho saudades tuas" (European Portuguese) or "Tenho saudades de você" (Brazilian Portuguese), translates as "I have (feel) saudade of you" meaning "I miss you", but carries a much stronger tone. In fact, one can have saudade of someone whom one is with, but have some feeling of loss towards the past or the future. For example, one can have "saudade" towards part of the relationship or emotions once experienced for/with someone, though the person in question still is part of one's life, as in "Tenho saudade do que fomos" (I feel "saudade" of the way we were). Another example can illustrate this use of the word saudade: "Que saudade!" indicating a general feeling of longing, whereby the object of longing can be a general and undefined entity/occasion/person/group/period etc. This feeling of longing can be accompanied or better described by an abstract will to be where the object of longing is.

Despite being hard to translate, saudade has equivalent words in other cultures, and is often related to music styles expressing this feeling such as the blues for African-Americans, dor in Romania, Tizita in Ethiopia, or Assouf for the Tuareg people. In Slovak, the word is clivota or cnenie, and Sehnsucht in German.

Source: Wikipedia

The cityscape of Bratislava is characterized by medieval towers and grandiose 20th-century buildings, but it underwent profound changes in a construction boom at the start of the 21st century.

Most historical buildings are concentrated in the Old Town. Bratislava's Town Hall is a complex of three buildings erected in the 14th–15th centuries and now hosts the Bratislava City Museum. Michael's Gate is the only gate that has been preserved from the medieval fortifications, and it ranks among the oldest of the town's buildings; the narrowest house in Europe is nearby. The University Library building, erected in 1756, was used by the Diet of the Kingdom of Hungary from 1802 to 1848. Much of the significant legislation of the Hungarian Reform Era (such as the abolition of serfdom and the foundation of the Hungarian Academy of Sciences) was enacted there.

The historic centre is characterized by many baroque palaces. The Grassalkovich Palace, built around 1760, is now the residence of the Slovak president, and the Slovak government now has its seat in the former Archiepiscopal Palace. In 1805, diplomats of emperors Napoleon and Francis II signed the fourth Peace of Pressburg in the Primate's Palace, after Napoleon's victory in the Battle of Austerlitz. Some smaller houses are historically significant; composer Johann Nepomuk Hummel was born in an 18th-century house in the Old Town.

Three things that profoundly changed the West, appeared in the year 1873: the Colt SAA "Peacemaker" revolver, the model 1873 "Trapdoor" Springfield rifle and barbed wire.

Camera: Pentax 645N

Lens: smc Pentax-A 645 35mm F/3.5 (yellow filter)

Exposure: 1/250 @ F/8

Film: Kosmo Foto Mono home dev. in D-76 1+1

JAGO: *Reading aloud to Scout, Bogart, Paddy and Cousin Paddington.* " When Cinderella arrived at the palace, it was the king’s son who offered her his hand as she alighted from her golden coach. He led her into the palace to join the glittering company gathered there. Upon her entry to the ballroom there was an immediate and profound silence. Everyone stopped dancing, the musicians ceased to play, and all heads turned, so entranced was everyone with the singular beauty of the unknown newcomer..."

BOGART: "Cinderella is going to be the belle of the ball, Jago!"

COUSIN PADDINGTON: "She certainly is, Bogart! It’s so wonderful!"

SCOUT: *Sighs.*

PADDY: "Scout! Are you paying attention to the story?"

SCOUT: "Oh yes, Paddy! Of course! I was just wondering when the woodcutter was going to arrive."

PADDY: "What woodcutter, Scout?"

SCOUT: "Why the woodcutter who is going to save Cinderella from the Big Bad Wolf to is attending the ball."

JAGO: *Looks perplexed.* "I think you might have your faerie tales confused, Scout."

BOGART: "There is no woodcutter in Cinderella, Scout."

COUSIN PADDINGTON: "Not a big bad wolf. They are both in your favourite faerie tale, Little Red Riding Hood, not Cinderella!"

SCOUT: "Well, we’ll see! This time the story might be different! Cinderella and the Prince might be dancing when suddenly the Big Bad Wolf bounds in from the garden through the French doors, scattering ball guests left and right and then they wood need a woodcutter to save them all!"

PADDY: "I’m sorry Scout, but what would be the purpose of that happening? How would that help Cinderella escape her life of drudgery and live happily ever after with the Prince?"

SCOUT: "Well, the way I see it Paddy, everyone would be in such a commotion running away from the Big Bad Wolf, that Cinderella wouldn’t notice that it was midnight."

JAGO: "But Cinderella does that already! She loses her glass slipper on the palace steps so that the Prince can find her again."

SCOUT: "Well, if that is true, Jago, but if she and the Prince were chased by the wolf and she forgot the time, her dress would get changed back to rags, but the Prince would love her so much that he wouldn’t care about her rags, and she wouldn’t have to go home to her mean old stepmother and nasty stepsisters and wait for him to rescue her!"

BOGART: "Scout does make a good argument for the introduction of the Big Bad Wolf, Paddy and Jago! "

COUSIN PADDINGTON: "I have to agree."

SCOUT: "Thank you Bogart and Cousin Paddington." *Proud.*

PADDY: "Persuasive or not, Scout, I don’t think it’s going to happen."

SCOUT: "Well, we haven’t read this version of Cinderella before, so it might be different. Please keep reading, Jago. "

JAGO: "Oh, yes, where was I? Oh yes, ‘Nothing was then heard but a confused noise of, ‘Who is she? Do we know her? How wonderful her gown! How elegant her hairstyle! How beautiful she is!’ The king himself, old as he was, could not help watching her, and telling the queen softly that it was a long time since he had seen so beautiful and lovely a creature’ Oh, hullo everyone! Paddy, Scout Cousin Paddington, Bogart and I are reading one of Daddy's very special copies of Cinderella from the 1902." *Looks up.* "Why you ask? Well, because today is International Tell a Faerie Tale Day."

BOGART: "What is International Tell a Faerie Tale Day?"

PADDY: "Well Bogart, International Tell a Faerie Tale Day is an informal observance held on the 26th of February every year. It provides a perfect opportunity to read faerie tales."

SCOUT: "But Paddy, we read faerie tales all the time, not just on the 26th of February."

PADDY: "I know Scout, but some adults need an excuse to reconnect with their inner child."

SCOUT: "Daddy doesn't! He reads as many faerie tales as we do."

PADDY: "More than us I think, Scout."

BOGART: "Oh that's sad that others don't read faerie tales as much as we do. They are missing out on so much! They are beautiful!"

SCOUT: "Except when that no good break-and-enter homewrecking Goldilocks breaks into the home of the Three Bears and makes a nuisance of herself, or when the Big Bad Wolf gobbles up Little Red Riding Hood and that was the end of the story, and when the Beast gets turned back into a crummy old prince when Beauty fell in love with him as the Beast."

PADDY: "Well, whether you think they are beautiful or not, Scout and Bogart, Daddy and I encourage you all, even if you don’t have children or your children are not at home or grown up, to not miss the opportunity to reacquaint yourself with faerie tales. It’s perfectly acceptable to read faerie tale books alone, although I prefer reading them with Daddy, Scout, Cousin Paddington, Bogart and Jago. Make a cup of yummy hot chocolate, curl up in a chair and immerse yourself in the world of princes and princesses, evil witches and mischievous faeries, dragons and unicorns, talking animals and magical plants."

SCOUT: "Hot chocolate Paddy? Oooooohhh! I'd love a hot chocolate. Grumby tummy Paddy! Grumbly tummy." *Rubs tummy vigorously.*

Paddy is right, he, Scout, Jago, Bogart and Cousin Paddington have much reading to do, as I have lent them my 1902 copy of "Cinderella or the Little Glass Slipper" published by E. P. Dutton and Company.

My Paddington Bear came to live with me in London when I was two years old (many, many years ago). He was hand made by my Great Aunt and he has a chocolate coloured felt hat, the brim of which had to be pinned up by a safety pin to stop it getting in his eyes. The collar of his mackintosh is made of the same felt. He wears wellington boots made from the same red leather used to make the toggles on his mackintosh.

He has travelled with me across the world and he and I have had many adventures together over the years. He is a very precious member of my small family.

Scout was a gift to Paddy from my friend. He is a Fair Trade Bear hand knitted in Africa. His name comes from the shop my friend found him in: Scout House. He tells me that life was very different where he came from, and Paddy is helping introduce him to many new experiences. Scout catches on quickly, and has proven to be a cheeky, but very lovable member of our closely knit family.

Travelling all the way from London, Cousin Paddington was caught in transit thanks to the Coronavirus pandemic. After so long here he has decided to stop with us permanently. That makes me happy, as the more I look into his happy, smiling face, the more attached I am becoming to him.

Jago is a recent addition to my ever-growing family. A gift from a dear friend in England, he is made of English mohair with suede paw pads and glass eyes. He is a gentle bear, kind and patient who carries an air of calm about him. He is already fitting in with everyone else very nicely.

Bogart has travelled all the way from Georgia, via Alabama as a gift to me from a friend. He has lovely Southern manners and seems to be a fun and gentle soul with an inquisitive nature.

A quotation printed onto tracing paper, laid over glass and light-painted with a Maglite during a 10 second exposure.

