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Thena is a member of the Eternals, a race of superhumans who bear a distinct but heretofore unclarified relation to the Greek pantheon of Olympus. The Eternals and the Olympians have a number of quite similar counterparts. While not exact matches the similarities in appearance, abilities, and even names are unmistakable. Thena's counterpart in Olympus is Athena.
Though several theories have been advanced, including parallel universes, even the Eternals and Olympians cannot say for sure how this is.*
Thena is a member of the race of superhumans known as the Eternals. As a result, she has superhuman strength, speed, stamina, durability, agility, and reflexes.
Thena also possesses the ability to manipulate cosmic energy to augment her life force, granting her virtual invulnerability and immortality, the ability to project cosmic energy from her eyes or hands in the form of heat, light, or concussive force and possibly other powers.
Thena has total mental control over her physical form, granting virtual invulnerability and immortality. She also has the ability to levitate herself and thus fly at superhuman speed, the psionic ability to rearrange the molecular structure of objects, the ability to cast illusions to disguise her appearance and that of others from the perceptions of normal human beings, the ability to teleport herself and others with her, and the ability to initiate formation of the Uni-Mind.
Thena has a gifted intellect, and has studied under the greatest Eternal and human scholars throughout her lifetime. She is highly educated in numerous areas of Eternal and human knowledge. Thena is also a formidable hand-to-hand combatant, with extensive training in unarmed combat and the use of many ancient and Eternal high-tech weapons.
Thena wears body armor of unknown composition. She carries a bow that fires arrows that release "cold energy", and she carries an energy spear that surrounds victims with a ring of intense heat and light or bombards them with anti-gravitons.
⚡ Happy 🎯 Heroclix 💫 Friday! 👽
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A year of the shows and performers of the Bijou Planks Theater.
Alter Ego: Azura
Publisher: Marvel
First appearance: The Eternals #5 (November 1976)
Created by: Jack Kirby (Writer and Artist)
* Because Jack Kirby wanting to create his own version of "Chariots of the Gods" is far too fourth wall for a comic plot device. 😏
I don't know what decisions the farmers make in relation to the crops they plant. Some years I see canola in quite a few of the fields and others I don't. I've noticed this year there are quite a few in the 10 mile drive to my son's house on the south side of the Dishman Hillls in Spokane County, Washington.
~Harold Wilson
Thank you for all the kind comments and emails in relation to my migraine. I had another bad weekend, dark room, cold flannel, pain killers and relaxation techniques - non of which seemed to help. My vision was badly distorted on Saturday and improved a little on Sunday. Today it is still there but much better but unfortunately I am having to do a lot of computer work which is most likely not helping!
I do hope to try many of the suggestions you told me about. I also hope to get to answer the emails your sent me. I really appreciate the time you took to email and comment. I see so many of you also suffer or know someone who suffers from Migraine so understand how debilitating they can be. I heard today that they isolated the gene that causes Migraine so maybe in the they future, they will be a think of the past. Lets hope so!
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Bonjour.
Un bon moment revient maintenant.
Comment s'est passée votre relation avec votre mère ?
Notre plus précieuse mère, la planète Terre ?
La relation a-t-elle été cordiale, gentille, collaborative ?
Avez-vous souhaité moins et partagé plus ?
Ou vous avez toujours cherché le dernier modèle de ce qui semble briller devant vous,
alors qu'il y a peu de temps ce qui pour vous brillait,
ne brille plus, maintenant des tas au sommet de la montagne de ferraille
ou flotte maintenant sans but,
polluait les mers ?
Comment méditez-vous ? De quelle manière ?
Méditez-vous en vidant votre espirit ?
Ou méditez-vous en apprenant à remplir votre esprit de ce qui compte ?
Comment s'est passée votre relation avec la précieuse mère ? La planète Terre !
Nous sommes au moment de la renaissance de la vie à Noël.
Un bon moment pour renouveler notre façon de méditer,
à votre avantage.
Et alors ? Comment s'est passée votre relation avec votre mère ?
Voulez moins et partagez plus !
Souviens-vous de la mer,
souviens-vous des montagnes,
souviens-vous des forêts,
souviens-vous de votre ville,
souviens-vous de votre précieuse mère,
souviens-vous de toi !
Nous sommes arrivés à Noël.
Mes amis(es)
: ]
Ivan
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Hello.
A good time is coming back now.
How has been your relationship with your mother ?
Our most precious mother, the planet Earth ?
Has been the relationship collaborative ?
