View allAll Photos Tagged TAUGHT
We are taught growing up not to stare at people and things whose appearance is removed from the expected or the norm, and not to snicker at or find pleasure in that odd appearance.
I grant permission to discard all your childhood life lessons and revel in the oddity that is this variety of fruit fly. Both males and females have the stalked eye morphology (yes, those are their eyes at the ends of those appendages), but in the males it is ridiculously exaggerated. The span from eyeball to eyeball in this case is around 35mm (1 1/3 inches).
Pu'er, Yunnan, China
My Dad taught me to love nature and the ocean.
My Grandfather taught me to get up early in the morning.
My Mom taught me to love the light.
My Grandma....well, she just spoiled me.
On this beautiful morning I thanked all four of them. The three that I only have in spirit and my dear Mom, who is still with me but can no longer enjoy the light.
Thanks to my Grandfather I get up early to see the beautiful ocean my Dad loved so much and I felt spoiled rotten at being able to witness such beauty (Thanks Abuela, you were right there with me) I came home to describe the beautiful sight to my Mom. It was a very good day.
I hope this shot brings you, my dear Flickr friends, as much enjoyment as it brought me.
“You were the one who taught me," he said. "I never looked at you without seeing the sweetness of the way the world goes together, or without sorrow for its spoiling. I became a hero to serve you, and all that is like you.”
LOGO- Makeup "Warrior Paint Pack"
*Several different options in pack! Includes Add-on installers for all LOGO heads. Also includes Omega and System version for use with other compatible heads or system avatars.
LOGO-Noelle Head -
The head comes with a variety of skins and makeup options as well as full support for LOGO bento facial animations. She is also Evo X compatible. There are 12 included animations and each one can be split into the top and bottom half of the face and combined with different expressions to create new expressions.
DEMO available in store!
Mainstore Taxi: maps.secondlife.com/secondlife/Eventide%20Far%20East/127/...
LOGO Flickr Sharing Group: www.flickr.com/groups/2860374@N21/
LOGO Flickr Page: www.flickr.com/photos/getlogoed/
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
Hair- Raven Bell "Lyra"
Dress- ET "Hecate"
Face Skin: Tres Beau-Melissa Skin
Boy Skin: Picasso Curvy "Snow"
Shape: Lovelysweet "Felicity Shape for Logo Noelle"
Commentary.
The famous historical novelist and poet Sir Walter Scott
was born in Edinburgh and lived there for much of his youth.
Unfortunately, he suffered from Polio as a boy which left him lame.
He was sent to the Scottish Borders near Melrose
where his aunt taught him to read.
His walking, in the beautiful countryside of this area, did improve.
However, for all his life he walked with a limp.
In no way did this affect his intelligence and education.
He was very bright and ahead of his years.
Later, his education inevitably took him to Edinburgh University
where he delighted in reading about the history and mythology of Scotland.
So inspired was he that he began to write his own novels and poems of this genre.
In time, his love of the River Tweed and the Eildon Hills
had him buy a nearby property that he re-named “Abbotsford.”
He loved this view most of all.
The triple peaked Eildon Hills circled by an enormous horseshoe meander of the majestic River Tweed.
This landscape with its superb, wooded slopes,
interspersed by pastural and arable fields stole his heart.
The story goes that he so often visited this location that his horse would automatically stop without prompting.
He was buried at nearby Dryburgh Abbey,
but, forever, this spot is known as “Scott’s View.”
-jeremiah 30:17
recently, God's taught me a lot and it's been amazing to catch glimpses of Him throughout my day, whether through nature, through my own interactions with people, or just through prayer. in this city without limits, God never fails to use any situation, even if i can't see any good out if it, to His glory. and i really needed to remember that and to rejoice in times of trial. so THANK YOU GOD. you're awesome--and i'm finally using this in the correct context. awe- inspiring God, you're awesome.
:)
baaack to mock exams and awaiting college decisions now! enjoy. OH! and hbw!!
Jay taught the importance of color in an image. Its not about how saturated the color is or how many different colors there are but the subtleties, nuances and interactions of color. I must admit I have been guilty of over saturation in the past but will try to restrain myself ;-)
All of the images from this class are straight from the camera. I do have the camera set to "Vivid" as does Jay but have otherwise left the image untouched.
He also talked much about vision and seeing. I've photographed in Madrid, New Mexico before but went with preconceived ideas of what and how I would photograph. This time I went empty and walked slowly. It was amazing the new things that I saw and the unexpected photographs I got!
View the Entire - Jay Maisel Workshop Set
View the Entire - New Mexico Set
View my - Most Interesting according to Flickr
There’s still a little bit of your song in my ear
There’s still a little bit of your words i long to hear
You step a little closer to me
So close that I can´t see what´s going on
Stones taught me to fly
Love taught me to lie
Life taught me to die
So its not hard to fall
When you float like a cannonball.
Cannonball - Damien Rice
Hidcote Manor Garden is one of England's great gardens. It was the life's passion of one man, self-taught gardener Lawrence Johnston who created his 'garden of rooms' here.
The creator of Hidcote
Lawrence Johnston was born in Paris of American parents. He came to England to study at Cambridge University.
After graduating, he fought for the British Army. He was so badly wounded in the First World War that he was laid out for burial. His colleagues realised that he was still alive only after he moved slightly.
In 1907, Johnston's mother, Mrs Gertrude Winthrop, bought the Hidcote Manor Estate. Johnston came to live at Hidcote and soon took to gardening.
Developing a masterpiece
Johnston spent 41 years creating what would become one of England's most influential 20th-century gardens. He began work in 1907, becoming interested in making a garden out of the fields surrounding the house.
The garden was developed in the fashionable Arts & Crafts style: a series of outdoor 'rooms' offering surprises and discoveries at each turn.
By the 1920s, the transformation was well under way. Johnston employed 12 full-time gardeners to help shape his 10-acre creation. He always took advice and read extensively on the work of eminent gardeners, such as Gertrude Jekyll.
'A garden of rooms'
Johnston designed Hidcote as a series of outdoor 'rooms', which combine sensuous masses of colour with traditional garden crafts such as topiary. Each room has its own distinct atmosphere and character.
The hedges that divide the rooms sprung up due to the plot's exposed aspect. Johnston planted hedges of holly, beech, hornbeam and yew for shelter and structure.
Exotic plants
As well as a gardener, Lawrence Johnston was an accomplished plantsman. The range of plants he used was huge.
In a never-ending quest, he secured rare and exotic species by sponsoring and taking part in plant hunting expeditions. Trips took him to the Alps, Kenya and South Africa. He also plant-swapped with the Australians and the Japanese.
The expeditions introduced over 40 new plants to cultivation in the UK, many of which bear Johnston's name. He was awarded three Awards of Merit by the Royal Horticultural Society for his plant hunting achievements.
The National Trust learns to garden
In 1948, Lawrence Johnston retired to Serre de la Madone, his home on the French Riviera where he had created another spectacular garden.
Hidcote Manor Garden came to the National Trust, the first property acquired specifically for the garden.
While carrying forward the spirit of Lawrence Johnston, Hidcote has changed over time since the 1930s. Lack of funding has led to areas of the garden becoming overgrown and many of Johnston's tender plants being replaced.
'This place is a jungle of beauty. I cannot hope to describe it in words, for indeed it is an impossible thing to reproduce the shape, colour, depth and design of such a garden through the poor medium of prose'
- Vita Sackville-West
For more information about Hidcote Manor Garden, please visit www.nationaltrust.org.uk/main/w-vh/w-visits/w-findaplace/...
Choy Moo Kheong (b.1950) is a self-taught artist from Singapore who is inspired by the romanticism of nature. At the age of 28, he taught himself how to paint. Combining his innate talent, creativity and determination, he succeeded despite the odds and was strengthened by his earlier struggles abroad. He held on to his dreams, clung to his resolve and was rewarded when his works begun to be accepted and exhibited. His works range from photo-realistic drawings of vast skies to surreal pieces that break the conventions of traditional perspective. All his works retain a dream-like quality to them and are devoid of buildings or human forms. He prefers it that way as he is most comfortable amidst nature's embrace. Choy feels that the land, water, trees, skies and rivers all imbue humanity with purpose, meaning and joy; reminding each and every one of us that we are truly alive. He is not merely inspired by land, rather, he paints inwardly; with his own interpretation and perspective of the world. Choy loves quiet, empty spaces that bespeak solitude and peace. He believes that sometimes people hold memories of places they visit, a lot of the emotions they experience are deeply personal and tend to be appreciated in silence. Thus, his paintings represent the "tangible, that speaks of the vastness of silent words."
My Turkish daughter in law taught me that original Santa Claus history started in Turkey. Shortly, thereafter she started calling me Santa and the name happily has become how she calls me 😊❤️😊. Now, keep in mind, I also have a name for her. I call her Smurf. And when she drops in to visit, I put a small step ladder or stool in the kitchen so that she can reach the dishes on the top shelf. 😊❤️😊. Oh, one more element to the story of this photo. This series occurred totally by chance. at a non-profit donation store in Bellefonte , Pennsylvania. Oh, one more element to the story of this photo. This series occurred totally by chance. at a non-profit donation store in Bellefonte , Pennsylvania. 😊 And Finally, one last thing about this Santa-Me photo series of eleven Santa’s plus one. - I went to this store , the Bellefonte store center Faith which is like their goodwill store there, in order to
return a fan for credit because it turned out to be broken
While the two salespeople were deciding whether or not to give me credit, I walked around the store and saw all these Santa figures.
So needless to say I took only eleven photos of Santa for the 12 days of Christmas – because I will be the last Santa on the twelfth day 😄😄😄.
Moreover I have begun to imagine : a Santa Cocktail Party. But I still have to work on that photo 😄
Five-Hour War of 2056 taught many valuable lessons for all nations across the world. While, as the name suggests, the ''war'' lasted a mere five hours, it had massive effects on Kasrynn Empire and the Great Ataros Republic. Most importantly however, is that many of the new technology of the century finally had a chance to prove themselves, especially the Silkworm personal armor, while not the best, certainly the cheapest and most practical spider silk armor ever designed. Indeed, it stood its ground well against the 5.56x45mm round utilized by the Kasrynnian Army, and could even stand against the 7.62x51mm round. And thus, after the war, it was concluded by the Kasrynnian Army Command that a select-fire rifle that could penetrate such an armor with relative ease, even at longer distances. And thus, the 6P8t Vashak was born.
Utilizing the powerful .338 Lapua cartridge in conjuction with four powerful sets of coils, Vashak is most certainly a force to be reckoned with. Feeding from 30-rounder magazines, it can fire from semi-automatic and full-automatic modes, whilst being controllable thanks to its strong compensator. It is able to kill man-sized targets wearing Silkworm armor from 600m at default voltage settings (which is adjusted in factory, but can be adjusted by the armorer if necessary). It also utilizes the brand-new 10P6 scope, a rangefinder scope that is not very advanced but is more than adequate. It is fitted with a battery that can last up to 30 days.