"What is more pleasant than the benevolent notice other people take of us, what is more agreeable than their compassionate empathy? What inspires us more than addressing ears flushed with excitement, what captivates us more than exercising our own power of fascination? What is more thrilling than an entire hall of expectant eyes, what more overwhelming than applause surging up to us? What, lastly, equals the enchantment sparked off by the delighted attention we receive from those who profoundly delight ourselves? - Attention by other people is the most irresistible of drugs. To receive it outshines receiving any other kind of income. This is why glory surpasses power and why wealth is overshadowed by prominence."

Caterina Fake, Co-founder of Flickr, 2005.

A couple of years ago I wrote a post called Top 10 Tips for Getting Attention on Flickr that proved fairly popular. A lot has changed at Flickr in the past 2 years though and how imagery is rated and ranked on the site has also changed. That said, I thought I'd write a fresher updated post on the top 10 ways, presently, to get attention on Flickr.

Back in 2006 when I wrote my original article on how to achieve popularity on Flickr my photostream had been viewed almost 400,000 times. According to a Flickr stats page that's been added since that time, the view count for my pages on Flickr now stands at 9,953,328. It should pass 10 million sometime this week. I'm averaging about 14,000 page views a day on Flickr.

Some of how one gets attention on Flickr has remained the same since 2006. Other stuff has changed.

1. Take great pictures. This was my number one way to achieve popularity on Flickr in 2006 and remains the number one way today. Despite all the other things that you might do to promote your photography, none of it will matter if your photos are not interesting. Everyone can be creative. Some are more creative than others. Sometimes your gear and photo processing matters, other times it doesn't. I've seen incredibly beautiful and creative photos taken with a $10 toy camera. And I've seen incredibly beautiful and creative photos taken with a $40,000 digital Hasselblad. I've seen people upload interesting things from a crappy iPhone camera and I've seen people upload interesting things that they spent 8 hours on Photoshop with. But, the better your photos are the more likely that you will get attention. Taking great photos is a prerequisite to everything else in this article.

This said, there are certain types of photos that tend to become more popular on Flickr than others. Provocatively posed female self portraits or photos of attractive women in interesting poses, extremely saturated photos rich with eye candy like color, cityscapes, night photography, photos depicting movement and motion, silhouettes, dramatic architecture, unique portraits, creatively arranged macros and cross processed and some film photography.

2. The order that you post your photos to Flickr counts. The number one way that your photos will likely be seen in Flickr comes from your Flickr contacts looking at their Flickr contact's photos. At present Flickr allows you to set your contacts most recent photos to their last photo, or their last 5 photos. Anything beyond 5 photos in a single batch upload will largely be buried on Flickr. If you are uploading more than 5 photos at once, make sure that you upload your best 5 photos last and what you consider your very best photo last of all. Frequently people will upload a batch of 30 photos from a concert or something with no thought as to which will be the last 5 of the 30 in order.

3. Consider places outside of Flickr to promote your photography. Do you have a blog or a photoblog? If you want more attention on Flickr you should. Flickr makes it very easy to blog your photos, you simply cut and paste the html code above your photo and you are now photoblogging with a direct link back to your photo. My blog, thomashawk.com is my number two external referrer of pageviews to my Flickrstream. Are you on FriendFeed yet? You should be. It's easy to set up and makes sure more people see your photos. Pownce (when it is working) is another place to post interesting photos.

4. Do you have your settings on Flickr configured for maximum exposure? After Flickr itself, Google drives more traffic to my Flickrstream than any other source, even my blog. Yahoo search and both Google and Yahoo image search drive traffic as well. But your photos will be blocked from appearing in search engines unless you authorize Flickr to display your images in search engines. Make sure your photostream is set to not "hide your stuff from public searches," here.

Same goes for the Flickr API. Lots of people are using the Flickr API in interesting ways. I get traffic from places like Flickrleech, Compfight, Technorati and lots of other places that use the Flickr API to extend your photos outside of Flickr. Make sure that you've authorized Flickr to allow API access to your photos here.

5. Explore. Explore still remains the number one way to get photos viewed on Flickr. Explore uses Flickr's "Magic Donkey" algorithm to each day highlight 500 of what Flickr feels are the best photos on Flickr for that day. It's a very popular section of the site despite the fact that everyone seems to constantly hate Explore and decry its mediocrity in selecting exceptional photos. Explore has changed and evolved a lot since it was first introduced at Flickr a few years back. Initially things like *when* you posted your photos mattered.

Whether or not Flickr chooses your photos for Explore is still very much a mystery. But there are some things that we do know. The more faves, comments, tags, etc. your photo gets, the more likely it is that it will appear in Explore. Explore also uses averaging in their algorithm now. This means that if your average photo gets 5 faves, then you'll need to do considerably better than average if you hope to see that photo in Explore.

Photos are also constantly dropping in and out of Explore. I've got 157 photos in Explore at present but I've had 446 that have appeared in Explore at one time or another. You can check out which and how many of your photos that have been showcased by Flickr in Explore here. Just change my Flickr ID at the link above for your own.

6. Groups. Speaking of Explore, if you really want to get a particular photo in Explore consider adding it to a group that encourages tagging, faving and comments of photos. Photo critique groups are good examples of this. Some of the photo critique groups play games where tagging and commenting on a photo are part of the game. Flickr does not distinguish between a photo that has been commented on or tagged organically vs. one that is included in some sort of photo critique game. If you want to boost the likelihood that your photo will be selected for Explore consider putting a strong photo into one of these pools. Photo critique groups on Flickr run the gamut from nice and friendly photo critique groups like TWIP's, to hostile and brutal photo critique groups like DeleteMe Uncensored (note NSFW and maybe not the best group if you are easily offended).

Whatever the case, the key to groups is participation. If you simply dump a bunch of photos blindly into random groups you will likely not get much benefit. In fact, Flickr actually penalizes photo rank if someone posts their photo to too many groups. But posting your photo to selective groups where you participate will encourage activity on your photos and photostream.

7. Tag for Exploration (especially your most popular photos). Why has this photo of mine been viewed over 27,000 times on Flickr? Well in part because it shows up on the first page search results on Flickr for the search term guitar. And why does it show up in searches for the word "guitar?" Because I've got the photo *tagged* guitar. By tagging your photos appropriately you can ensure that more people will see them in search. Think of other ways that you can tag your photos. Are all of your photos taken in San Francisco also tagged "California?" They should be. Are all of your photos tagged "self portrait" also tagged with your name? Again, they should be.

The better you keyword and tag your photos, the more likely they will show up in searches that take place on Flickr. Even if you think that your photos will never be popular enough to rank highly in search, remember that there are other ways that Flickr users can filter search. You can search just by your contacts photos on Flickr for instance. So even if you don't have the most popular sunset photo amongst millions on Flickr, you might have the most popular sunset photo amongst your contacts because you tagged it.

A note that I've seen some people on Flickr abuse tags. They will tag every photo with girl, sunset, cat, etc. Even if these things are not in their photo simply to try and trick people into getting to their photos through search. This sucks. I'm not sure what/if/how Flickr penalizes people who do this, but it's a crappy thing to do and ruins the search experience for everyone. Tag early and often, but only tag your photos with tags that truly are accurate and descriptive.

8. Geotag. One of the more interesting ways to find photos on Flickr is through exploring photos that are geotagged on a map. When I'm going to a new place that I'm not familiar with, frequently Flickr's "Explore the World Map," is one of my first destinations. But of course your photos will not show up here if they are not geotagged. The best way to geotag your photos is actually at the file level before you upload them. I use Geotagger on the Mac which allows you to use Google Earth to geotag your photos. You can also download the free software program from Microsoft Pro Photo Tools to geotag photos on a PC.

Check what Flickr considers your most popular photos and make sure that you geotag (and more descriptively tag) these photos especially -- even if you have to geotag these shots on Flickr using their tools. Geotagging has been documented by Flickr staff as increasing the Flickr "interestingness" rating of a photograph.

9. Consider creating a few "best of" sets and feature them prominently on your Flickrstream. Frequently when people first discover your photostream they don't have time to check out your entire stream. But if you make it easier for them and create a few sets that highlight some of your best work they may stick around longer. I've created two such sets myself. My 10 faves or more set and my 25 faves or more set. These sets highlight what are some of my best work according to the Flickr community and are my two most visited sets on Flickr. As my photos are faved 10 or 25 times I add the tag fav10 or fav25 to these sets and then use SmartSetr to automatically generate these sets.

Make sure also that you change your Flickr page layout from the boring default one to one that highlights your collections and sets better.

10. Tell everyone you know about your Flickrstream. Are you active on other social networks? Is a link to your Flickrstream prominently displayed on your blog? On your Facebook profile page? Be sure to include a link to your Flickrstream in every profile that you are on with other sites. Consider buying Moo cards (even though Moo.com has been lousy for me lately and won't let me buy anymore cards from them) which highlight your photostream that you can give out to people that you run across while out shooting. Tell your friends and family and your offline "real life" contacts about your Flickrstream.

Bonus tip: Reciprocation. Above everything else, perhaps the most important thing about Flickr is that it is a community and a reciprocation based community. If you think that you can just post your photos on the site and they will garner thousands of faves and views simply because, you are wrong. Even the best photos on Flickr will not get very much attention if you simply upload them to the site and never participate.