Have you wished less and you shared more ?
Or you have always searched for the latest model of what seems to shine in front of you,
while a short time ago what for you shone no longer shines,
now heaps on top of scrap mountain or now floats aimlessly, polluted the seas ?
How do you meditate ? In what way ?
Do you meditate while emptying your mind ?
Or do you meditate as you learn to fill your mind with what matters ?
How has been your relationship with the precious mother ? The earth !
We are at the time of the rebirth of life at Christmas.
A good time to renew our way of meditating,
to your advantage.
So ? How has been your relationship with your mother ?
Want less and share more !
Remember of the sea,
remember of the mountains,
remember of the forests,
remember of your city,
remember of your precious mother,
remember of yourself !
We arrived at Christmas !
My friends
: ]
Ivan
This collaborative performance at the 37th Venice Biennale in 1976 was the firs ins a series of relation works that would form this portfolio with the same title. Abramovic and Ulay repeatedly ran toward one another, their naked bodies colliding at ever-increasing speed. Using their bodies to explore the potential and failings within the male-female dualism, they pushed physical and mental limits, their stamina often determining the performance’s length.
This collaborative performance at the 37th Venice Biennale in 1976 was the firs ins a series of relation works that would form this portfolio with the same title. Abramovic and Ulay repeatedly ran toward one another, their naked bodies colliding at ever-increasing speed. Using their bodies to explore the potential and failings within the male-female dualism, they pushed physical and mental limits, their stamina often determining the performance’s length.
No relation to the European operation of same name the AOE was a luxury landcruise that ran in the US (and briefly Mexico) between 1994 and 2008 that operated to varied itineraries. This was the only occasion I ever saw it, with the passengers enjoying a cold and very wet day in Glacier National Park. Amtrak provided the power, which this day was a P40 & P42.
Mirit Ben-Nun's art usually exists independently of reality, she even dares to move it away. Her aggressiveness in the use of primary colors along with bright tones, reveal Her autonomy in relation to shapes. The lines, the points and the forms do not try to imitate reality but rather give each work a unique importance showing the emotional charge of the artist.The artist has a spirit of rebellion, new ideas, trying to overcome without seeking perfection, just looking for expression. Through her work she explores personal identity trying to redefine the art itself. Its purpose is to describe and illustrate or to reproduce the world and the nature of human civilization, focusing primarily on the dominant exposure of the expressive function.His art is made by an artist that reflects the complex problems that shape our diverse, global and rapidly changing world, trying to redefine art.
Dora Woda
A Monument of Folly est une ode à la relation entre le bouffon de cour et l'alter ego. Le bouffon de la cour médiévale et sa babiole ne sont peut-être pas pertinents dans la société d'aujourd'hui, mais leur dynamique et leur esprit ne le sont pas. Le bouffon joue ouvertement différents rôles sans le masquer, est à la fois bouc émissaire et mascotte et est donc considéré comme sans prétention et inoffensif. Cela permet au personnage de s'exprimer librement, de se moquer et de critiquer, et de franchir les frontières culturelles, religieuses, politiques et sociales.
A Monument of Folly is an ode to the relation between the court jester and the alter ego. The medieval court jester and their bauble might be irrelevant in nowadays society but their dynamics and spirit isn’t. The jester openly plays different roles without masking it, is a scapegoat and a mascot at the same time and is therefore seen as unpretentious and harmless. This allows the character to speak freely, to mock and criticize, and to cross cultural, religious, political and social lines.
Przemyśl,
[PL]
Ukraińska ВЛ10-1338 z pociągiem TLK 31/33032 w relacji Запоріжжя (Zaporoże) - Przemyśl Główny zbliża się do semafora wjazdowego stacji końcowej. Skład za chwilę minie nie dawno powstały przystanek osobowy Przemyśl Wschodni. Do Przemyśla w rozkładzie 2024/2025 docierają trzy pary wagonowych składów z Ukrainy prowadzonych lokomotywami ВЛ10 lub ЧС2. Jednak tylko jeden z pociągów przyjeżdża w odpowiednim świetle.
[ENG]
Ukrainian ВЛ10-1338 with TLK train 31/33032 in the relation Запоріжжжя (Zaporizhzhia) - Przemyśl Główny approaches the entrance semaphore of the terminal station. In a moment, the train passes the recently established Przemyśl Wschodni passenger stop. Three pairs of wagon trainsets from Ukraine led by ВЛ10 or ЧС2 locomotives arrive in Przemyśl in the 2024/2025 timetable. However, only one of the trains arrives in the right light.