Vashak is currently in trial with the 38th ''Shahin'' Special Battalion. The results indicate fantastic performance, but three complaints are made: First, it is very hard to lift the gun without utilizing an 25Kh9T exoskeleton, which is a cheap exoskeleton but one that is not available for every soldier. First stage of the trials haven't ended yet however, and more information will follow.
-------------------
Well, there we go. This gave me quite a few headaches, but I don't know why. Either way, goddamn building this thing was a wild fuckin' ride for me.
I tried to go out of my usual style for a bit, because something different is good every once in a while, ya know? I tried to emulate Deii's style a bit, but I'm not sure if you can see it. I really loved building this, and I hope you feel the same way about the gun!
Also, all sizes.
--------------
Many thanks to Deii, Vlad, Mattia and Atube for their lovely advices!
"I taught Gracie to eat grass and play cow and she taught me the fun of throwing myself down and rolling in grass. Now it's definitely one of the Little Things in life that makes me happy.
About my photos, Mom is always embarrassed by the quality of my Little Things photos: 'no catchlights in the eyes, no eyes at ALL, blurry and messy' blah blah blah. But to me none of that matters - I'm a dog and dogs aren't so picky." signed Benni Girl
13/52
An old photo taken in Mangui, alomst the northernmost part of China. A friend taught me how to make a HDR photo, and I have a try, it seems okay...
.……………………………….
- “Do not touch me…”
Gospel of John, chapter 20, verse 17 (John 20, 17)
+++++++++++++++++++++
I was with you, Father,
at the moment of creation.
I could not fail to know the elements and master them.
What would it be to
lift the stone of a tomb
compared to your will as Creator?
You taught me how the world is composed
and made me your son,
but I was a participant
in creation.
The followers who followed me
believed in You and in me,
Your son.
They will be happy to see me rise again,
but I will weep
for those still chained
in hell,
and my hands
will silence their strident cries.
Poor souls,
who migrate toward nothingness.
The fear,
God,
of these blind depths,
of these people who have not had
the splendor of your reins.
Because you do not know,
Father,
what it means
to sit at Your right hand
as a king.
A gentle but not cowardly king
who mediates
between your divine wrath
and the lust and unbelief of man.
I,
who am just,
love man
and ask your forgiveness
through this slow agony
that has lasted for centuries
for the world.
Behold, Lord, I give you back my spirit
in the form of a white dove
that will fly toward heaven.
And no other way
have you built peace
than with the groins of a bird
that brings the olive branch to your lips.
Father,
I will rise again,
and I will sit at your right hand.
POEM OF THE CROSS - Alda Merini
+++++++++++++++++++++++++++++++++++++
- “Noli me tangere …”
Vangelo di Giovanni, capitolo 20, versetto 17 (Giovanni 20, 17)
++++++++++++++++++
- Ero con te, Padre,
al momento della creazione.
Non potevo non conoscere gli elementi e dominarli.
Cosa vuoi che sia
sollevare la pietra di un sepolcro
in confronto alla tua volontà di Creatore.
Tu mi hai insegnato come è composto il mondo
e mi hai reso figlio,
ma ero partecipe
della creazione.
I seguaci che mi hanno seguito
hanno creduto in Te e in me,
Tuo figlio.
Saranno felici di vedermi risorgere,
ma io piangerò
per quelli che sono ancora incatenati
nell'inferno
e le mie mani
faranno tacere i loro stridori.
Povere anime,
che migrano verso il nulla.
Lo spavento,
Dio,
di queste profondità cieche,
di questa gente che non ha avuto
lo splendore delle tue redini.
Perché tu non sai,
Padre,
cosa vuol dire
sedere alla Tua destra
in veste di re.
Un re mite ma non codardo
che fa da intermediario
tra la tua collera divina
e la lussuria e la miscredenza dell'uomo.
Io,
che sono giusto,
amo l'uomo
e ti chiedo perdono
attraverso questa lenta agonia
che dura da secoli
per il mondo.
Ecco, Signore, io ti rendo il mio spirito
in forma di bianca colomba
che volerà verso il cielo.
E non altrimenti
Tu hai costruito la pace
se non con gli inguini di un uccello
che porta l'ulivo alle tue labbra.
Padre,
io risorgerò,
e siederò alla Tua destra.
POEMA DELLA CROCE - Alda Merini
-----------------------------------------------------------------
click to activate the icon of slideshow: the small triangle inscribed in the small rectangle, at the top right, in the photostream;
or…. Press the “L” button to zoom in the image;
clicca sulla piccola icona per attivare lo slideshow: sulla facciata principale del photostream, in alto a destra c'è un piccolo rettangolo (rappresenta il monitor) con dentro un piccolo triangolo nero;
oppure…. premi il tasto “L” per ingrandire l'immagine;
www.worldphoto.org/sony-world-photography-awards/winners-...
www.fotografidigitali.it/gallery/2726/opere-italiane-segn...
…………………………………………………………………
This photographic story, with text, which I propose as my last work for Flickr in 2025 (2026 is now just a few minutes away), tells of the procession of the Holy Crucifix of Aracoeli, which took place in March of this year 2025 in the town of San Marco d'Alunzio (in the province of Messina). The procession normally begins on the morning of the last Friday of March each year, but there is an exception to this rule: when it coincides with Good Friday, then the procession is brought forward to the previous Friday. The procession of the Holy Crucifix of Aracoeli is an ancient penitential rite. On the feast day of the Crucifix, Holy Mass is celebrated in the Church of Aracoeli in San Marco d'Alunzio. On this occasion, the Holy Crucifix is celebrated. Crucifix (which is located in the church at the end of the right nave, at its feet is the painting of the Virgin of Sorrows pierced by seven swords), Christ on the Cross is removed by the devotees from the hook on which it is hanging, is carried outside the church, here it is raised and fixed on the float, the sermon of the priest who has climbed onto the float next to the Crucifix takes over, under the Cross is fixed the painting of His Sorrowful Mother, then they are carried in procession by the men (and women) in blue hoods called "babbaluti", they proceed invoking the pity and mercy of the Lord with a constant and rhythmic lament, saying "Signuri, Misericordia, Pietà!"; this is the norm, but this year the bad weather has brought some changes, the float on which they hoisted the SS. The crucifix with the kneeling babbaluti was not located in the churchyard, but inside the church. Christ was covered with a large sheet of cellophane to protect it from the rain, while the painting of the Madonna with swords in her heart was placed at her Son's feet only after the procession returned to the church. San Marco d'Alunzio is a charming town in the Messina area, located in the Nebrodi Mountains of Sicily. The procession takes place in honor of the Holy Crucifix of Araceli. This religious-penitential event is also known as the "procession of the babbaluti." These are those who, by vow or grace received, have chosen to carry the fercolo containing the crucifix and the painting on their shoulders in procession. they head to the nearby Church of Santa Maria dei Poveri or to some private home nearby where, sheltered from the curiosity of the faithful, they wear a simple but characteristic indigo-colored cloth habit, consisting of a tunic and a conical hood that covers the entire body and leaves only the eyes and hands free. It is not uncommon, however, for the penitents, rendered anonymous by the habit they wear, to also include women, who, to avoid any possibility of recognition, wear a pair of gloves; The babbaluti are 33 in number to commemorate the 33 years of Christ. The number is odd, in fact the 33rd babbaluto does not carry the vara. He (should be the “capo vara”) proceeds backwards, looking towards Christ and his Mother, and at the same time checks that everything is in order among the babbaluti, guiding the vara along the path, even if it is moving backwards (this is a way of proceeding in carrying the vara or fercolo, present in various Sicilian religious processions). So, the 32 (+1) "babbaluti" carry on their shoulders the float that bears the Holy Crucifix of the Araceli church (the statue of Christ was created by Scipione Li Volsi, in the year 1652, he was a sculptor and plasterer of the Sicilian Baroque), at whose feet, on the float, is tied the painting of Our Lady of Sorrows, whose chest appears pierced by seven swords (it is an 18th century painting), however, as already described, this year the painting, to protect it from the rain, was placed on the float only upon the return of the procession to the church. Before the procession begins, the babbaluti advance barefoot, wearing only heavy, hand-knitted stockings of raw wool. Before entering the church, they must walk a path of purification. When they approach the ancient church of Araceli, they bow and kiss the ground, thus receiving permission to enter the church. This, however, occurs through a side door, called the "false door" (in Sicilian dialect, "porta fausa"). Having entered the church from the side, they now exit through the main entrance, allowing them to take their places, kneeling in front and behind the float. To enter the "porta fausa," the babbaluti proceed in pairs, with the last babbaluti, the eldest, proceeding alone. After the priest's long-awaited speech, the procession can begin, winding through the streets of the picturesque and welcoming village of San Marco d'Alunzio. Along the way, the Babbaluti pace their steps, accompanying the mournful and plaintive jugular vein that invokes the Lord. Devout men and women walk alongside the Babbaluti, walking alongside the float, touching it, sometimes caressing it... just to have physical (and spiritual) contact with it. Finally, after completing a specific route, the procession returns to the ancient church (of Norman origins) of Aracoeli. Every time I attend this touching event, I am completely overwhelmed by emotion (which, however, I cannot abandon, lest I lose concentration while taking photos). The highlight is when the crucified Christ is removed from the hook fixed to the wall by expert men, and then carried (it seems to float) above the heads of the devotees, supported aloft with their hands, and hoisted and secured to the float. In these moments of intense emotion, it is common to see in the eyes of the devotees, shining with tears, that profound emotion of their relationship with this Christ, which has lasted forever: it is as if they were in the presence of the true Christ, in flesh and blood. This is the atmosphere experienced in those moments, this is the magic of the procession of the Most Holy Crucifix and His Mother, represented by the painting of Our Lady of Sorrows pierced by seven swords (an iconography of Spanish origin).