Flickr has been built to encourage reciprocation. In fact a recent study cited reciprocation as the number one key to popularity on Flickr. Every single time you fave or comment on someone else's photo you are giving them a link back to your own photostream. While you may not have the time to check out *everyone* who faves your photos, spend time each day faving and commenting on other people's photos on Flickr. By sharing with others the fact that you appreciate their photos they will return the favor. Be generous with your faves and comments. Remember, other people like the attention as much as you do.

On digg here.

Update: An interesting link to comments Flickr staff have made about the Explore algorithm here. Thanks, Ole!

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I'm so sorry. The gray area here is appropriate.

I seem to have somehow managed to fracture a rib and everything I do right now, including just sitting briefly at the computer, is intensely painful.

Please know that every day I'm looking at your pictures, but just can't quite sit still long enough to comment on them!

It's unfair that you all keep producing and posting such fantastic stuff and I'm unable to let you know how great I think it is.

Just so you know my absence has not been intentional and hopefully I'll be able to be back soon giving you all the accolades you deserve!

für ältere Mitmenschen mit Geduld und Zeit.

Doch einmal in den Griff bekommen, ist das Verfahren einfacher als die klassische Litherei.

Weißclown, Circus Roncalli um 1980

gespielt heute

mit Variotone, Lithbleicher (Kupfer) und Easy Lith

Man is a playing being.

Initiated by the discussions in this group I have startet to play again with 2nd pass lith and it is damn difficult to stop it.

You may have seen, that I have discovered the charme of „faults“, like this uncompleted bleach. In the past I would have thrown away results like this immediately due to technical shortcomings. Today I am exploring all these additional possibilities for further works. Great prospects are opening up. Sometimes it may be nice and funny to play around without a profound knowlege, but to obtain reproducible results, one should plan each individual step in every detail and keep notes about any slightest modification.

This one for example, came out almost as expected. In my eyes only one step is still suboptimal, the grade of overexposure. A 2/10 stop less exposure would have been better for the contrast.

Paper: Adox Variotone

Developer: SE2 Warm 1+10

Bleach: Copper Lith Bleach – for a better control diluted 1+10

Redeveloper: Easy Lith – A:B:water 2+1,5+500ml 3 minutes at 30-35°C

A profound statement by I know not whom.

The evocative and lyrical background track composed by Dexter Britain..... entitled 'Lucky ones'

K4.0000

8 Aug 18

"Profound silence is often a sign of regression. It is also often a symptom of physic numbness." -John Lee

As the last light of dusk casts its light across the bay, the tide moves in rapidly to caress the stoic trees. The moon ever bright rises to illuminate the night to come.

a meaningful love that is ever-present in everyone's heart...

When the sun began to lean, there was

an old history on the hill of the village Found a temple.

We borrowed the corridor of the temple to take pictures

A quiet, neat corridor with no sound, old history.

In the work of the attentive monks in a profound

Comes from the back of the mountain.

She was shining beautifully in a light.

under the skies that transcend billions of universes,

the outsized elephant-room of questions & secrets;

deepak ` the lightwriter's canvas broach in open.

we read our dread, Who if I cried out would hear me?

mind the stillness-mat viz; feelings get encroached; at

first, you praise their dress, then you get ash-dressed.

'ours' keeps breaking - ourselves, within our perimeter.

bully / pulpit alters us; diminishes sickle consciousness.

betwixt the micro spaces of conversation / correctness,

a certain static silence had enshrined in - just all over.

harbinger of tenuous assumptions kept on ossifying

into the experiments with musts, doubts, turncoats.

approvers bare intimacy that bears inching eyes;

and when one is completely inside one's perfidy,

a cover-up mindset suborns a hushed horizon —

pretends - the decisions had been difficult. 'yes'

— deserts us in a forgetting curve that reminds us,

of sti-ff-ness between us, culturing the same sky.

take over air consternates us-sets dreams on fire.

formless hubris viz debris, give themselves to gust

to be e'er scattered betwixt this/that; bedraggled.

zeroing in, insecurity at the heart of human constructs

the displaced shoes let you see, the surface of yore.

a long haul to dig and find, the great heart of our past.

no spin here, to foresee, real ground under our feet.

unchopping a tree, perched on wasteland, silences..

a thousand mile stare, ensouls thousand silhouettes:

anagram—breathy.ed each other to the bridging truth;

and learnedness, endlessly multiplied with curtain call.

where e g /oquence isolates honest assessment, not

being one of their chiliad/st.ic quarters isn't isolation.

not a diminishment, if being exercised more fully -

- truth's episodic memory is tender and unwavering;

ongoing procedure of days - = - simply transformative,

to rain align, all the absorbed moments of illumination.

bathed in light, friendships bear holistic temperament

alert, alert, alter! “after the game is before the game”.

tales shine in via our window of thousand caresses,

where you are sewing a blouse that feeds the spine.

tender paws & sky-ball inside, dashing out of a conch;

over tears-coasts, the white expanse, so kind & clear.

coconut chirping an intrinsic and glorious awakening.

rose dew here, and trouble talk lies beyond the map.

the truth is made real through servitude in affection.

psithurism of intimate revelations recalls clutched keys;

the key did turn. everywhere you turn is full of wonder.

awed to see - the shift inside, shifts deep garden state!

how did a blackbird of the milky way land up here,

that joy glistens in the kaleidoscopic, tent•i•er eyes.

how else to truly trace this landscape of provenance,

a cat following a radiant butterfly to the ringing bells.

　　 　 　　 　　 　　 ※

　 　　 　　 India ▪ that is Bhāratam

　 　a quiet 'photo meditation' and a poem

　　 　 to read in the quiet of your days.

　　 and share as we gather around what we love.

© Think Through The — Magic Box Photographie [◎]

　 　* The italicized line is by Rainer Maria Rilke.

Memento Mori - a remarkable concept as "Tempus Fugit"

Sacra di San Michele: the charm of symbology

In the Middle Ages the link between faith and a daily life steeped in superstitions and ancestral religious practices was profound: numerology, astrology, occult meanings given to colors and geometric shapes, plants or animals survived stronger than it seems. A bond that we find in the symbolic place of Piemonte, the Sacra di San Michele. The stairway of the dead ( Scalone dei Morti) in order to reach the Porta dello Zodiaco at the Sacra di San Michele, the visitor must climb a total of 243 steps, almost in a sort of "ascending path". An ascent in which we can already search for hidden meanings: according to Kabbalisticism, to understand the meaning of a number greater than 22 you need to add its digits until you get a number between 1-22. Done? The sum of the digits that make up the number 243 therefore takes you to the number 9, a number of great importance for Western cabalistics as it is the product of the multiplication of 3x3, a well-known Trinitarian symbol. An "ascending path" that passes by a staircase called Scalone dei Morti, because niches were created along it which housed the bodies of deceased monks, and which recalls other interesting symbols. Considering the appearance of this staircase, which leads to the so-called Portal of the Zodiac, the cave and the door to heaven come to mind. In ancient times the cave has always been a metaphor for the center of the world. Curious if we also notice that this artificial cave was built right in the heart of Mount Pirchiriano. A cave that welcomes these 243 steps that recall an ascending axis, a metaphor for the ascent from material and earthly things to the Absolute of heavenly life and to communion with God. It is therefore not surprising the desire to place the remains of the dead monks in niches created right along the grand staircase: monks who reach the gates of Heaven and eternal life, on an upward journey that allows them to leave behind everything related to their past earthly life in order to be able to get rid of their bodies and let their soul is reunited with the Eternal. The Portal of the Zodiac - Once you have climbed the staircase, you then reach this portal, so called because the 12 signs of the zodiac are engraved on it. A first curiosity catches the eye of the attentive observer: unlike usual, it is the internal faces of the entrance that are decorated and not those facing the outside. Why? There are those who hypothesize that this indicates a simple relocation of parts of a reused portal, but if we want to go back to the ascending symbology encountered earlier then the answer is simple: the important side, therefore embellished and decorated, was the internal one facing towards the staircase welcomed those who walked along it.

A profound feeling of change, newness, excitement, expectation and sights of amazing beauty and colour as nature begins its seasonal awakening.

Otranto sits right on the Adriatic sea, gazing out across its eponymous strait towards the Balkans and Greece, a strategic position that has profoundly influenced its history. In Roman times, it became an important commercial port - there was a significant Jewish population of traders - but also a departure point for Roman military expeditions to the east, as testified to by two marble pillar bases recording the transient presence of Emperors Lucio Vero and Marco Aurelio. For a period Otranto even overshadowed Brindisi.

Otranto's east-facing sea-front position, however, also made it susceptible to attacks from across the Adriatic. The most notorious took place on 28th July 1480, when a Turkish fleet of around 150 ships carrying 18,000 soldiers landed to lay siege to the town. The resistance and resilience of the town's folk is stuff of legend but after two weeks of fighting Gedik Ahmed Pasha, the Turkish commander, and his men finally stormed the castle and laid waste to the town and its population. All males over 15 were murdered and the women and children were sold into slavery.

800 survivors barricaded themselves inside the Cathedral with their bishop, Stefano Agricoli, to pray for deliverance. Divine intervention was not forthcoming, however, and they were soon captured. Gedik Ahmed Pasha demanded they renounce their Christian faith and convert to Islam but not one capitulated and their fate was sealed. The unfortunate bishop was cut to pieces and his head paraded round the town on a pike while the others were marched to the hill of Minerva and beheaded.