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Those who wish to be
Must put aside the alienation
Get on with the fascination
The real relation
The underlying theme.
Neil Peart
Umblical relation/ “தொப்புள் கொடி” உறவு
Title inspired from Karthik'z
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Shot on the way to Moodabidri from Mangalore.
Shot at 300mm.
Levels adjusted.
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© Murali Alagar Photography
muraliwind@yahoo.com
La relation du château à ses habitants, du château à ses meubles, c’est également ce qui dicte le service imaginé par Raoul Marek pour la salle à manger. Un château est un lieu de prestige, on y reçoit pour les banquets. Raoul Marek a fait revivre cette dimension en concevant un service de 150 couverts, à l’effigie des habitants du village. Chaque set comporte le profil, les initiales et l’empreinte des lignes de la main d’un Oironnais. Une fois par an, depuis 22 ans, les convives se retrouvent pour partager un repas, servi au château, dans la vaisselle de Raoul Marek. Le banquet devient performance et appartient à l’œuvre même. Un moment convivial, qui a contribué à renforcer les liens entre les habitants et le château, à sensibiliser à l’art contemporain un public qui n’en était pas obligatoirement friand. Ce rituel de réactivation de l’œuvre durera aussi longtemps que ceux qui figurent sur les assiettes vivront.
The relationship of the castle to its inhabitants, from the castle to its furniture, is also what dictates the service imagined by Raoul Marek for the dining room. A castle is a place of prestige, we receive for banquets. Raoul Marek revived this dimension by designing a service of 150 seats, in the effigy of the inhabitants of the village. Each set contains the profile, the initials and the imprint of the lines of the hand of an Oironnais. Once a year, for 22 years, the guests meet to share a meal, served at the castle, in the dishes of Raoul Marek. The banquet becomes performance and belongs to the work itself. A convivial moment, which helped to strengthen the bonds between the inhabitants and the castle, to sensitize to contemporary art a public which was not obligatorily fond of it. This ritual of reactivation of the work will last as long as those on the plates will live.
In relation with: Hétköznapi Hősök temporary exhibition,
4th June 2016 – 10th June 2016
Full project: www.behance.net/gallery/48395069/Exhibition-identity-Htko...
in relation to my previous image...
You can interpret the titles and the images as you wish but I think the general concept about love in the 2 images is quite clear...
It's not something that is affecting me right now but something I faced a while ago, I'm sure it's something many of us can identify with.
Speaking of love and all that sappy stuff I miss my love who is in the military at the moment, he'll be coming home soon, that makes me happy :)
(P.SI thought it was interesting how images from the same session could look so different with different color treatments/outfits and expression (pardon the lack of facial expression in the previous image)
(another thing, notice how much I love this window? I'm sorry but I do love the way the light makes everything glow... I promise to use it less often, but it's still really tempting)
Pelham Crescent, Joseph Kay (no relation), 1824-1828.
"On a wild November day, when foaming white horses gallop up the beach hellbent on crashing into Hastings seafront, Pelham Crescent shrinks back into the cliff face, lowering its lashes, gathering its skirts. This delicately wrought architectural marvel, with its bow windows and curved balconies (as good as Cadiz!) was built by celebrated 19th-century architect Joseph Kay between 1824 and 1828 for Thomas Pelham, 2nd Earl of Chichester. Pelham owned Hastings Castle above it and cut back the sandstone cliff to make room for a terrace bearing his family name.
Kay incorporated both a church – St. Mary-in-the-Castle –and a shopping arcade into the design of the crescent. The church was a private chapel, consecrated for public use, and built, unusually, in a D-shape, so the preacher was closer to his congregation. It is now boarded up, its pews – once catering for 1,500 worshippers – layered with dust. At the time it was much admired: ‘The church is top-lit and has an Ionic prostyle portico, while beneath the terrace in front of the whole composition is an ingenious structure intended for shops and services.’ [Oxford Dictionary of Architecture]." ROSA Magazine
Yuigahama (由比ヶ浜海岸) is a beach near Kamakura, a city in Kanagawa Prefecture, Japan. The relation between the beach and its neighboring areas is complex. Although Yuigahama is legally the entire 3.2 km beach that goes from Inamuragasaki, which separates it from Shichirigahama, to Zaimokuza's Iijima cape, which separates it from Kotsubo and the Miura Peninsula, the name is customarily used to indicate the portion west of the Namerigawa river, while the eastern half is called Zaimokuza Beach (材木座海岸). This is the reason why, although the beach gives its name to only the west part of the beachside community, traces of the name Yuigahama can be found also in Zaimokuza (for example in Moto Hachiman's official name, Yui Wakamiya). The center of Yuigahama came legally into being between 1964 and 1965 and was named after the beach. Today's Yuigahama was until then divided between Zaimokuza, Ōmachi, and Hase.