+++++++++++++++++++++++++++++++++++++++++
Il presente racconto fotografico, con testo, che propongo come ultimo mio lavoro per Flickr dell’anno 2025 (oramai mancano pochi minuti al 2026) parla della processione del Santissimo Crocifisso di Aracoeli che si è tenuto nel marzo di quest’anno 2025 nel paese di San Marco d’Alunzio (in provincia di Messina). La processione normalmente inizia la mattina dell’ultimo venerdì del mese di marzo di ogni anno, c’è però una eccezione a questa regola, quando si realizza la coincidenza col Venerdì Santo, allora la processione viene anticipata al venerdì precedente. Quella del SS.Crocifisso di Aracoeli è un antico rito penitenziale, il giorno della festa del Crocifisso, a San Marco d'Alunzio si celebra la S. Messa nella Chiesa dell'Aracoeli, in questa occasione il SS. Crocifisso (che si trova nella chiesa in fondo alla navata di destra, ai suoi piedi è posto il quadro della Vergine Addolorata trafitta da sette spade), il Cristo sulla Croce viene tolto dai devoti dal gancio sul quale è appeso, viene portato all’esterno della chiesa, qui viene innalzato e fissato sulla vara, subentra il sermone del sacerdote salito sulla vara accanto al Crocifisso, sotto alla Croce viene fissato il quadro di sua Madre Addolorata, quindi vengono portati in processione dagli uomini (e donne) incappucciati di colore blu detti “babbaluti”, essi procedono invocando la pietà e la misericordia del Signore con un costante e ritmato lamento, dicendo “Signuri, Misericordia, Pietà!”; questa è la norma, ma quest’anno il cattivo tempo ha portato qualche cambiamento, la vara sulla quale hanno issato il SS. Crocifisso con i babbaluti messi in ginocchio, non si trovava sul sagrato davanti la chiesa, ma era dentro la chiesa, il Cristo veniva ricoperto con un ampio foglio di cellophane per proteggerlo dalla pioggia, mentre il quadro della Madonna con le spade nel cuore, è stato messo ai piedi di Suo Figlio solo al rientro della processione nella chiesa. San Marco d’Alunzio è un ameno paese del territorio Messinese, sito sui monti Nebrodi, in Sicilia; la processione si svolge proprio in onore del Santissimo Crocifisso di Araceli, è questa una ricorrenza religioso-penitenziale conosciuta anche come "processione dei babbaluti", essi sono coloro che per voto o per grazia ricevuta, hanno deciso di portare in processione sulle loro spalle il fercolo con il Crocifisso ed il quadro; essi si dirigono nella vicina Chiesa di Santa Maria dei Poveri o in qualche abitazione privata lì vicino dove, al riparo dalla curiosità dei fedeli, indossano un semplice ma caratteristico saio di tela di colore indaco, costituito da una tunica e un cappuccio di forma conica tale da coprire l'intero corpo e lasciare liberi solo gli occhi e le mani, non è raro purtuttavia che tra i penitenti, resi anonimi dal saio che indossano, vi siano anche delle donne, le quali per evitare qualsiasi possibilità di riconoscimento, indossano un paio di guanti; i babbaluti sono in numero di 33 per rievocare i 33 anni di Cristo, il numero è dispari, infatti il 33° babbaluto non porta la vara, egli (dovrebbe essere il “capo vara”) procede all’indietro, rivolgendo lo sguardo al Cristo ed a sua Madre, e nel contempo controlla che tutto sia in ordine tra i babbaluti, guidando la vara lungo il percorso, anche se il suo andamento è a ritroso, (questo è un modo di procedere nel portare la vara o fercolo, presente in diverse processioni religiose siciliane). Quindi, i 32 (+1) "babbaluti" portano sulle loro spalle la vara che reca il Santo Crocifisso della chiesa dell’Araceli (la statua del Cristo è stata creata da Scipione Li Volsi, nell'anno 1652, egli fu uno scultore e stuccatore del barocco SIciliano), ai cui piedi, sulla vara, viene legato il quadro della Madonna Addolorata, il cui petto appare trafitto da sette spade ( è un dipinto del XVIII secolo), purtuttavia come già descritto, quest’anno il quadro, per proteggerlo dalla pioggia, è stato messo sulla vara solo al rientro della processione in chiesa. I babbaluti prima dell'inizio della processione avanzano a piedi scalzi indossando solo delle pesanti calze di lana grezza realizzate a mano, devono percorrere, prima di entrare in chiesa, un cammino di purificazione: quando essi giungono in prossimità dell'antica chiesa dell'Araceli, essi si chinano e baciano in terra, ricevendo in tal modo il permesso per poter accedere dentro la chiesa, questo però avviene da una porta laterale, chiamata "falsa porta" (In dialetto siciliano “porta fausa”), una volta entrati in chiesa lateralmente, ora fuoriescono dall'ingresso principale, potendo così prendere posto, inginocchiandosi sul davanti ed alle spalle, della vara; i babbaluti per accedere alla “porta fausa” procedono in coppia, l’ultimo babbaluto procede da solo, lui è il più anziano tra i babbaluti; seguirà l'atteso discorso del sacerdote, terminato, potrà iniziare la processione che si svolge per le vie del pittoresco ed accogliente paese di San Marco d'Alunzio. Lungo il percorso i Babbaluti cadenzano la propria andatura accompagnandosi alla mesta e lamentosa giugulatoria che invoca il Signore . Ci sono uomini e donne devoti che procedono assieme ai babbaluti camminando a lato della vara, toccandola, ora accarezzandola...pur di avere un contatto fisico (e di rimando spirituale) con essa. Infine, dopo aver compiuto un preciso percorso, la processione fa rientro nell'antica chiesa (di origini Normanne) dell'Aracoeli. Ogniqualvolta sono presente a questa toccante ricorrenza sono completamente inondato da emozioni (alle quali però non posso abbandonarmi, perderei la concentrazione nel realizzare le foto), il momento clou è quando il Cristo Crocifisso viene tolto dal gancio fissato sul muro da uomini esperti, per poi essere portato (sembra galleggiare) sopra la testa dei devoti, sostenuto in alto con le mani, ed essere issato e fissato sulla vara; in questi momenti di intensa emozione è comune vedere negli occhi dei devoti, lucidi di lacrime, quella emozione profonda del loro rapporto con questo Cristo, che dura da sempre: è come se si trovassero al cospetto del Cristo vero, in carne ed ossa, questa è l’atmosfera che si vive in quei momenti, questa è la magia della processione del SS. Crocifisso e di Sua Madre, rappresentata dal quadro dell’Addolorata trafitta da sette spade (iconografia di origine spagnola).
++++++++++++++++++++++++++++++++++++++++
Elizabeth prepared many dishes over her hearth. The Wampanoags taught the settlers how to prepare corn and roasted pumpkin. She also made a seafood soup, cranberries, and a big pot of pottage (stew) containing turkey, corn, herbs from her garden, and wild onion. She was used to a proper fireplace back in England, but the cottages went up quickly and the open hearth was easiest to build. The men were also roasting game outdoors including fish, turkey, and other fowl.
*
*
*
English settler women often sat on stools over the open hearth while cooking.
I did not have time to make the soot piles that were in the corner or the open hearth. I think I could have done a decent job with paper mache, but ran out of time over the weekend. I love this open hearth.
Playing in water is Barn's VERY favourite thing to do and has been since the first summer after I took him on. That summer, we walked to a local pond every day & my dad & I taught him to swim. Back then, he was nervous & confused about life, reactive towards dogs & nervous aggressive around strangers. At the pond though, while he was focusing on fetching toys out the water (which I gradually threw further out, whilst enthusiastically encouraging him to swim), Barney seemed to forget some of his fears & was a lot more relaxed. He even started interacting with other people & their dogs without conflict and to this day I find he is more confident, if he has water to play in as a distraction.
This was taken at an old canal... no boats use it as there are areas where its cut off (so that in places the "canal" is a series of long pools) & the water isn't as deep as a working canal. Anyway, Barney loves it down there & has been confidently leaping in from the edge of the bank for some time but it is only in the last couple of weeks that I've persuaded him to dive off this high wall into the water! So pleased with him for being brave - Barney loves swimming but he does usually like to wade in gradually, rather than launch himself off into an unknown depth. Now he's got the hang of it though, Barney is really enthusiastic & runs up & down the wall, shouting at me to "throw the toy!!!" :)
It was a bit frightening taking this one, as I had to lean right out over the edge & sometimes Barney will run into me while working up the courage to leap - I really didn't want to go swimming with my camera. Thankfully, after several attempts I managed to capture him mid-leap & escaped without getting a soaking :) I'm probably going to get wet next week (although hopefully the camera will escape!) as we're of to the beach! Going camping for the 1st time since summer 2010 (couldn't go last summer as that was when I was diagnosed with cancer) with Barney & auntie's family in Cornwall. The weather isn't looking great but I'm sure we'll have fun. I'll have to pack extra dog food though as Barn usually ends up running & swimming so much he loses masses of weight...
I taught a gumpaste class this past Mother's day. This is my finished demo I made in class. I thought that it was going to be quicker to teach gumpaste figures....but the class still ran the full 6 hours!!
For a shot of everyone's finished project follow my facebook link.
My Turkish daughter in law taught me that original Santa Claus history started in Turkey. Shortly, thereafter she started calling me Santa and the name happily has become how she calls me 😊❤️😊. Now, keep in mind, I also have a name for her. I call her Smurf. And when she drops in to visit, I put a small step ladder or stool in the kitchen so that she can reach the dishes on the top shelf. 😊❤️😊. Oh, one more element to the story of this photo. This series occurred totally by chance. at a non-profit donation store in Bellefonte , Pennsylvania. Oh, one more element to the story of this photo. This series occurred totally by chance. at a non-profit donation store in Bellefonte , Pennsylvania. 😊 And Finally, one last thing about this Santa-Me photo series of eleven Santa’s plus one. - I went to this store , the Bellefonte store center Faith which is like their goodwill store there, in order to
return a fan for credit because it turned out to be broken
While the two salespeople were deciding whether or not to give me credit, I walked around the store and saw all these Santa figures.
So needless to say I took only eleven photos of Santa for the 12 days of Christmas – because I will be the last Santa on the twelfth day 😄😄😄.
Moreover I have begun to imagine : a Santa Cocktail Party. But I still have to work on that photo 😄
.……………………………….
- “Do not touch me…”
Gospel of John, chapter 20, verse 17 (John 20, 17)
+++++++++++++++++++++
I was with you, Father,
at the moment of creation.
I could not fail to know the elements and master them.
What would it be to
lift the stone of a tomb
compared to your will as Creator?
You taught me how the world is composed
and made me your son,
but I was a participant
in creation.
The followers who followed me
believed in You and in me,
Your son.
They will be happy to see me rise again,
but I will weep
for those still chained
in hell,
and my hands
will silence their strident cries.
Poor souls,
who migrate toward nothingness.
The fear,
God,
of these blind depths,
of these people who have not had
the splendor of your reins.
Because you do not know,
Father,
what it means
to sit at Your right hand
as a king.
A gentle but not cowardly king
who mediates
between your divine wrath
and the lust and unbelief of man.
I,
who am just,
love man
and ask your forgiveness
through this slow agony
that has lasted for centuries
for the world.
Behold, Lord, I give you back my spirit
in the form of a white dove
that will fly toward heaven.