Years later, in 1771, a Papal decree formally beatified the 800, who became known as the Blessed Martyrs of Otranto.

Otranto is certainly one of Puglia's most charming towns and is well worth a visit. The imposing castle, thick perimeter walls and robust towers (built after the town was liberated from the Turks in the late 15th century) dominate much of the town, giving way to a small port, a series of sea-front promenades with excellent fish restaurants and the town's very own beautiful white sandy beach and turquoise waters...

Live through the pain. The healing will make me stronger.

__

peak district. dreams and memories merge

There is no way to describe how we all feel. Most of us "only" knew Prince through his music, but that was more than enough for him to have had a profound effect on our lives. Seeing the outpouring of love and respect on social media, in the press, on public structures cast in purple glow, and by the legions of people who celebrated his life as he would want it to be -- by coming together and dancing all over the globe, has been so touching to us all at prince.org. This site has always been about the fans first, but obviously without the man, there would be no fans. We now honor the genius musician, the visionary, the icon, and most of all the human that was Prince, and offer our deepest shared sympathies. We knew and loved his music, and made it part of our lives, our soul, our being; that's the ultimate tribute, and as a result, he will live eternally. Prince, you will be forever in our life, forever in our hearts, forever on our stereos. wish u heaven.

--Ben, founder of prince.org, 4/22/2016

@princeorg

prince.org/

Prince Rogers Nelson (June 7, 1958 – April 21, 2016) was an American singer, songwriter, multi-instrumentalist, record producer and actor. Prince was renowned as an innovator and was widely known for his eclectic work, flamboyant stage presence and vocal range. He is regarded as the pioneer of Minneapolis sound; his music integrates a wide variety of styles, including funk, rock, R&B, soul, psychedelia and pop.

Prince was born in Minneapolis and developed an interest in music as a young child, writing his first song when he was seven years old. After recording songs with his cousin's band 94 East, 19-year-old Prince recorded several unsuccessful demo tapes before releasing his debut album For You in 1978, under the guidance of manager Owen Husney. His 1979 album Prince went platinum due to the success of the singles "Why You Wanna Treat Me So Bad?" and "I Wanna Be Your Lover". His next three records—Dirty Mind (1980), Controversy (1981), and 1999 (1982)—continued his success, showcasing Prince's trademark of prominently sexual lyrics and incorporation of elements of funk, dance, and rock music. In 1984, he began referring to his backup band as The Revolution and released Purple Rain, which served as the soundtrack to his film debut of the same name. A prolific songwriter, Prince in the 1980s wrote songs for and produced work by many other acts, often under pseudonyms.

After releasing the albums Around the World in a Day (1985) and Parade (1986), The Revolution disbanded and Prince released the double album Sign o' the Times (1987) as a solo artist. He released three more solo albums before debuting The New Power Generation band in 1991. He changed his stage name in 1993 to an unpronounceable symbol Prince logo.svg, also known as the "Love Symbol". He then began releasing new albums at a faster pace to remove himself from contractual obligations to Warner Bros.; he released five records between 1994 and 1996 before signing with Arista Records in 1998. In 2000, he began referring to himself as "Prince" again. He released 15 albums after that; his final album, HITnRUN Phase Two, was first released exclusively on the Tidal streaming service on December 11, 2015.[1] On April 21, 2016, he died at his Paisley Park recording studio and home in Chanhassen, Minnesota after suffering flu-like symptoms in the previous weeks.

Prince sold over 100 million records worldwide, making him one of the best-selling artists of all time.

He won seven Grammy Awards, a Golden Globe Award,and an Academy Award.He was inducted into the Rock and Roll Hall of Fame in 2004, the first year of his eligibility.[6] Rolling Stone ranked Prince at number 27 on its list of the 100 Greatest Artists of All Time.Prior to the disbanding of The Revolution, Prince was working on two separate projects, The Revolution album Dream Factory and a solo effort, Camille.[49] Unlike the three previous band albums, Dream Factory included input from the band members and featured songs with lead vocals by Wendy & Lisa.[49] The Camille project saw Prince create a new persona primarily singing in a speeded-up, female-sounding voice. With the dismissal of The Revolution, Prince consolidated material from both shelved albums, along with some new songs, into a three-LP album to be titled Crystal Ball.[50] Warner Bros. forced Prince to trim the triple album to a double album and Sign o' the Times was released on March 31, 1987.The album peaked at No. 6 on the Billboard 200 albums chart.The first single, "Sign o' the Times", charted at No. 3 on the Hot 100. The follow-up single, "If I Was Your Girlfriend" charted poorly at No. 67 on the Hot 100, but went to No. 12 on R&B chart.The third single, a duet with Sheena Easton, "U Got the Look" charted at No. 2 on the Hot 100, No. 11 on the R&B chart,and the final single "I Could Never Take the Place of Your Man" finished at No. 10 on Hot 100 and No. 14 on the R&B chart.It was named the top album of the year by the Pazz & Jop critics' poll, and sold 3.2 million copies.In Europe it performed well, and Prince promoted the album overseas with a lengthy tour. Putting together a new backing band from the remnants of The Revolution, Prince added bassist Levi Seacer, Jr., keyboardist Boni Boyer, and dancer/choreographer Cat Gloverto go with new drummer Sheila E.and holdovers Miko Weaver, Doctor Fink, Eric Leeds, Atlanta Bliss, and the Bodyguards (Jerome, Wally Safford, and Greg Brooks) for the Sign o' the Times Tour.The tour was a success overseas, with Warner Bros. and Prince's managers wanted to bring it to the US to promote sales of Sign o' the Times;Prince balked at a full US tour, as he was ready to produce a new album.[56] As a compromise the last two nights of the tour were filmed for release in movie theaters. The film quality was deemed subpar and reshoots were performed at his Paisley Park studios.[56] The film Sign o' the Times was released on November 20, 1987. The film received more critical praise than Under the Cherry Moon, but its box-office receipts were minimal and it quickly left theaters.The next album intended for release was to be The Black Album.[58] More instrumental and funk and R&B themed than recent releases,[59] The Black Album also saw Prince experiment with hip hop music on the songs "Bob George" and "Dead on It". Prince was set to release the album with a monochromatic black cover with only the catalog number printed, but after 500,000 copies had been pressed,[60] Prince had a spiritual epiphany that the album was evil and had it recalled.It was later released by Warner Bros. as a limited edition album in 1994. Prince went back in the studio for eight weeks and recorded Lovesexy.

Released on May 10, 1988, Lovesexy serves as a spiritual opposite to the dark The Black Album.Every song is a solo effort by Prince, except "Eye No" which was recorded with his backing band at the time. Lovesexy reached No. 11 on the Billboard 200 and No. 5 on the R&B albums chart. The lead single, "Alphabet St.", peaked at No. 8 on the Hot 100 and No. 3 on the R&B chart;it sold 750,000 copies.

Prince again took his post-Revolution backing band (minus the Bodyguards) on a three leg, 84-show Lovesexy World Tour; although the shows were well received by huge crowds, they lost money due to the expensive sets and incorporated props.

en.wikipedia.org/wiki/Prince_(musician)

For this prestigious command, Rembrandt makes both compositions answer himself by the introduction of a movement: Maerten Soolmans tightens a glove, pledges of loyalty, in his wife who lowers a staircase towards him. A big curtain at the bottom unites both paintings, just like blow of light which falls frankly on the right shoulder of Maerten and more slowly on the big lace collar of Oopjen. In these years, all the genius of master of Amsterdam lives in the party and brilliant effects which it pulls of this concentration of the range colored around the black, around the white and around the grey.The luxury of the black dresses, then the most expensive, offers him(her) the opportunity(occasion) to show brilliance in the depiction of the materials(subjects): the garment starched by Maerten, his(her,its) satin lapels(backhands) against the fluidity(flow) and the lightness(thoughtlessness) of silks, satins and tulles dotted with the dress of Oopjen, the swelled size of which suggests the pregnancy. Knots in the belt create as a garland uniting the spouses.. The precision and the refinement of the detail are read in the motives which decorate the hose of the husband, in the extravagant knots of his(her,its) shoes or the range(fan) of Oopjen. The expression of the models is very different: the face of Maerten is round, its expression is more generic than that of Oopjen, more melancholic and softer. The color of flesh is more frank and pinkish at Maerten, it is more transparent and more pale at Oopjen.

Pour cette commande prestigieuse, Rembrandt fait se répondre les deux compositions par l’introduction d’un mouvement : Maerten Soolmans tend un gant, gage de fidélité, à son épouse qui descend un escalier vers lui. Un grand rideau dans le fond unit les deux toiles, tout comme le coup de lumière qui tombe crûment sur l’épaule droite de Maerten et plus doucement sur le grand col de dentelles d’Oopjen. Dans ces années-là, tout le génie du maître d’Amsterdam réside dans le parti et les éblouissants effets qu’il tire de cette concentration de la gamme colorée autour du noir, du blanc et du gris. Le luxe des tenues noires, alors les plus coûteuses, lui offre l’occasion de faire montre de brio dans le rendu des matières : le vêtement empesé de Maerten, ses revers de satin contre la fluidité et la légèreté des soies, les satins et les tulles piqués de la robe d’Oopjen, dont la taille enflée laisse supposer la grossesse. Les noeuds à la ceinture créent comme une guirlande unissant les époux. La précision et le raffinement du détail se lisent dans les motifs qui décorent les chausses de l’époux, dans les extravagants noeuds de ses souliers ou l’éventail d’Oopjen. L’expression des modèles est très différente : le visage de Maerten est rond, son expression est plus générique que celle d’Oopjen, plus mélancolique et douce. La couleur des chairs est plus franche et rosée chez Maerten, elle est plus transparente et pâle chez Oopjen.

www.louvre.fr/les-portraits-de-maerten-soolmans-et-d-oopj...