There are different theories about the origin of the name. According to one it derives from an earlier one, Yuigo (由比郷). According to another it derives from the presence of a cooperative (yui (結)). The name Yui itself has been written in various ways, among them 由井 and 湯井.
During the Kamakura period both the beach and the nearby areas were called Maehama (前浜). The name appears repeatedly in the Azuma Kagami to indicate spots going from Hase to Wakamiya Ōji. It was used to practice martial arts such as Kogasagake (小笠懸) (horseback archery) and yabusame (a horseback archery competition). It became a battlefield in 1180 at the time of the battle against Hatakeyama Shigetada, and again in 1333 for the fight between Nitta Yoshisada and the defense forces of the Hōjō. Lastly, it became a battleground in 1416 during Uesugi Zenshū's rebellion. Human bones of the era are still occasionally found during excavations. It is on this beach that Nichiren, the founder of the Buddhist Nichiren sect, was put on a boat to be taken to Katase and ordered to be executed.
The beach was considered sacred ground to the Minamoto clan and, before visiting shrines in Izu or Hakone, the shōgun would always purify his body here.
Yuigahama - Wikipedia
Beaches of Kamakura (japan-guide.com)
Yuigahama (由 比 ヶ 浜 海岸) es una playa cerca de Kamakura, una ciudad en la prefectura de Kanagawa, Japón. La relación entre la playa y sus áreas vecinas es compleja. Aunque Yuigahama es legalmente toda la playa de 3,2 km que va desde Inamuragasaki, que la separa de Shichirigahama, hasta el cabo Iijima de Zaimokuza, que la separa de Kotsubo y la península de Miura, el nombre se usa habitualmente para indicar la parte al oeste del río Namerigawa. mientras que la mitad oriental se llama Playa Zaimokuza (材 木 座 海岸). Esta es la razón por la que, aunque la playa da su nombre solo a la parte oeste de la comunidad junto a la playa, también se pueden encontrar rastros del nombre Yuigahama en Zaimokuza (por ejemplo, en el nombre oficial de Moto Hachiman, Yui Wakamiya). El centro de Yuigahama se creó legalmente entre 1964 y 1965 y recibió su nombre de la playa. El Yuigahama de hoy estaba dividido hasta entonces entre Zaimokuza, Ōmachi y Hase.
Existen diferentes teorías sobre el origen del nombre. Según uno, se deriva de uno anterior, Yuigo (由 比 郷). Según otro, se deriva de la presencia de una cooperativa (yui (結)). El nombre de Yui en sí se ha escrito de varias formas, entre ellas 由 井 y 湯 井.
Durante el período Kamakura, tanto la playa como las áreas cercanas se llamaban Maehama (前 浜). El nombre aparece repetidamente en Azuma Kagami para indicar lugares que van desde Hase hasta Wakamiya Ōji. Se usó para practicar artes marciales como Kogasagake (小 笠 懸) (tiro con arco a caballo) y yabusame (una competición de tiro con arco a caballo). Se convirtió en un campo de batalla en 1180 en el momento de la batalla contra Hatakeyama Shigetada, y nuevamente en 1333 para la pelea entre Nitta Yoshisada y las fuerzas de defensa de los Hōjō. Por último, se convirtió en un campo de batalla en 1416 durante la rebelión de Uesugi Zenshū. Los huesos humanos de la época todavía se encuentran ocasionalmente durante las excavaciones. Es en esta playa donde Nichiren, el fundador de la secta budista Nichiren, fue subido a un bote para ser llevado a Katase y ordenada su ejecución.
La playa se consideraba terreno sagrado para el clan Minamoto y, antes de visitar los santuarios en Izu o Hakone, el shōgun siempre purificaba su cuerpo aquí.
And so faith, hope, love abide [faith—conviction and belief respecting man’s relation to God and divine things; hope—joyful and confident expectation of eternal salvation; love—true affection for God and man, growing out of God’s love for and in us], these three; but the greatest of these is love. 1 Corinthians 13:13 (AMP)
Texture by: Shadow House Creations
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