And no other way
have you built peace
than with the groins of a bird
that brings the olive branch to your lips.
Father,
I will rise again,
and I will sit at your right hand.
POEM OF THE CROSS - Alda Merini
+++++++++++++++++++++++++++++++++++++
- “Noli me tangere …”
Vangelo di Giovanni, capitolo 20, versetto 17 (Giovanni 20, 17)
++++++++++++++++++
- Ero con te, Padre,
al momento della creazione.
Non potevo non conoscere gli elementi e dominarli.
Cosa vuoi che sia
sollevare la pietra di un sepolcro
in confronto alla tua volontà di Creatore.
Tu mi hai insegnato come è composto il mondo
e mi hai reso figlio,
ma ero partecipe
della creazione.
I seguaci che mi hanno seguito
hanno creduto in Te e in me,
Tuo figlio.
Saranno felici di vedermi risorgere,
ma io piangerò
per quelli che sono ancora incatenati
nell'inferno
e le mie mani
faranno tacere i loro stridori.
Povere anime,
che migrano verso il nulla.
Lo spavento,
Dio,
di queste profondità cieche,
di questa gente che non ha avuto
lo splendore delle tue redini.
Perché tu non sai,
Padre,
cosa vuol dire
sedere alla Tua destra
in veste di re.
Un re mite ma non codardo
che fa da intermediario
tra la tua collera divina
e la lussuria e la miscredenza dell'uomo.
Io,
che sono giusto,
amo l'uomo
e ti chiedo perdono
attraverso questa lenta agonia
che dura da secoli
per il mondo.
Ecco, Signore, io ti rendo il mio spirito
in forma di bianca colomba
che volerà verso il cielo.
E non altrimenti
Tu hai costruito la pace
se non con gli inguini di un uccello
che porta l'ulivo alle tue labbra.
Padre,
io risorgerò,
e siederò alla Tua destra.
POEMA DELLA CROCE - Alda Merini
-----------------------------------------------------------------
click to activate the icon of slideshow: the small triangle inscribed in the small rectangle, at the top right, in the photostream;
or…. Press the “L” button to zoom in the image;
clicca sulla piccola icona per attivare lo slideshow: sulla facciata principale del photostream, in alto a destra c'è un piccolo rettangolo (rappresenta il monitor) con dentro un piccolo triangolo nero;
oppure…. premi il tasto “L” per ingrandire l'immagine;
www.worldphoto.org/sony-world-photography-awards/winners-...
www.fotografidigitali.it/gallery/2726/opere-italiane-segn...
…………………………………………………………………
This photographic story, with text, which I propose as my last work for Flickr in 2025 (2026 is now just a few minutes away), tells of the procession of the Holy Crucifix of Aracoeli, which took place in March of this year 2025 in the town of San Marco d'Alunzio (in the province of Messina). The procession normally begins on the morning of the last Friday of March each year, but there is an exception to this rule: when it coincides with Good Friday, then the procession is brought forward to the previous Friday. The procession of the Holy Crucifix of Aracoeli is an ancient penitential rite. On the feast day of the Crucifix, Holy Mass is celebrated in the Church of Aracoeli in San Marco d'Alunzio. On this occasion, the Holy Crucifix is celebrated. Crucifix (which is located in the church at the end of the right nave, at its feet is the painting of the Virgin of Sorrows pierced by seven swords), Christ on the Cross is removed by the devotees from the hook on which it is hanging, is carried outside the church, here it is raised and fixed on the float, the sermon of the priest who has climbed onto the float next to the Crucifix takes over, under the Cross is fixed the painting of His Sorrowful Mother, then they are carried in procession by the men (and women) in blue hoods called "babbaluti", they proceed invoking the pity and mercy of the Lord with a constant and rhythmic lament, saying "Signuri, Misericordia, Pietà!"; this is the norm, but this year the bad weather has brought some changes, the float on which they hoisted the SS. The crucifix with the kneeling babbaluti was not located in the churchyard, but inside the church. Christ was covered with a large sheet of cellophane to protect it from the rain, while the painting of the Madonna with swords in her heart was placed at her Son's feet only after the procession returned to the church. San Marco d'Alunzio is a charming town in the Messina area, located in the Nebrodi Mountains of Sicily. The procession takes place in honor of the Holy Crucifix of Araceli. This religious-penitential event is also known as the "procession of the babbaluti." These are those who, by vow or grace received, have chosen to carry the fercolo containing the crucifix and the painting on their shoulders in procession. they head to the nearby Church of Santa Maria dei Poveri or to some private home nearby where, sheltered from the curiosity of the faithful, they wear a simple but characteristic indigo-colored cloth habit, consisting of a tunic and a conical hood that covers the entire body and leaves only the eyes and hands free. It is not uncommon, however, for the penitents, rendered anonymous by the habit they wear, to also include women, who, to avoid any possibility of recognition, wear a pair of gloves; The babbaluti are 33 in number to commemorate the 33 years of Christ. The number is odd, in fact the 33rd babbaluto does not carry the vara. He (should be the “capo vara”) proceeds backwards, looking towards Christ and his Mother, and at the same time checks that everything is in order among the babbaluti, guiding the vara along the path, even if it is moving backwards (this is a way of proceeding in carrying the vara or fercolo, present in various Sicilian religious processions). So, the 32 (+1) "babbaluti" carry on their shoulders the float that bears the Holy Crucifix of the Araceli church (the statue of Christ was created by Scipione Li Volsi, in the year 1652, he was a sculptor and plasterer of the Sicilian Baroque), at whose feet, on the float, is tied the painting of Our Lady of Sorrows, whose chest appears pierced by seven swords (it is an 18th century painting), however, as already described, this year the painting, to protect it from the rain, was placed on the float only upon the return of the procession to the church. Before the procession begins, the babbaluti advance barefoot, wearing only heavy, hand-knitted stockings of raw wool. Before entering the church, they must walk a path of purification. When they approach the ancient church of Araceli, they bow and kiss the ground, thus receiving permission to enter the church. This, however, occurs through a side door, called the "false door" (in Sicilian dialect, "porta fausa"). Having entered the church from the side, they now exit through the main entrance, allowing them to take their places, kneeling in front and behind the float. To enter the "porta fausa," the babbaluti proceed in pairs, with the last babbaluti, the eldest, proceeding alone. After the priest's long-awaited speech, the procession can begin, winding through the streets of the picturesque and welcoming village of San Marco d'Alunzio. Along the way, the Babbaluti pace their steps, accompanying the mournful and plaintive jugular vein that invokes the Lord. Devout men and women walk alongside the Babbaluti, walking alongside the float, touching it, sometimes caressing it... just to have physical (and spiritual) contact with it. Finally, after completing a specific route, the procession returns to the ancient church (of Norman origins) of Aracoeli. Every time I attend this touching event, I am completely overwhelmed by emotion (which, however, I cannot abandon, lest I lose concentration while taking photos). The highlight is when the crucified Christ is removed from the hook fixed to the wall by expert men, and then carried (it seems to float) above the heads of the devotees, supported aloft with their hands, and hoisted and secured to the float. In these moments of intense emotion, it is common to see in the eyes of the devotees, shining with tears, that profound emotion of their relationship with this Christ, which has lasted forever: it is as if they were in the presence of the true Christ, in flesh and blood. This is the atmosphere experienced in those moments, this is the magic of the procession of the Most Holy Crucifix and His Mother, represented by the painting of Our Lady of Sorrows pierced by seven swords (an iconography of Spanish origin).
+++++++++++++++++++++++++++++++++++++++++
Il presente racconto fotografico, con testo, che propongo come ultimo mio lavoro per Flickr dell’anno 2025 (oramai mancano pochi minuti al 2026) parla della processione del Santissimo Crocifisso di Aracoeli che si è tenuto nel marzo di quest’anno 2025 nel paese di San Marco d’Alunzio (in provincia di Messina). La processione normalmente inizia la mattina dell’ultimo venerdì del mese di marzo di ogni anno, c’è però una eccezione a questa regola, quando si realizza la coincidenza col Venerdì Santo, allora la processione viene anticipata al venerdì precedente. Quella del SS.Crocifisso di Aracoeli è un antico rito penitenziale, il giorno della festa del Crocifisso, a San Marco d'Alunzio si celebra la S. Messa nella Chiesa dell'Aracoeli, in questa occasione il SS. Crocifisso (che si trova nella chiesa in fondo alla navata di destra, ai suoi piedi è posto il quadro della Vergine Addolorata trafitta da sette spade), il Cristo sulla Croce viene tolto dai devoti dal gancio sul quale è appeso, viene portato all’esterno della chiesa, qui viene innalzato e fissato sulla vara, subentra il sermone del sacerdote salito sulla vara accanto al Crocifisso, sotto alla Croce viene fissato il quadro di sua Madre Addolorata, quindi vengono portati in processione dagli uomini (e donne) incappucciati di colore blu detti “babbaluti”, essi procedono invocando la pietà e la misericordia del Signore con un costante e ritmato lamento, dicendo “Signuri, Misericordia, Pietà!”; questa è la norma, ma quest’anno il cattivo tempo ha portato qualche cambiamento, la vara sulla quale hanno issato il SS. Crocifisso con i babbaluti messi in ginocchio, non si trovava sul sagrato davanti la chiesa, ma era dentro la chiesa, il Cristo veniva ricoperto con un ampio foglio di cellophane per proteggerlo dalla pioggia, mentre il quadro della Madonna con le spade nel cuore, è stato messo ai piedi di Suo Figlio solo al rientro della processione nella chiesa. San Marco d’Alunzio è un ameno paese del territorio Messinese, sito sui monti Nebrodi, in Sicilia; la processione si svolge proprio in onore del Santissimo Crocifisso di Araceli, è questa una ricorrenza religioso-penitenziale conosciuta anche come "processione dei babbaluti", essi sono coloro che per voto o per grazia ricevuta, hanno deciso di portare in processione sulle loro spalle il fercolo con il Crocifisso ed il quadro; essi si dirigono nella vicina Chiesa di Santa Maria dei Poveri o in qualche abitazione privata lì vicino dove, al riparo dalla curiosità dei fedeli, indossano un semplice ma caratteristico saio di tela di colore indaco, costituito da una tunica e un cappuccio di forma conica tale da coprire l'intero corpo e lasciare liberi solo gli occhi e le mani, non è raro purtuttavia che tra i penitenti, resi anonimi dal saio che indossano, vi siano anche delle donne, le quali per evitare qualsiasi possibilità di riconoscimento, indossano un paio di guanti; i babbaluti sono in numero di 33 per rievocare i 33 anni di Cristo, il numero è dispari, infatti il 33° babbaluto non porta la vara, egli (dovrebbe essere il “capo vara”) procede all’indietro, rivolgendo lo sguardo al