Let me just point out that it is a statement Storm stands for, and not a wish the rest of us share.

I go back to February in this photo. Some ask if the sun is always blue over Fjaerland, and the answer is sadly no. I am afraid Flickr is a fake reality, if not as bad as Facebook. We post mostly the sunny photos and the ones where the belly somehow looks smaller than in reallity.

Today there is a heavy and cold rain coming down. Not nice, and I will not post pictures of it, but I must admitt that it removes the snow a lot more effective than sun in day and frost at night.

There is a lot more photos in the first comment.

I often like rock versions of well known songs. It is hardly ever wrong to add a punch in the arrangement, nor power in the vocals. One I found a few weeks ago is Bad Wolves version of Cranberries Zombie. I really like this one www.youtube.com/watch?v=9XaS93WMRQQ

If you want to learn more about the story behind it, then read on further. I feel this to be a good version, and the reason behind it a touching one.

"One of our most asked-about songs recently has been the cover of "Zombie" done by the rock group Bad Wolves

Personally, the first time I heard this song, it instantly became one of my favorites. The haunting lyrics...the slow build to a chorus that's almost impossible NOT to turn the volume up to 10 and sing along to. Obviously, most of us have heard this song from the Cranberries original version in 1994.

According to Songfacts , the song is about the Irish Republican Army, who in 1993 set off bombs in a busy shopping area near Liverpool, England that killed a 3-year-old and 12-year-old boy and injured more than 50. Although they said ( according to the New York Times ) that they "profoundly" regretted the death and injuries.The Irish rebellion against British power began in 1916, hence the lyrics " it's the same old theme since 1916..." from the Cranberries version of the song.

Cranberries lead singer Dolores O'Riordan claimed that "Zombie" speaks about "the Irish fight for independence that seems to last forever."

According to Songfacts:

On August 31, 1994, just a few weeks after this song was released, the IRA declared a ceasefire after 25 years of conflict, leading some critics of The Cranberries to wonder if the IRA was willing to call a truce to make sure the group didn't release any more songs about them.

Fast-Forward to 2018:

The hard-rock band Bad Wolves wanted to do a cover of this song. They recorded a demo and in order to get clearance on the copyright laws of the song, sent it to management of the Cranberries. Management let the band hear it, and O'Riordan liked the song so much that she said she'd lend her vocals to this new version of it.

When news got back to Bad Wolves, they were excited about the opportunity and ecstatic that O' Riordan wanted to collaborate on it.

According to an interview, lead singer Tommy Vext said " She was really excited about that because the nations may have changed but we're still fighting the same battles today. Humanity is still fighting to assert itself despite all the conflicts."

The day that O'Riordan was set to join Bad Wolves in the studio for recording, she sadly passed away in her hotel room.

According to an interview with Billboard , , Vext and his bandmates were shocked and were at a crossroads: do they just 'shelf' the song and forget about it...or do they release it anyway?

They felt releasing it may be bad for their image as they didn't want to make it look like they were capitalizing on O'Riordan's death.

Instead, they decided that all the proceeds they made from the single release would go to O'Riordan's children. Meanwhile, it was pushed to Rock radio stations in the USA. The song follows suit with successful covers from 'Modern Rock' bands of older songs such as Disturb's "Sound of Silence" (originally done by Simon and Garfunkel )and Five Finger Death Punch's "Gone Away" (originally done by The Offspring ) and "House of the Rising Sun" (originally done by The Animals .)

Check out the homage paid to O'Riordan (who was painted in gold in the original video) with the recent video: www.youtube.com/watch?v=9XaS93WMRQQ"

Class 121 960011 (Ex 55025) at Water Orton.

I’ve been privileged to teach art history at two sl universities, and now in my small island community. Three hundred classes over a handful of years, aside from my art & design work on the other side of the screen.

I believe everyone needs a hobby—even better if it turns into a passion, like this one has for me. Sharing the lives and works of the masters, upon whose broad shoulders we stand, convincing others—who feel they’re not capable of being artists—to take up the practice of art is deeply rewarding.

To create more art is fulfilling; having the opportunity to light that flame in others, to create more artists, is a profound blessing.

on a gate in Monsal dale

One of the most rewarding joys of landscape photography for me is way it catalyzes calming, almost elementally humbling feelings. When in such locations as this shot, (Flambrough head at low tide) I feel profoundly immersed in nature and genuinely emotionally centred. It just feels ‘so right’ on many different levels. (Sorry to sound a bit like a new age eco warier so early in this post, but even the most emotionally hard street photographers amongst you, should just try at least once placing yourself in such environments to see how it feels...)

Anyway, not only does this environment help me feel calm and centred, but the very act of photographing it, offers the added caveat of immense exhilaration. Putting oneself into this dynamic environment, at dusk, at the very edge of acceptable safety, dodging waves, wading just that bit too far out and second guessing the incoming tide, has the stimulating ability to sharpen the mind. Let’s not forget dealing with the anxious feelings knowing that you’re mobile is out of signal and any form of human insurance left hours ago. Let’s not stress either, about the long slippery walk over wet seaweed encrusted rocks back to the car in the dark, (unless of course you slip within the tidal range), but your most probably going to end up alive in the morning.

But just reflecting for a moment, I’m sure that I wouldn’t make the considerably arduous effort and experience the feelings of excitement and anxiety associated with pushing oneself to the edge of acceptable risk, if I wasn’t doing it for a photographic reason. In part, it’s the very risk taking itself that inspires the deep humbling feelings of connectivity with the natural surroundings. I wouldn’t be doing this, (or experiencing what I am) if it were not for the fact that I am attempting to record the feeling photographically. Yes I could connect with my inner calma and tune my sharks in other ways and do yoga overlooking a setting sun to really connect with the oneness of nature, (believe me I’ve seen people doing it) but I wouldn’t be pushing myself towards feeling this unique type of exhilaration. It would be a little strange to be there at dusk sometimes a little too deep in choppy seas, really observing the natural rhythms of nature without having a reason for looking. The desire to seek out this in our environment, even with camera gear strapped to my back, has actually helped catalyse a deeper feel a oneness with the environment. It’s as close to a meditation experience I can admit to here in public. Anyway as I said, there are many reasons for my photographic obsessing, but in part anyway this exhilaration is often overlooked as one of those justifications.

Now turning to this shot in greater depth, the range of subtle colours generated in this location amazed me. Flambrough is fundamentally white chalk cliffs and this does wondrous things to the reflected and refracted light, especially in the water. Light just bounces around, even when there isn’t much around, creating much more depth and range of colours. With this particular evening the sunset didn’t really materialise, (shame as the previous evening there was a speculator dramatic light show but for the sake of my marriage, I only saw it through my peripheral vision) but in a gritted teeth mature way, I’m kind of glad that I ended up here on this evening. It offered me the opportunity to appreciate the subtler more calming experiences. Something that as I get older I’m enjoying much more, who knows I may even put the camera on timed release next time and adopt the lotus position to record my tree hugging development.

The ability to detect electrical activity in the brain through the scalp, and to control it, will soon transform medicine and change society in profound ways. Patterns of electrical activity in the brain can reveal a person’s cognition—normal and abnormal. New methods to stimulate specific brain circuits can treat neurological and mental illnesses and control behavior. In crossing this threshold of great promise, difficult ethical quandaries confront us.

Zion Canyon Scenic Drive, Zion National Park, Utah, USA

The road is off limits to cars, giving the park much needed peace and tranquility during tourist seasons.

I had a profound sense of calmness yet unexplainable heart pounding ecstasy at the same time when standing there in the cool shadows of the deep canyon surrounded by the tall mountains.

Profound Assaults.

Technische Präzedenzfälle Experimente relevant Aufrichtigkeit Fäuste nähert Vernichtung unbefriedigenden Kultur Lesegerät,

eosdem gradus authorial verba prosa oratione vertit ubiquitous scrutari multipliciter hybrid symbolic fortuna socialis taboos,

εικασίες αποφάσεις πατρίκιος αποτυχία επίθεση εξηγήσεις εκρηκτικός σουρεαλισμός πτώση πολιτική ακατάσχετοι κανόνες αναγραμματικοί κριτικοί,

firmeza vientos iracundos voces secretas hostigamiento ansia gulping satisfacción vergonzosas concepciones destrozar cráneos,

terribles pouvoirs perforants tourbillons rues indifférence sourires mépris lois indignation esprits coups méchants branches gloutonnes invisibles loups affamés,

خطط مخفية لعنة الافتراضات الظلمات الحياة عديمة القيمة يؤدي ادعاءات جريئة النبيلة أمثلة خفية أسس التأملات الحقد,

夜の冒険血まみれの航海赤い感情暗い眉の怪物ハッチングされた極端な軽蔑パス鬼の腸パス悪魔.

Steve.D.Hammond.

On October 31st, 2008, I made a profound decision to honour the memory of every person and animal lost in the tragic sinking of the RMS Titanic on April 15th, 1912.

This undertaking led me on a captivating journey of extensive research and introduced me to a multitude of fascinating individuals who wholeheartedly supported my endeavours. Along the way, I discovered that lives were also lost during the construction of this remarkable vessel, prompting me to include them in my tribute. The culmination of my efforts resulted in the creation of an art collection comprising of 1,600 paintings.

Today, I am thrilled to share with you some of these poignant paintings and accompanying music. It is my heartfelt invitation for you to join me on April 15th, 2012, as we commemorate the centenary of the RMS Titanic's tragic sinking - a time to remember and honour those who perished.

May They All Rest in Peace.

Acknowledgements

Ida Straus

Mavis Henslow

Cye Elliott

Pryere

W.W.

Roderick Bowen

Maria, John & Natasza

David Livingstone

Ray & Candy Taylor

Barry Moulton

V.G.

Encyclopedia Titanic

I would like to express a special thanks to Pryere for photographing all of my paintings.

Anniversary of RMS Titanic Sinking - 15th April, 1912

♫ - Paintings and Music by Sophie Shapiro

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

The Bible, Solomon's Song

for Flickriver - Sophie Shapiro

Emily Dickinson poem. "If the relics of childhood are still present though transcended in the poem, that only adds to the poem's profound insight, expressing an abiding reality of the human consciousness. . . .[T]he picture presented in the poem, of the poet alone with her dog outside the town's limits, pursued by the rising tide of consciousness or (to change the metaphor to that of another of her poems) by 'That awful stranger Consciousness', the presence whom she is trying to exorcise or master through the return to the town." Kenneth Stocks comment on it.

Interesting what you get when you Google "mystic dog walk"!

And if you want to know more and read the poem:

By Robin Ekiss www.poetryfoundation.org/learning/guide/237890

Many poets have written about the sea: Whitman, Baudelaire, Rimbaud . . . a list that goes all the way back to Homer. For some people and poets, the ocean represents adventure and escape. For others, its vastness suggests the infinite depths of the self or the unconscious, even danger, which also lurks beneath the waves. For Emily Dickinson (who’d never actually seen the ocean), its unfathomable beauty represented many of these things and more. In her poem, “I started Early — Took my Dog,” we can fully experience the ocean’s power over the poet’s imagination.

Though unpublished—and largely unknown—in her lifetime, Dickinson is now considered one of the great American poets of the 19th century. She spent most of her adult life at home in Amherst, Massachusetts, but her reclusive tendencies didn’t stop her from roaming far and wide in her mind.

Like most of Dickinson’s work, this poem relies heavily on the hymn and ballad forms. As a churchgoer, Dickinson was very familiar with hymns, whose rigid rhyme and syllable structure create a melody that’s recognizable in many of her poems, which can be sung to familiar hymn tunes, such as “Amazing Grace.” Because of its religious association, the hymn form brings a certain spiritual gravity to Dickinson’s work, lending her poems about everyday experience a kind of religious reverence.

Dickinson also relied on the ballad in structuring her poems. Composed of four-line stanzas with strong rhythms, repetitions, and rhymes (usually on the second and fourth lines), ballads were traditionally a form of storytelling set to music. When Dickinson’s lines are read out loud, it’s easy to see (and hear) how they create their own song that tells a story.

That story begins with the simple-enough task of taking a dog for a walk on the beach:

I started Early – Took my Dog –

And visited the Sea –

But this early-morning stroll is anything but ordinary. Though Dickinson, indeed, was known to walk her dog, Carlo, on the grounds of her house, they never ventured as far as the ocean. Having never seen it, Dickinson must imagine the sea, and she transforms it through metaphor into something much more familiar to her: a house, complete with a “Basement” and an attic (“the Upper Floor”).

As if paying a social call, she’s greeted not at the door, but at the shore—by mermaids and frigates (square-rigged ships of the 18th and early 19th centuries), which hold out their “Hempen Hands” (their ropes) to her as though she were a shipwrecked mouse scurrying between the ship’s deck and the dock, with the possibility of escape:

The Mermaids in the Basement

Came out to look at me –

And Frigates – in the Upper Floor

Extended Hempen Hands –

Presuming Me to be a Mouse –

Aground – opon the Sands –

In Dickinson’s imagination, the sea becomes a magical place, and the poem, filled with friendly, unthreatening creatures, is like a nursery rhyme. That comforting sense of simplicity is heightened by her unique syntax and punctuation, filled with dashes and unusual capitalization. Each dash demands that we pause for a moment between the capitalized words, emphasizing the rhythmic and lyrical qualities of the poem. Much as the full “stops” of a telegram charge every subsequent line, Dickinson’s dashes slow us down and make every inventive detail and carefully chosen image seem all the more deliberate. The effect lulls us, as waves do, and also forces us to feel the drama of the poem’s language.

But all is not as it seems. In the third stanza, we see a literal turning of the tide. The waves begin to take on a menacing tone:

But no Man moved Me – till the Tide

Went past my simple Shoe –

And past my Apron – and my Belt

And past my Boddice – too –

The advancing water threatens to drown the speaker as it rises dramatically, phrase by phrase, past her chest. Taking on the characteristics of a man, the ocean becomes volatile and voracious, threatening to devour her:

And made as He would eat me up –

As wholly as a Dew

Opon a Dandelion’s Sleeve –

“And then—I started—too,” the speaker says, repeating a crucial verb from the poem’s first stanza. In the poem’s first line, “started” implies “starting a journey.” Repeated here, it suggests she is “startled” by fright, retreating as the tide continues to pursue her:

And He – He followed – close behind –

I felt His Silver Heel

Opon my Ancle – Then My Shoes

Would overflow with Pearl –

The speaker who so calmly “visited” the sea with her canine companion at the start of the poem now flees from it, with the sea (still a “He”) running “close behind,” lapping at her feet. As though he is trying to consume her, his “Silver Heel” touches her ankle. She pauses to imagine what might happen if they truly become one: “Then my Shoes / Would overflow with Pearl” (the ocean’s bubbly, white-washed surf). Though she’s obviously threatened by the possibility of consummation here, there’s beauty in it, too: the way pearls are beautiful, once they’ve been released from their shells.

But her dream of being subsumed by the sea is interrupted by the inescapable reality of the town, a place so “solid” that her imagined Poseidon must concede (and recede) back to his ocean floor:

Until We met the Solid Town –

No One He seemed to know –

And bowing – with a Mighty look –

At me – The Sea withdrew –

The use of the pronoun “we” in this final stanza reiterates that the speaker and the sea are indeed united for a moment, and then separated at last. Our final sight of the sea is as a “bowing” gentleman whose “Mighty look / At me” (a lowercase “me” that contrasts with the capitalized “Me” in the third stanza) leaves her feeling a tangible sense of loss.

Invited, awed, and ultimately cowed by her imagined experience, Dickinson’s speaker undergoes a true sea change in her perception. For someone who could only imagine it, the ocean, which on the surface may seem serene, comes to represent something decidedly more sinister. Dickinson’s vision portrays the sea as a place that’s both welcoming and wary, as the imagination itself can be for many writers and readers.

In our day everyone wants to appear intelligent; one would prefer to be accused of crime than of naiveté if the accompanying risks could be avoided. But since intelligence cannot be drawn from the void, subterfuges are resorted to, one of the most prevalent being the mania for “demystification”, which allows an air of intelligence to be conveyed at small cost, for all one need do is assert that the normal response to a particular phenomenon is “prejudiced” and that it is high time it was cleared of the “legends” surrounding it; if the ocean could be made out to be a pond or the Himalayas a hill, it would be done. Certain writers find it impossible to be content with taking note of the fact that a particular thing or person has a particular character or destiny, as everyone had done before them; they must always begin by remarking that “it has too often been said”, and go on to declare that the reality is something quite different and has at last been discovered, and that up till now all the world has been “living a lie”. This strategy is applied above all to things that are evident and universally known.

However that may be, there is naiveté everywhere and there always has been, and man cannot escape from it, unless he can surpass his humanity; in this truth lie the key and solution to the problem. For what matters is not the question of knowing whether the dialectic or demeanor of a Plato is naive or not, or whether they are so to a certain extent and no further —and one would like to know where the absolute standards of all this could be found— but exclusively the fact that the sage or the saint has an inward access to concrete Truth; the simplest formulation —doubtless the most “naive” for some tastes— can be the threshold of a Knowledge as complete and profound as possible.

[“Blessed are the poor in spirit: for theirs is the kingdom of Heaven” (Matt. 5:3); ”But let your communication be, Yea, yea; Nay, nay: for whatsoever is more than these cometh of evil” (Matt. 5:37); “Except ye be converted, and become as little children, ye shall not enter into the kingdom of Heaven” (Matt. 18:3); “Blessed are they that have not seen, and yet have believed” (John 20:29).]

If the Bible is naive, it is an honor to be naive; if the philosophies that deny the Spirit are intelligent, there is no such thing as intelligence. Behind a humble belief in a Paradise situated among the clouds there is at least a foundation of inalienable truth, but more than that —and this is something priceless— there is a merciful reality that never disappoints.