Cristo ed a sua Madre, e nel contempo controlla che tutto sia in ordine tra i babbaluti, guidando la vara lungo il percorso, anche se il suo andamento è a ritroso, (questo è un modo di procedere nel portare la vara o fercolo, presente in diverse processioni religiose siciliane). Quindi, i 32 (+1) "babbaluti" portano sulle loro spalle la vara che reca il Santo Crocifisso della chiesa dell’Araceli (la statua del Cristo è stata creata da Scipione Li Volsi, nell'anno 1652, egli fu uno scultore e stuccatore del barocco SIciliano), ai cui piedi, sulla vara, viene legato il quadro della Madonna Addolorata, il cui petto appare trafitto da sette spade ( è un dipinto del XVIII secolo), purtuttavia come già descritto, quest’anno il quadro, per proteggerlo dalla pioggia, è stato messo sulla vara solo al rientro della processione in chiesa. I babbaluti prima dell'inizio della processione avanzano a piedi scalzi indossando solo delle pesanti calze di lana grezza realizzate a mano, devono percorrere, prima di entrare in chiesa, un cammino di purificazione: quando essi giungono in prossimità dell'antica chiesa dell'Araceli, essi si chinano e baciano in terra, ricevendo in tal modo il permesso per poter accedere dentro la chiesa, questo però avviene da una porta laterale, chiamata "falsa porta" (In dialetto siciliano “porta fausa”), una volta entrati in chiesa lateralmente, ora fuoriescono dall'ingresso principale, potendo così prendere posto, inginocchiandosi sul davanti ed alle spalle, della vara; i babbaluti per accedere alla “porta fausa” procedono in coppia, l’ultimo babbaluto procede da solo, lui è il più anziano tra i babbaluti; seguirà l'atteso discorso del sacerdote, terminato, potrà iniziare la processione che si svolge per le vie del pittoresco ed accogliente paese di San Marco d'Alunzio. Lungo il percorso i Babbaluti cadenzano la propria andatura accompagnandosi alla mesta e lamentosa giugulatoria che invoca il Signore . Ci sono uomini e donne devoti che procedono assieme ai babbaluti camminando a lato della vara, toccandola, ora accarezzandola...pur di avere un contatto fisico (e di rimando spirituale) con essa. Infine, dopo aver compiuto un preciso percorso, la processione fa rientro nell'antica chiesa (di origini Normanne) dell'Aracoeli. Ogniqualvolta sono presente a questa toccante ricorrenza sono completamente inondato da emozioni (alle quali però non posso abbandonarmi, perderei la concentrazione nel realizzare le foto), il momento clou è quando il Cristo Crocifisso viene tolto dal gancio fissato sul muro da uomini esperti, per poi essere portato (sembra galleggiare) sopra la testa dei devoti, sostenuto in alto con le mani, ed essere issato e fissato sulla vara; in questi momenti di intensa emozione è comune vedere negli occhi dei devoti, lucidi di lacrime, quella emozione profonda del loro rapporto con questo Cristo, che dura da sempre: è come se si trovassero al cospetto del Cristo vero, in carne ed ossa, questa è l’atmosfera che si vive in quei momenti, questa è la magia della processione del SS. Crocifisso e di Sua Madre, rappresentata dal quadro dell’Addolorata trafitta da sette spade (iconografia di origine spagnola).
++++++++++++++++++++++++++++++++++++++++
Choy Moo Kheong (b.1950) is a self-taught artist from Singapore who is inspired by the romanticism of nature. At the age of 28, he taught himself how to paint. Combining his innate talent, creativity and determination, he succeeded despite the odds and was strengthened by his earlier struggles abroad. He held on to his dreams, clung to his resolve and was rewarded when his works begun to be accepted and exhibited. His works range from photo-realistic drawings of vast skies to surreal pieces that break the conventions of traditional perspective. All his works retain a dream-like quality to them and are devoid of buildings or human forms. He prefers it that way as he is most comfortable amidst nature's embrace. Choy feels that the land, water, trees, skies and rivers all imbue humanity with purpose, meaning and joy; reminding each and every one of us that we are truly alive. He is not merely inspired by land, rather, he paints inwardly; with his own interpretation and perspective of the world. Choy loves quiet, empty spaces that bespeak solitude and peace. He believes that sometimes people hold memories of places they visit, a lot of the emotions they experience are deeply personal and tend to be appreciated in silence. Thus, his
paintings represent the "tangible, that speaks of the vastness of silent words."
So Deb has taught Reggie to get our morning papers and the other day Reggie was getting the papers as he was told when Deb noticed there was a third bag on the drive. She told Reggie to get that bag too.
Reggie went to get the third bag but immediately dropped it after picking it up. I had left a bag of poop there because it was trash day and I was going to throw the poop in the trash.
Reggie came back to his 'mom' with the look that said, "Mom, I'm a pedigree, I don't do the shit jobs."
Then he looked over at me as if to say, "Let Tom do it."
Whilst Talia continues to fight Ubu, she orders me to focus on shutting down the tower. Part of me fundamentally disagrees with her. Everything Bruce taught me in the first year focused on the importance of team work and how no matter what, we never abandon an ally. Almost four years on though, I can’t help but wonder how heavily that was caused by Jason’s loss. It had been well over a year after he’d lost Jason at the time and it would be another year before he’d finally open up about what really happened to Jason.
But now I can see where Bruce was coming from. After both Steph and I were attacked at the fairground, it feels wrong to leave Talia on her own to face Ubu. Especially with how little I know about his own skills with a blade. However, if what Bruce says about her is true, and she’s the one who trained him, then I’m worrying over nothing.
I really hope that’s the case.
Red Robin: Red Bird to bunker.
Alfred: Bunker here. Go ahead Red Bird.
Red Robin: How are we looking Al?
Alfred: I’m not sure yet. You’re the first team to report in.
Red Robin: Nothing from Bruce?
Alfred: Not since he found his father’s body.
Red Robin: Wait, what? There was a body at his tower too?
Alfred: Yes, its dental records match those belonging to Thomas Wayne. Lucius has told me that Master Grayson and Miss Gordon came across Mrs Wayne’s body at the Eastern tower. Did you identify who the body that you encounter belonged to?
Red Robin: We didn’t stop to confirm it, but Talia identified our body as that of Bruce’s uncle.
Alfred: First his parents, now his uncle.
Red Robin: Have you heard from the Outlaws about their body?
Alfred: We’ve not heard anything from them so far. I suspect they must have faced substantial resistance almost immediately to have not reported a body to us. Or perhaps maybe there isn’t one to report.
Red Robin: There’ll be one, Al. You don’t do something like that without covering your bases. They’ll have wanted Bruce to see them so they’ll have planted one at each tower to make sure that he does.
Alfred: I fear so.
Red Robin: How did he react to it?
Alfred: Not well. He cut off comms once he realised it was actually Thomas’ body. I fear the worst.
Red Robin: He’ll be alright, Alfred. He always is.
Alfred: But at what cost? You know how he protective he is of his parent’s memory, Master Timothy. I dread to think what having their peace disturbed will do to him.
Red Robin: He’ll do what’s right.
Alfred: I hope so.
The concern in Alfred’s voice is difficult to ignore. Clearly Bruce reacted worse than I thought he would upon learning who the bodies belong to. Please Bruce, don’t do anything stupid, for Alfred’s sake if not your own. In order to distract himself from those thoughts prying at the back of his head, Alfred tries to move the conversation along.
Alfred: Have you and Miss Al-Ghul secured the tower?
Red Robin: Not exactly. Talia had us split up. I’m on my way to try and shut down the tower, she’s dealing with one of the guards.
Alfred: I’ll transfer the tower schematics to your HUD now.
Red Robin: Thanks, Al………………………Do you know this person Talia’s fighting?
Alfred: Do they have a name?
Red Robin: Ubu.
Alfred: I’ll see if the Batcomputer has anything on anyone with that name and get back to you. The tower schematics should be with you now.
I activate the Batcomputer connection built into my mask and it begins downloading the tower schematics. Much to my surprise, the dispersal system controls are only two floors above. Not what you’d expect from a tower that’s at least 15 floors tall.
Red Robin: Al, are you sure these schematics are good? They say the controls are only two floors above me.
Alfred: You’re having the same problem that both Lucius and I did. A lack of logic behind the building of these towers
Red Robin: Are we sure Joker didn’t build these towers?
Alfred: Whilst it does sound like something he would do, thankfully he did not.
Red Robin: Alright Al, I’m making my way to the tower controls now. I’ll contact you if I need anything.
Alfred: Very good Master Timothy. Keep safe.
It takes little more than two minutes for me to locate the control room and much to my surprise it’s not booby trapped. With the way Bruce and Talia talk about the League, I’m rather surprised they have something waiting for me. That confusion quickly fades away as I realize why there was no trap set up to protect the room.
Damn it.
They’ve damaged the controls. Looks like the schematics Alfred gave me for the mechanism are worthless. How am I supposed to shut the dispersal system off now? Unless……I don’t need to shut the tower down? What if I just render what it’s pumping out into Gotham harmless?
Red Robin: Red Bird to bunker.
Alfred: Bunker here, go ahead Red Bird.
Red Robin: Alfred I’ve got a problem. The controls for my tower have been sabotaged and I’m not sure if they’re salvageable.
Alfred: This day just keeps getting better and better.
Red Robin: I’m looking at the system now. From what I can make out it looks like it’ll take some time to rewire the controls so they’re useable again, but the dispersal chamber appears accessible.
Alfred: I’ll patch you through to Lucius.
Red Robin: Thanks, Al.
Hopefully, Lucius has managed to reverse engineer the neutralising agent for this toxin. Otherwise I’m going to be stuck at rewiring this terminal for a good 15 minutes at least, and that’s time I can’t afford to waste especially with Talia fighting that Ubu guy alone.
Lucius: Good evening Mr. Drake.
Red Robin: Lucius.
Lucius: I hear the League of Assassins have decided to play dirty and vandalised your tower’s controls.
Red Robin: From what I can make out, the controls could be made to work again with enough rewiring but that will take time.
Lucius: A commodity that’s in short supply currently.
Red Robin: When isn’t it?
Lucius: Waiting for Luke to finish his driving exam comes to mind. So, what do you propose we do about shutting the tower down?
Red Robin: From what I can see, the actual dispersal chamber seems accessible. I’m wondering how far are you from synthesizing a neutralising agent for this gas?
Lucius: Though I can’t be 100% certain, I think I’ve cracked it. But I don’t have enough available right now to neutralise much gas at all. However, I think I have a solution.
Red Robin: Which is?
Lucius: I’m deploying the Batwing to your position now. Standby.