---

Frithjof Schuon: Light on The Ancient Worlds

---

www.metmuseum.org/art/collection/search/317618

Today, we are facing a profound human crisis, which we can sum up in this mysterious torpor, this insurmountable boredom, this lack of humanity in which we often find ourselves when the mentality the book denounces is victorious. This profound human crisis is seen in the passivity of many young people, who seem almost incapable of getting interested in something truly meaningful, or in the skepticism of many adults, who do not show them anything for which it would be worthwhile to work in order to get out of this situation. It’s as if young people did not find interests that were worth fully involving their humanity. It seems like nothing is able to interest them to the point of setting them in motion, and thus, as often happens in the classrooms of our schools, boredom is what dominates.

-Disarming Beauty ESSAYS ON FAITH, TRUTH, AND FREEDOM,JULIÁN CARRÓN Foreword by Javier Prades

Earlier this summer I had one of the most profound experiences of my life in Khutzeymateen Provincial Park in northern British Columbia. This grizzly bear sanctuary was the first area in Canada to be protected specifically for grizzly bears and their habitat. It includes over 45,000 hectares of rugged peaks, a valley of wetlands, old growth temperate rainforest and a large river estuary.

The bears are different here. No bear has been hunted here for 23 years. No bear has been collared or tranquillized and no bear has found food that belonged to a human. No human has gone ashore. For these reasons, the grizzlies here do not see humans as a threat.

Ready the story behind the photo and see more grizzly photos today on the blog:

annemckinnell.com/2017/09/13/grizzly-bear-photography-khu...

The first rays of morning sunlight enter The Louvre’s ancient covered arcades gradually. The effect of sunlight on these ancient dark corridors is both profound and beautiful.

hinterland

/ˈhɪntəland/

noun

an area lying beyond what is visible or known:

"the strange hinterland where life begins and ends"

~

For years I’ve focussed my image-making on small areas of land - patches of forest, beach, river - places I can return to for days and weeks at a time. Among other things, working this way has taught me patience and perseverance, the beauty in stillness, a greater appreciation for the mundane. It’s taught me to take notes, to notice the small changes made by the weather and the seasons. It’s taught me to see more intently.

But I’ve learned that really getting to know a place, to truly understand it, requires more than just looking. It involves exploration, time, and thought. I’ve realised I must let the landscape exist in my mind as well as in the camera. It must be pondered long after leaving, left to seep into my consciousness, into my dreams. When I return, it should be felt, touched, smelt - I need to be more than just in the landscape, I need to be part of it. When I begin a relationship with the land, then and only then does it start to open up - to share its secrets.

As my work has evolved, capturing a feeling or emotion rather than simply the look of something has become of particular importance to me. I’ve learned to let my subject speak, and how to interpret what it’s saying. Is it bold and confident, or shy and withdrawn? Is it holding something back? But however important it is to listen, I must also reply - instil something of myself in it. The spirit or atmosphere of a place is something not always shared with others - I’ve found that my mood has a profound effect on my senses, and therefore on what I make. The work I am most proud of says as much about me as it does about what I've photographed.

Lately, concentrating my creative efforts on more modest environments has led me to take a turn towards home. By restricting myself to areas immediately around where I live - places I can easily walk to - I am afforded even more time to engage with and absorb a landscape. In addition to the obvious environmental benefits of not constantly jumping in the car, familiarising myself with the paths, the river, fields and woodland around my home has given me a greater respect for my surroundings.

I've discovered, however, that living so near to my chosen location is not without its pitfalls. Dashing out the moment the ideal light and weather conditions arise is a regular, tempting proposition, but experience has shown me that seeing the landscape in short snippets of supposed perfection seldom yields satisfying, rewarding results in the long term. My subject should be more than a passing acquaintance - it should be my companion, my confidant.

This new project takes the concept of creating work close to home one step further still. Made during the Coronavirus pandemic, these pictures, shot through an open window from inside my apartment, show a single scene - a patch of trees no more than ten metres squared, reaching out to one another over the river below.

Because of the enclosed nature of where I live and the vantage point required, this is a sight seen rarely by others. But for nearly a decade, I’ve been lucky enough to witness these same few trees at every time of day, and in all months and seasons. I’ve gazed at them in all frames of mind, during many of lifes ups and downs, and they’ve come to represent and signify numerous things to me over the years. Enforced lockdown seemed like the perfect opportunity to finally capture something of their essence. What better time than during a period in which I was able to experience them even more frequently and intensely than usual?

Working instinctively, reacting to invisible impulses and being compelled to shoot at seemingly random times has left me unsure of what the images truly mean. In fact, reflecting on the work, I am perhaps surprised by what I’ve made. In recent times, I’ve had a tendency to see the natural world in a darker way, both literally and metaphorically. But although I had no particular aesthetic in mind when I started, the series evidently developed a very specific, subdued look during the process. It is, after all, a document of a time when a sense of unease, of uncertainty and the unknown surrounds us - a time of restrictions, of confinement, and anxiety. But while these feelings have no doubt informed their creation, returning to the pictures I also sense many positive themes. Looking, really looking, I also see hope, strength and the future.

Bonkers is profoundly happy he didn't have to go outside (twice!) today to shovel snow. He'd much rather spend his valuable time keeping the spot between our pillows warm.

What makes us profoundly human is the "message" that comes across in our eyes, in our body. The places we can go to, the people we can be with. Sometimes I wish I could travel the whole world, to see it all, Venise, Paris, Tokyo, Munchen...But not today. Today is -25 Celcius (Jan 11 2022 Montréal). I'll make sure to stoke the stove :-) Have a nice winter day, wherever you are. Please make sure you are surrounded by love :-)

"It's profound for a question, I'd have to say 'Take care of yourself and take care of the Planet !' She answered my question about her message to the world.

'Be good to yourself, don't worry too much', I'd say to the younger me," she answered my second question.

Pilar is Spanish, 'half Galician and half Catalan', living in Finland for the past eight years. She's Head of Unit in the European Chemicals Agency in Helsinki.

Pilar is actually a MD PhD in Hepatology, although she gave up her career in medicine for the benefit of the European Commission which she had joined some nine years ago.

Pilar loves Helsinki and her life here and I loved her genuine, positive attitude.

It was thanks to a ray of light, it shone on her as she was walking in my direction, which made me approach her for a portrait.

It was easy to make photos of Pilar. I liked her 'philosophical poet' look.

Pilar likes travelling and reading. She speaks some French and Italian, and naturally, Spanish and English.

When I showed her the photos she said she was flattered, which made me happy, as she usually didn't like photos of herself, she explained.

Profound and sedate...Enoy viewing this in large image.

It is one of the photos that I liked the most and an alternate world that is very beautiful, and maybe something profound? I do not know. here they are.

If you like the photo please let me know ^^ it will really make me happy

-🇺🇸🇬🇧Text

-information for curious

-🇪🇸Texto

🇺🇸🇬🇧Read:

Aruthut

Sweet aroma of fine sand imbibing the Imperial Garden, my bare feet on the polished sidewalk of the patio,

Among the most beautiful flowers of my immense empire I made my way, taking a flower, pulling it from its roots,

reminding me of my own position, a place that looks so beautiful, growing like a miracle but so delicate.

A belief, The belief that the Pharaohs are gods, that if it is true, I am the great exception, a simple Mortal with blue veins, My whole kingdom debuted towards me, both Nobles and slaves, without their own Thought, obedient for the belief that my voice is and always will be the truth.

body adorned with gold and jewels of great value, the only ones worth adorning my body, lapis lazuli tint highlighting my body; stung by poor and ecstatic servants just for serving me, even if they only have suffering and pain, the happiness of serving me makes them ignorant of their wretched and tortuous lives.

A Halo magnifying my existence as a deity.

A crown glorified as belonging to royalty.

A veil of more haute couture so that the self-proclaimed subjugated feel the confidence of hearing my words.

A malediction of this realm, my realm, Which my Voice cannot cope with to stop this deterioration of the personal progress of

each citizen of my kingdom, his faith makes them happy; His happiness is to bring me the richest and most exotic fruits from beyond the borders of the country.

His happiness is to offer me the most exuberant and valuable objects and furniture.

His happiness is carving statues with materials and precious stones in the shape of my curved silhouette.

His happiness is that each woman is offered to me for choice and Consume each encounter with pleasures and groans; mother, wife and daughter, it doesn't matter.

His happiness is that each man feels that my gaze or a touch with his hands is a divine gift.

His happiness is to have me pleased and that my orders are a fact to be mentioned.

His happiness is me

A malediction, that whatever my order is; that even a fish will swim in a river of fire if that is my wish,

Obedience with the feeling of gratitude of the one who fulfills it, even if I do not want it.

Although I prefer to be someone who guides them to a better time, I only find people who want to fill me with joy and satisfaction.

A bell gives the signal that someone else's close friend has come through his own legs to please my sexual desires.

I delicately place the flower in the pond before leaving, remembering that maybe not today, or maybe not tomorrow, but much earlier than I expect, they will wrap me with the softest wool bandages and place me in a sarcophagus so that resurrect young,

them having faith in immortality that I have never possessed

¡Fictional world - fictional dimension!

Outfit:

Head:

·Luas Solstice Crown

·V/.VoluptasVirtualis - Seductress - Tiara

Hair:

·CAMO - Mereba Braids

Ears:

·RAWR! Neve ELF FEMALE Earrings EvoX

Veil:

I don't know, sorry, it has a generic name

Neck:

·-David Heather-Diana Choker/Gold

·REKT_Egypt Set

Clothes and accesories::

·REKT_Egypt Set

🌺Hito:

maps.secondlife.com/secondlife/Diamond%20Cove/74/66/21

🇪🇸 Lectura

Aruthut

Dulce aroma de arena fina embriagando el Jardín imperial, mis pasos descalzos por la acera pulida del patio, entre las flores mas hermosas de mi inmenso imperio, me abría paso, tomando una flor, arrancándola de sus raíces, haciéndome recordar mi propia posición, Un lugar que se ve tan hermoso, creciendo como un milagro pero tan delicada.

Una creencia, La creencia de que los Faraones son dioses, que si es cierta, yo soy la gran excepción, una simple Mortal con venas azules, Todo mi reino devoto hacia mi, tanto Nobles como esclavos, sin Pensamiento propio por ellos mismo, obedientes por la creencia de que mi voz es y siempre sera la verdad.

cuerpo adornado con oro y joyas de gran valor, las únicas dignas de adornas mi cuerpo, tinte lapislázuli resaltando mi cuerpo; picado por pobres y criados extasiados solo por servirme, aunque solo tengan sufrimiento y dolor, la felicidad por servirme los hace ignorantes de sus desgraciadas y tortuosas vidas.

Un Halo magnificando mi existencia como deidad.

Una corona glorificada como pertenencia a la realeza.

Un velo de mas alta costura para que los auto-proclamados subyugados sientan la confianza de escuchar mis palabras.

Una maldición de este reino, mi reino, Cual mi Voz no puede hacer frente para detener este deterioro del progreso personal de cada ciudadano de mi reino, su fe les hace felices;

Su felicidad es traerme las frutas mas ricas y exoticas de mas allá de las fronteras del país.

Su felicidad es Ofrecerme los objetos y muebles mas Exuberantes y valiosos.

Su felicidad es tallar estatuas con materiales y piedras preciosas con la forma de mi curva silueta.

Su felicidad es que cada mujer sea ofrecida hacia mi para elección y Consumar cada encuentro con placeres y gemidos; madre, esposa e hija, da igual.

Su felicidad es que cada hombre sienta que mi mirada o un roce con su manos sea un regalo divino

Su felicidad es tenerme complacida y que mis ordenes sean un hecho al ser mencionado.

Su felicidad soy yo

Una maldición de cual orden sea miá que hasta un pez nadara en un rio de fuego si ese es mi deseo,

obediencia con el sentimiento de gratitud del quien la cumpla, aunque no lo quiera.

Aunque prefiera ser alguien que los guie a unos mejores tiempo, solo encuentro a gente desean llenarme de gozo y complacencia.

Una campana da la señal de que el allegado de alguien mas a venido por sus propias piernas a complacer mis deseos sexuales.

Con delicadeza coloco la flor en el estanque antes de partir, recordando que quizás no hoy, o quizás no mañana, pero mucho antes

de lo que me espero, me envuelvan con las vendas de la lana mas suave y me coloquen en un Sarcófago para que resucite joven

teniendo fe en la inmortalidad que yo nunca he poseído.

Mundo ficticio - dimensión ficticia

This small watercolour self-portrait was created by Turner in 1790 when he was only about 15 years of age. He went on to become a master of history, landscape and marine painting, he challenged the style of the old masters, trailblazing in technique and subject matter.

Described as the ‘father of modern art’ by John Ruskin, Turner often shocked his contemporaries with his loose brushwork and vibrant colour palette while portraying the development of the modern world unlike any other artist at the time.

It is no wonder that Turner became the most celebrated painter in England and that over one hundred and fifty years later, we celebrate contemporary artists of the same innovating spirit through the aptly named Turner Prize.

Joseph Mallord William Turner RA (23 April 1775 – 19 December 1851), known as J. M. W. Turner and contemporarily as William Turner, was an English Romantic painter, printmaker and watercolourist. He is known for his expressive colourisations, imaginative landscapes and turbulent, often violent marine paintings.

Turner was born in Maiden Lane, Covent Garden, London, to a modest lower middle-class family. He lived in London all his life, retaining his Cockney accent and assiduously avoiding the trappings of success and fame.

A child prodigy, Turner studied at the Royal Academy of Arts from 1789, enrolling when he was 14, and exhibited his first work there at 15. During this period, he also served as an architectural draftsman. He earned a steady income from commissions and sales, which due to his troubled, contrary nature, were often begrudgingly accepted. He opened his own gallery in 1804 and became professor of perspective at the academy in 1807, where he lectured until 1828, although he was viewed as profoundly inarticulate. He traveled to Europe from 1802, typically returning with voluminous sketchbooks.

Intensely private, eccentric and reclusive, Turner was a controversial figure throughout his career. He did not marry, but fathered two daughters, Eveline (1801–1874) and Georgiana (1811–1843), by his housekeeper Sarah Danby. He became more pessimistic and morose as he got older, especially after the death of his father, after which his outlook deteriorated, his gallery fell into disrepair and neglect, and his art intensified. He lived in squalor and poor health from 1845, and died in London in 1851 aged 76. Turner is buried in Saint Paul's Cathedral, London.

He left behind more than 550 oil paintings, 2,000 watercolours, and 30,000 works on paper. He had been championed by the leading English art critic John Ruskin from 1840, and is today regarded as having elevated landscape painting to an eminence rivalling history painting.

Many THANKS to my friend Mariella for the great time we spent yesterday at the Perelli Beach and for this beautiful portrait she took of me...I love summer, and this is a delicious summer memory!

Profound

In "Golden Majesty," a stunning photograph captures the resplendent beauty of a majestic golden cottonwood tree that fills the frame, basking in the warm embrace of the sun against a backdrop of a deep, unblemished blue sky. This image is an ode to nature's splendor and the profound serenity it evokes.

The image showcases a colossal cottonwood tree, its graceful branches extending in all directions, seemingly reaching for the heavens. Every leaf, aglow in shades of vibrant gold, shimmers in the dappled sunlight. The tree stands as a sentinel of nature, its immense presence dominating the frame.

The golden cottonwood, illuminated by the sun's gentle touch, radiates a luminous warmth. It captures the essence of autumn's brilliance, as if the tree itself were a living embodiment of the season. The leaves seem to dance in the sunlight, casting dappled shadows on the earth below, creating a mesmerizing play of light and shade.

Against this arboreal splendor, the sky above is a profound, deep blue canvas, untainted by clouds. Its expanse enhances the tree's magnificence, offering a striking contrast between the golden foliage and the azure sky. It's a serene backdrop that highlights the tree's radiant beauty.

"Golden Majesty" is a testament to the profound impact of nature on the human spirit. The image encapsulates the tranquility and awe that one experiences when standing in the presence of such a remarkable tree. It invites viewers to immerse themselves in the simplicity and splendor of the natural world.

This photograph serves as a reminder of the enduring beauty of the earth and the captivating charm of the changing seasons. It evokes a sense of peace, a deep connection with the outdoors, and an appreciation for the majesty of the natural world.

In "Golden Majesty," the image celebrates the quiet grandeur of a single tree and the breathtaking artistry of nature, inviting viewers to pause and contemplate the profound beauty that surrounds us every day.

This image is available in the gallery here - boinsogna.com/877196/Golden%20Majesty%20-%20A%20Cottonwoo...

or

james-insogna.pixels.com/featured/golden-majesty-a-cotton...

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Young Leonardo seems to have found a girlfriend at Hummingbird.

I hope Diane knows what she’s doing because Leonardo certainly doesn’t at the moment!

Love relationships for older kids in the process of leaving the streets are usually connected to their own profound shortage of love during the years spent on the streets (and the period preceding that situation). They normally have an extremely irresponsible and egoicentric attitude towards love.

This lovesong played and sung by Leonardo is for Diane.

Estou Apaixonado

Quero beber o mel de sua boca

Como se fosse uma abelha rainha

Quero escrever na areia sua história junto com a minha!

E no acorde doce da guitarra

Tocar as notas do meu pensamento

Em cada verso traduzir a força do meu sentimento.

Que estou apaixonado e este amor é tão grande

Que estou apaixonado e só penso em você a todo instante

Eu quero ser o ar que tu respiras

Eu quero ser o pão que te alimenta

Eu quero ser a água que refresca, o frio que te esquenta

E se eu cair que caia em teu abraço

Se eu morrer que morra de desejo

Adormecer dizendo que te amo e te acordar com um beijo

Quero sair contigo em noite enluarada

Dois adolescentes pela madrugada

Pra viver a vida sem pensar em nada.

Music and Lyrics: João Paulo & Daniel

Link to previous song and introduction.

Click here for the second song.

Wait for the downloads to open and ENJOY!

Oh how profound!

I’d prefer not to be around

With the old man and the sea

Beckoning me

The old man and the sea

Waiting for me...

~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~

Another one bites the dust...business wise anyway...Hopefully the sign will remain because it truly is a part of the history surrounding Fisherman's Wharf in The City...