Red Robin: Lucius……Bruce told you about how you shouldn’t keep us in the dark when you have a new idea…..
Lucius: Don’t worry Mr. Drake. My idea will prevent the tower from dispersing anymore of that toxin into Gotham whilst I wait for the rest of the antidote to finish.
Red Robin: You’re not planning on blowing up the tower are you?
Lucius: ……
Red Robin: ………..Lucius?
Lucius: Not all of it.
Well that’s terrifying. I really don’t think I want to know just what he has cooked up in that crazy head of his. Hopefully Talia is having better luck with Ubu than I am with these controls.
Q Quaker City Ohio
Travel south on Interstate 77 from either Cleveland or Canton, Ohio, then head east on Interstate 70 near Cambridge, then exit onto highway 513 and head south, you’ll wend your way back into history into Quaker City. While the origin of this city’s name has yet to be determined, this small town of some 500 plus people has seen the history of a location within the County of Guernsey to be rich with coal and farming. Located but about an hour west of Wheeling, West Virginia, the area along this Appalachian foothill area would be a rich resource of coal for industry as well as for the local people who could take the coal, which Native Americans would identify as “rocks that burn”, and use them to heat their homes and cook their meals.
Recall that I taught Ohio history back in my early days of teaching in Lutheran Elementary Day Schools. I majored in math and science, so teaching history my first year out of college was a bit of a challenge. That year, 1975-1976, was the year of our nation’s Bicentennial, so there was a lot of information available for teaching history! The challenge was filtering it down to the 6th grade level.
As mentioned before, you have the benefit of knowing Ohio history with the Native Americans as well as Ohio geography and the waterways that serve the state. Add the influence of the Revolutionary War and the Civil War battles that crisscrossed the state. Now you have added a new dimension to the classroom and teacher who now must sort through all the wealth of information available.
Not so in trying to find information about Quaker City, Ohio. While resources on-line are very limited, you do find there are some sources that can point you toward useful information.
Enter Flickr!
While researching this topic and coming up with only a scant two or three sentences, I did find the Guernsey Historical Museum did have a Flickr Account, and in their albums, one on Quaker City! Surprise! The link is provided below for your further investigation: Quaker City Independent Newspaper Album on Flickr:
www.flickr.com/photos/gchistorymuseum/albums/721576728886...
Here, Winslow simply shows you one of the many photos in that album along with the postmark from that city, dated November 19, 1964.
And, another Flickr Site, the Post Mark Collectors Club (of which I am a member!) featured one photo of their current Post Office. That link is also provided: www.flickr.com/photos/postoffices/37233201105/in/photolis...
Here is another example of how the photos and stories uploaded to Flickr can serve in historical research as those who take the photos can tag them, place them in albums, and make them available to those who need the extra, personal touch for information.
Free download under CC Attribution (CC BY 4.0). Please credit the artist and rawpixel.com.
Despite never attending a formal art school, Henri Rousseau (1844–1910) is wildly recognized as a self-taught genius, who left a lasting legacy to the avant-garde movement. Rousseau practiced painting and drawing by copying artworks in the art museums of Paris in his spare time. Since he never studied anatomy and perspective at an art school, he developed a unique artistic style known as 'Naive' or 'Primitive'. His paintings are often depicted in a childish or dreamlike manner with their vivid colors, ambiguous spaces, and non-realistic scale. Most of his signature paintings portray wild animals or human figures in the jungle. His artwork was not accepted by the conservative critics so he became a member of the Parisian artistic and literary avant-garde movement where his works extensively influenced several generations of avant-garde artists and surrealists. We have digitally enhanced Rousseau's post-impressionist artworks in high-resolution printable quality. They are free to download under the CC0 license.
Higher resolutions with no attribution required can be downloaded: https://www.rawpixel.com/board/1054552/henri-rousseau
Sunsets taught me that beauty sometimes only lasts for a moment, while sunrises showed me that with patience, I can experience it all over again.
Bintan Indonesia
Sony A7Rv with 12-24mm 2.8 using CPL and ND1000 filters
#lohan #lohantemple #bintanisland #bintanindonesia #Sony #sonyalpha #sonyphotography #sonya7rv #sonyimages #leofoto #leofototripod
These last 5 paintings were paintings I had done quite a while ago and wasn`t really excited about, thats why they were not added sooner. I am surprised by the positive response. Its good because there are plenty of paintings that I have done and stored away thinking no one would be interested in seeing them. Not to mention , the , over a thousand sketches or doodles, that I have stored away because I didn`t know if they were worth painting. What I am trying to say here is the feedback I am getting on Flickr is giving me a new perspective on my art career .
Thanks to Alexis and Holden for dressing up and posing for me so I could get this shot at the Historic Steward Farmhouse, Surrey, BC.
Original Caption: Black Student Welders Work In A Machine Shop Course Taught At The Chicago Opportunities Industrialization Center At A Former Grade School In The Heart Of The Cabrini-green Housing Project On Chicago's Near North Side, 10/1973
U.S. National Archives’ Local Identifier: 412-DA-13815
Photographer: White, John H, 1945-
Subjects:
African-American
Chicago (Cook county, Illinois, United States)
Environmental Protection Agency
Project DOCUMERICA
Persistent URL: arcweb.archives.gov/arc/action/ExternalIdSearch?id=556267
Repository: Still Picture Records Section, Special Media Archives Services Division (NWCS-S), National Archives at College Park, 8601 Adelphi Road, College Park, MD, 20740-6001.
For information about ordering reproductions of photographs held by the Still Picture Unit, visit: www.archives.gov/research/order/still-pictures.html
Reproductions may be ordered via an independent vendor. NARA maintains a list of vendors at www.archives.gov/research/order/vendors-photos-maps-dc.html
Access Restrictions: Unrestricted
Use Restrictions: Unrestricted
Being self-taught is not easy, especially taking up the brush after 15 years of not touching it. But I always felt that that ‘passion’ is a very powerful force, which motivates me to progress in my art.
In art there are both joys and challenges, and understanding comes after many falls. This also built up my determination to move forward.
When it comes to creation, I believe in being true to my inner voice, to ‘draw what I love, and love what I draw’. After many years, holding the brush no longer is a chore but an enjoyment. And the joy is indescribable.
My style has changed from the earlier ‘realist’ manner to the ‘semi-abstract’ manner, but the subject matter still remains the same.
I have deep roots with my chosen subject matter, “boats”.
I like to paint with my heart, and the colours, lines, spaces and other elements are materials for my compositions.
I hope that my carefully-designed works can create within the viewer an immense emotion and connection.
To me, art is not just an artist drawing a picture only, but it is a dialogue between the artist and the canvas, the artist and himself, and most importantly, the artist and the viewer.
When I taught middle school the class I hated teaching most was “Mustache Ed.” Required by the state so there was no getting around it. I knew I had two full days of boys and girls giggling uncontrollably and both sexes blushing so violently that the temperature of the room increased by three degrees (Fahrenheit).
This picture is a still from the mustache ed movie “The Nose Caterpillar” and shows an attempt of two consenting adults to “transfer the mustache from the man to the woman.” You can’t imagine the number of parents who objected to the scene. Less so because of the mustache, but more so because of the brim of the cowboy hat which prevented the transfer as shown. “Protection” is a touchy subject even among adults.
After the end of the two day presentation one young girl shyly came up to me and whispered, “Is this why cowboys wear hats?” To which I replied, “Virginia, you'll have to ask your parents about that.”
Image inspired by Madoka Kawabota's image below. Prompt: an 1890 dance hall girl kisses a handsome cowboy in front of a saloon in the style of a film clip from a 1967 western comedy television show saturated color
Taught yesterday during our virtual class.
Folded from a square of Torreón paper of 25 cm on the side.
”My time in captivity taught me something.”
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
”What?” Bruce Banner yelled out as he heard what Major Talbot accused him of.
”Don’t play that game, Doctor. We both know you’re smart enough to know what you’ve been working on in your spare time.” Talbot quickly retorted. Bruce Banner thought back to what he was doing before he got here.
”The serum?” Banner replies.
”Do you understand the repercussions your actions will have? Not only on your life, but also the families of the dozens of people you killed and injured? The incredible amount of hospital bills all the funeral bills you’ve just created in one night. All the pain and suffering you caused in just a few hours. Do you realize the impact you’ve made?” Banner dropped his head as Talbot said these words.
He’s right. From his words, my simple want and need to become stronger caused hurt and pain that I’ll never be able to ever forgive myself of.
”I’m glad you’re sitting there in silence. It lets me know you’re truly sorry. Though that doesn’t explain why you did such a thing?”
”I… I don’t remember anything…” As Banner answered, the static of the intercom quickly silenced. Moments passed and the door to the left of Banner unlocked and the light from inside flooded the dimly lit room. The light swiftly faded away as the door was slammed shut from a man outside the room. This left only two men in the room, Banner and a man that Banner did not recognize. The man quickly walked over to Banner and grabbed a picture out of his pant pocket. He put it right in front of Banner’s face.
”Do you see her?” The man said and Banner quickly recognized it as the man who was just talking to him on the intercom. Before Bruce could talk, Talbot pulled the picture away from his face and placed it back in his pocket. ”Do you know who that was?”
”N… No… I’m sorry.”
”That’s my daughter. She is… was six years old…”
”Was?”
”You’re incessant rampage last night carried through downtown New York. There my daughter and wife were getting ready for bed. My wife was reading my daughter a bedtime story when all of the sudden…” Talbot stops and wipes a tear from his eye. He then grabs a small phone from his pocket and quickly pulls up a news article. He presses the video on the article and turns the phone to Banner. ”When all of the sudden, an eight foot, green man jumped through the floor. The rubble and debris were catastrophic. My daughter and wife were pinned to the ground and the building tumbled to the ground.”
Banner again dropped his head. He felt tears falling down his face. That was him. That was him tearing though buildings and leaving a trail of terror in his tracks. It was all his fault and he still didn’t know how much damage he actually did. Was the whole city of New York destroyed or just a couple blocks? How many are dead? How many were injured? All these thoughts and more fluttered through his mind as he lifted his head back up to Talbot.
”I’m sorry, I don’t remember anything…” Banner said, trying to somehow help his situation. For a moment Banner thought his words had somehow helped, but to his surprise, Talbot quickly turned around and punched him in the jaw. Blood and spit flew from Banner’s mouth as Talbot quickly punched the other side of Bruce’s face. ”I’m sorry…”
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
”Is that sometimes… No matter how sorry you are, they will always, always be angry with your actions. It doesn’t matter if you can’t remember your actions. It doesn’t matter if you try to tell them that you had no control over the matter. You’re still the face of their suffering and you’re the one that they’ll see and remember that they’ve lost something valuable. I do not blame these people for thinking that way. I understand the reasoning. It’s my fault and I know it…”
Taught my son and daughter basic photography today. What better way to teach them than using gd old mechanical cameras.
Enochian is an angelic language used by angels in Heaven. They communicate over angel radio using this language, though in more recent years, they began communicating in English predominately. The angels, the Knights of Hell, and the Men of Letters are also familiar with an archaic dialect of the angelic language called "Pre-Enochian" or "Old Enochian". Castiel used sigils from this Enochian dialect to bind Alastair in a devil's trap he made. The Knights of Hell like Abaddon used the old Enochian sigil associated with them as their crest, leaving it behind in areas where they strike. Belphegor reveals that very few demons like Lilith, Crowley, and Abaddon have been known to understand Enochian. Enochian sigils are powerful glyphs that can be used against angels and demons and protect an area from angelic and demonic interference. Throughout Season 5, Castiel uses one to conceal Sam, Dean, and Adam from every angel in creation by carving it into their ribs.
www.supernaturalwiki.com/Enochian
Enochian has also been used in reciting various spells that can be used against some of the most dangerous creatures in all creation. Lily Sunder became a practitioner of Enochian Magic after Ishim taught her all their secrets, using spells that burn off pieces of her soul in exchange for longevity and access to angelic powers until it's completely burned away. The Whore of Babylon uses what appears to be an Enochian spell to harm Castiel. Lucifer's Cage can be opened and closed with the rings of the Four Horsemen of the Apocalypse and an Enochian phrase. When angels are reverted to their "factory settings", they relay any information hidden in their minds encrypted in Enochian.
The Two of Swords shows a blindfolded woman, Pamela Smith has become an impetrant, she begins her initiation into Enochian magic, the artist is dressed in a white dress, holding two crossed swords. The blindfold tells us that Pamela is confused about her inner light and cannot clearly see either the problem or the solution. She may also be missing relevant information that would make her decision much clearer if she were to get it. The swords she holds are in perfect balance, suggesting that she is weighing her thoughts and addressing both sides of the situation to find the best resolution.
Behind the woman is a body of water dotted with rocky islets. Water represents emotions, and while the costume of swords is traditionally associated with the mind and intellect, its presence shows that Pamela must use both her head and her heart to weigh her options. The islands represent obstacles in his path and suggest that his decision is not as clear cut as it seems. It will have to consider the situation as a whole. The crescent moon to her right is a sign that Pamela should trust her intuition to make her choice. Pamela is also alone on the beach. His eyes are blindfolded, his arms are tied. Eight swords planted in the ground form a prison around her. However, the circle is not completely closed. So there is an exit that the blindfold prevents you from seeing. The Two of Swords indicates that you are faced with a difficult decision, but you do not know which option to take. Both possibilities may seem equally good – or equally bad – and you don't know which will lead you to the better result. You need to be able to weigh the pros and cons of each choice and then make a conscious judgment. Use both your head (your mind and intellect) and your heart (your feelings and intuition) to choose the path that is most in alignment with your Higher Self.
Pamela Smith represented in this card wears a blindfold, indicating that she cannot see the entirety of her circumstance. You may lack the information you need to make the right decisions. You may be missing something, such as the threats or potential risks, alternative solutions or critical pieces of information that would help guide you in a particular direction. Once you remove the blindfold and see the situation for what it really is, you will be in a much better position to find your best path forward. Research your options more, seek outside opinions and feedback and ask yourself what you might be missing.`` Alone, far from the city and its ramparts, this woman seems very isolated. The sky is gray, the landscape is bleak. There emerges from the Card a feeling of uncertainty and absence of hope. The Eight of Swords symbolizes the feeling of helplessness of the Consultant. Lost, disoriented, the Consultant does not know what to do to overcome the obstacles or challenges of his environment. The Consultant experiences the very unpleasant feeling of being “stuck”, trapped. However – and this is important to stress – the Eight of Swords is not a fatalistic card. On the Map, the young woman could free herself from her fabric ties and remove the blindfold covering her eyes. She could regain the comfort and safety of the city behind her. The blockage, the "prison" of these Swords planted in a circle therefore symbolize first of all a situation created by the Consultant himself. Quite logically, he or she could get rid of it and get by on his own. The blockage is notably due to limiting beliefs on the part of the Consultant. These limiting beliefs go on and on: “You are not capable of…”; “A man like that, caring about you!? Do not even think about it ! » ; "Returning to training at your age to change paths will never work..." These limiting thoughts end up defining our possibilities and therefore we are no longer able to do otherwise, innovate or find solutions. It also happens that the feeling of helplessness is generated by external circumstances. The Consultant “wakes up”, dissatisfied with his environment and his life and wonders how he or she could have come to this.The Eight of Swords reveals that you feel trapped and restricted by your circumstances. You believe your options are limited with no clear path out. You might be in an unfulfilling job, an abusive relationship, a significant amount of debt or a situation way out of alignment with your inner being. You are now trapped between a rock and a hard place, with no resolution available. However, take note that the woman in the card is not entirely imprisoned by the eight swords around her, and if she wanted to escape, she could. She merely needs to remove the blindfold and free herself from the self-imposed bindings that hold her back. When the Eight of Swords appears in a Tarot reading, it comes as a warning that your thoughts and beliefs are no longer serving you. You may be over-thinking things, creating negative patterns or limiting yourself by only considering the worst-case scenario. The more you think about the situation, the more you feel stuck and without any options. It is time to get out of your head and let go of those thoughts and beliefs holding you back. As you change your thoughts, you change your reality. Replace negative thoughts with positive ones, and you will start to create a more favourable situation for yourself. The Eight of Swords assures you there is a way out of your current predicament – you just need a new perspective. You already have the resources you need, but it is up to you to use those resources in a way that serves you. Others may be offering you help, or there may be an alternative solution you haven’t yet fully explored. Be open to finding the answer rather than getting stuck on the problem. The Eight of Swords is often associated with a victim mentality. You surrendered your power to an external entity, allowing yourself to become trapped and limited in some way. You may feel that it isn’t your fault – you have been placed here against your will. You may feel like the victim, waiting to be rescued, but is this energy serving you? If not, it is imperative you take back your power and personal accountability and open your eyes to the options in front of you. The fact is you do have choices, even if you do not like them. You are not powerless. At times, the Eight of Swords indicates that you are confused about whether you should stay or go, particularly if you are in a challenging situation. It is not as clear-cut as you would like, making the decision very difficult. You have one foot in, hoping things can work out, but your other foot is out the door, ready to leave. The trouble is that you worry either option could lead to negative consequences, and so you remain stuck where you are. Again, this card is asking you to get out of your head and drop down into your gut and your intuition so you can hear your inner guidance. Your thoughts are not serving you right now, but your intuition is. Trust yourself. In any case, it is necessary to "take back control" of the circumstances and to remember that in life, we always have a choice. The possibilities in front of you may not be ideal, easy or desired… but they exist! You have to be able to look them in the face, and choose the best… or the least bad.
www.biddytarot.com/tarot-card-meanings/minor-arcana/suit-...
www.biddytarot.com/tarot-card-meanings/minor-arcana/suit-...
In 1903 Waite succeeded Yeats as Grand Master of the Golden Dawn. His first act under his new status was a reform of the fundamental principles of the Order: he proclaimed the primacy of spiritual achievement (emphasis on esoteric knowledge and the search for Truth) over material fulfillment (which occultism in general, and magic in particular, presupposes). Seeing in this act of negating the very foundation of the Golden Dawn (namely the practice of the occult sciences) the outright annihilation of the Order, former Grand Master Yeats strongly opposed Waite.
Two camps were then formed: one bringing together the supporters of the reform and represented by William Alexander Ayton, (relatively fearful in terms of operability), Waite's right-hand man, and the other bringing together, alongside the former Grand Mr. Yeats, the curators. The feud lasted two years, after which the Yeats camp ended up going on to found its own order (La Stella Matutina, the "Morning Star")—a perfect transposition of the Golden Dawn before Waite's reform, seceding from what took then the name of Holy Order of the Golden Dawn ("Holy Order of the Golden Dawn"; the expression "holy order" illustrating more the new mystical tendencies instilled by Waite) and which continued to be shaken by internal strife until disbanded in 1915, following Waite's departure.
After this "schism of 1905", which was the real coup de grace for the Hermetic Order of the Golden Dawn, certain initiates who had remained neutral in the struggle between Camp Yeats and Camp Ayton preferred to go and found, alone or in groups, their own brotherhood.
Arthur Edward Waite (1857-1942), wanted to be a true scholar in occultism. He wrote, among other things, "The Holy Kaballah" and "The Key to the Tarot", published in London in 1910. For Waite, symbolism is the key to the Tarot. In "The Key to the Tarot" he says, "True tarot is symbolic; it uses no other languages or other signs". One of the unique characteristics of the Arthur Edwart Waite tarot and one of the main reasons for its popularity is that all the cards, including those of the Minor Arcana, depict scenes complete with figures and symbols. The images of all Pamela Coman-Smith's cards lend themselves to an interpretation based on the conscious and unconscious reading of the scene, without the need to consult explanatory texts.
What is striking in the Tarot Rider-Waite, therefore, is above all the Minor Arcana, which are difficult to translate with the Tarot of Marseilles for most of those interested, but have suddenly become emblematic with the Tarot that Waite offers us. Therefore, these mysteries illustrated with scenes are easier to interpret.The Tarots of Wirth and Knapp Hall are to be considered to be Tarots based on "hermetic science". A science which will be strongly included in the broad fields of esoteric exploration to which the golden dawn will give access...The first decks that can be designated as decks born from the ideologies of the Golden Dawn and created according to their cosmogony is undoubtedly the Tarot Rider-Waite... It is the result of a long and meticulous research on esoteric symbols and their correspondence.
But the first member of the Hermetic Order of the Golden Dawn to have designed a Tarot is obviously doctor Gérard Encausse, Papus, who joined the members of the Hermetic Order of the Golden Dawn in 1895. The Papus tarot would have been designed around 1899... At the beginning, it was certainly reserved for a few insider circles only... It was seen for the first time in illustration in the works of Papus, among others in "Le Tarot des Bohémiens , absolute key to the occult sciences" (1889), but the book will only be really known and accessible to the general public from its 3rd edition published in 1926. Then will follow the work "The divinatory tarot. Key to card printing and fates" (1909), reissued in large circulation also the same year of 1926. From then on, the Tarot of Papus will gain much popularity and the public will seek to obtain it... The Tarot of Papus will be diffused little by little print from the 1930s.
While the tarots of Papus, Wirth and the Knapp Hall were appearing almost simultaneously, the renowned house of Grimaud, for its part, was preparing to publish the Tarot which would become the reference for the general public, it was this famous modified reproduction of the Conver, proposed by Paul Marteau. It will appear in 1930 and will become the most fashionable tarot... Despite the modifications made to this Tarot, it has no affiliation with occult groups and is intended to be a Tarot in the tradition of the Tarot de Marseille.
That said, the Tarot which will set the tone and which will be the reference for the members of the Golden Dawn is undoubtedly the Tarot developed by Rider and Waite.
There are already a hundred decks that derive directly from the tarot originally designed by Rider-Waite. Not to mention pirated copies, clones, etc... This tarot has long been a reference for budding occultists and kabbalists... It still is...
So, in fact, there are many tarots that were designed in the ideology of the Golden Dawn!!!
It will first be the Tarot of Aleister Crowley which, following the Rider-Waite, will stand out and bring modifications to the "esoteric" Tarot, always with reference to the Golden Dawn, to the Kabbalah, to ancient Egypt initiates, etc... With in addition, references to sexual magic...The members of the Golden Dawn mainly used the Tarot of Waite, but during the 1950s, 1960s, they put a lot of effort into creating a Tarot that could finally be directly linked to the precepts and esoteric teachings of the Golden Dawn... A Tarot which originally wanted to be, once again, a Tarot exclusively reserved for members of the Order. This is the famous "Tarot of the Golden Dawn", so the Tarot which wants to be "officially" attested by the order...
But beware !! This name known as "Tarot of the Golden Dawn" is confusing... Several Tarots are decked out with the label "of the Golden Dawn"...
In truth, of all these tarot cards there is only one that is truly recognized by the Hermetic Order of the Golden Dawn and as such, and that is the one developed by Israel Regardie and Robert Wang from esoteric works of Samuel Liddel Matthers.
Robert Wang will also create the "Jungian Tarot", very appreciated also by the followers of the Golden Dawn; and perhaps even more by those interested in "modern theosophy" and in the principles elaborated by Jung.
The "Jungian Tarot" is quite similar to the so-called "Golden Dawn" Tarot, but is intended more for "personal evolution" than for the initiatory journey of the Order, strictly speaking... In truth these two tarots are the results of extensive research in matters of esotericism, research that has been carried out by the study centers of the Hermetic Order of the Golden Dawn. Its construction, on the basis of the four elements, the celestial phenomena, the Holy Kabbalah, and a highly evolved psychology, can apparently lead its followers into the inner recesses of psychic and intuitive awareness.
Above all, this tarot can be used as a basis for occult study, in order to learn to possess all the aspects of the traditional "center-wisdom", and "high-science" kabbalistic... (There are many Rosicrucian references , and also references to Freemasonry and alchemy).
Originally, the Golden Dawn Tarot was only reserved for members of the official Order. It began to be broadcast from 1975.
Despite the claim of these creators, it should still be known that the vast majority of members of the Hermetic Order of the Golden Dawn, will study the Tarot from the "Tarot B.O.T.A.", or the original Rider-Waite. What is striking in the Tarot Rider-Waite, therefore, is above all the Minor Arcana, which are difficult to translate with the Tarot of Marseilles for most of those interested, but have suddenly become emblematic with the Tarot that Waite offers us. Therefore, these mysteries illustrated with scenes are easier to interpret.
THE TAROT B.O.T.A.
It is actually a very special version of the Rider-Waite Tarot presented in a "black and white" version, and the members were invited to color their own tarots... The study of symbolism esoteric was first done using this Tarot Rider-Waite in its original version (in black and bench). Indeed, the Waite-Rider Tarot in its black and white version is the most used by Golden Dawn followers and should be considered the official Golden Dawn Tarot.
A nearly similar version is still used by members of the B.O.T.A. and followers of hermetic schools. (The initials B.O.T.A. mean "Builders of the Adytum", it is a traditional and fraternal association founded by Paul Foster Case, continued and extended by Ann Davies...
A popular theory is that author William Walker Atkinson co-wrote the legendary "Kybalion" tome with Paul Foster Case. This theory is often defended by members of the "Builders of the Adytum". B.O.T.A. offers courses and techniques based on the study of the mystical teachings of the Holy Qabalah and TAROT. In fact, this confusing story about the Tarot B.O.T.A. and writing the "Kybalion", seems to have started with a breakaway group from the B.O.T.A., "The Brotherhood of Hidden Light" (which emphasizes the "secret (or lost) knowledge of the sages of Atlantis") .
The members of the Golden Dawn like the members of the B.O.T.A., consider that the Rider-Waite tarot is the ultimate "reference"...
secretsdutarot.blogspot.com/2013/01/les-tarots-dits-de-la...
This dissertation seeks to define the importance of Waite’s interpretation of mediaeval and Renaissance esoterica regarding the contacting of daemons and its evolution into a body of astrological and terrestrial correspondences and intelligences that included a Biblical primordial language, or a lingua adamica. The intention and transmission of John Dee’s angel magic is linked to the philosophy outlined in his earlier works, most notably the Monas Hieroglyphica, and so this dissertation also provides a philosophical background to Dee’s angel magic. The aim of this dissertation is to establish Dee’s conversations with angels as a magic system that is a direct descendant of Solomonic and Ficinian magic with unique Kabbalistic elements. It is primarily by the Neoplatonic, Hermetic, Kabbalistic, and alchemical philosophy presented in the Monas Hieroglyphica that interest in Dee’s angel magic was transmitted through the Rosicrucian movement. Through Johann Valentin Andreae’s Chymische Hochzeit Christiani Rosencreutz anno 1459, the emphasis on a spiritual, inner alchemy became attached to Dee’s philosophy. Figures such as Elias Ashmole, Ebenezer Sibley, Francis Barret, and Frederick Hockley were crucial in the transmission of interest in Dee’s practical angel magic and Hermetic philosophy to the founders of the Hermetic Order of the Golden Dawn.
Enochian Angel Magic: From John Dee to the Hermetic Order of the Golden Dawn www.academia.edu/921740/Enochian_Angel_Magic_From_John_De...
The rituals of the Golden Dawn utilized Dee’s angel magic, in addition to creative Kabbalistic elements, to form a singular practice that has influenced Western esoterica of the modern age. This study utilizes a careful analysis of primary sources including the original manuscripts of the Sloane archives, the most recent scholarly editions of Dee’s works, authoritative editions of original documents linked to Rosicrucianism, and Israel Regardie’s texts on Golden Dawn practices."In Whose hands the Sun is as a sword, and the Moon as a through- thrusting fire." An elegant equation, defining the parameters of the. creation. The god declares dominion over planetary forces (Sun-Moon) and elemental forces (fire-air). He also declares control over the two types of dualities: those in which one pole is projective and the other responsive (Sun-Moon) and over those in which two forces of similar polarity are balanced (fire-air). Within the area of creation, the positive pole is attributed to the element of swords, Air, and the anti-positive pole is attributed to the element of Fire. This is reflected in the precedence followed by the elements throughout the Tablets and Calls: Air first, then Water, Earth, and Fire. "Which measure your garments in the midst of my vestures..." The word translated here as "garments" is used uniformly to mean "creation" or "being" elsewhere in the Keys. Another word is used for
"garments" in the next sentence of this same Key. Another word is also used for "midst" further on in this Key. So the translation here is questionable. A magickal image given to define this phrase shows the scene through the god's eyes as he pulls endless threads of living light out of a lamen on his chest.
Enochian magic is a system of ceremonial magic based on the 16th-century writings of John Dee and Edward Kelley, who wrote that their information, including the revealed Enochian language, was delivered to them directly by various angels. Dee's journals contain the record of these workings, the Enochian script, and the tables of correspondences used in Enochian magic. Dee and Kelley believed their visions gave them access to secrets contained within Liber Logaeth, which Dee and Kelley referred to as the "Book of Enoch".In the early 1580s, John Dee had become discontented with his progress in learning the secrets of nature. Dee wrote: I have from my youth up, desired and prayed unto God for pure and sound wisdom and understanding of truths natural and artificial, so that God's wisdom, goodness, and power bestowed in the frame of the world might be brought in some bountiful measure under the talent of my capacity... So for many years and in many places, far and near, I have sought and studied many books in sundry languages, and have conferred with sundry men, and have laboured with my own reasonable discourse, to find some inkling, gleam, or beam of those radical truths. But after all my endeavours I could find no other way to attain such wisdom but by the Extraordinary Gift, and not by any vulgar school, doctrine, or human invention. Enochian magic involves the evocation and commanding of various spirits.He subsequently began to turn energetically towards the supernatural as a means to acquire knowledge. He sought to contact spirits through the use of a scryer or crystal-gazer, which he thought would act as an intermediary between himself and the angels. Dee's first attempts with several scryers were unsatisfactory, but in 1582 he met Edward Kelley (1555–1597/8), then calling himself Edward Talbot to disguise his conviction for "coining" or forgery, who impressed him greatly with his abilities.Dee took Kelley into his service and began to devote all his energies to his supernatural pursuits. These "spiritual conferences" or "actions" were conducted with intense Christian piety, always after periods of purification, prayer and fasting. Dee was convinced of the benefits they could bring to mankind. The character of Kelley is harder to assess: some conclude that he acted with cynicism, but delusion or self-deception cannot be ruled out. Kelley's "output" is remarkable for its volume, intricacy and vividness. Through Kelley, the angels laboriously dictated several books in this way, some in a previously unknown language which Dee called Angelical — now more commonly known as Enochian.The two pillars of modern Enochian magic, as outlined in Liber Chanokh, are the Elemental Tablets (including the "Tablet of Union") and the Keys of the 30 Aethyrs. The Enochian model of the universe is depicted by Dee as a square called "The Great Table" (made up of the 4 Elemental Tablets and incorporating the Tablet of Union), surrounded by 30 concentric circles representing the 30 Aethyrs or Aires. The Angelical Keys:
The essence of Enochian magic involves the recitation of one or more of nineteen Angelical Keys, which are also referred to as Calls. These keys are a series of rhetorical exhortations which function as evocations when read in the Enochian language. They are used to effect the "opening of 'gates' into various mystical realms." The first eighteen keys are used to 'open' the realms of the elements and sub-elements, which are mapped onto the quadrants and sub-quadrants of the Great Tablet.[clarification needed][citation needed]. The nineteenth key is used to 'open' the Thirty Aethyrs. The Aethyrs are conceived of as forming a map of the entire universe in the form of concentric rings which expand outward from the innermost to the outermost Aethyr. The Great Table: The angels of the four quarters are symbolized by the Elemental Tablets — four large magical word-square Tables (collectively called "The Great Table"). Most of the well-known Enochian angels are drawn from the Elemenal Tablets of the Great Table. Each of the four tablets (representing the Elements of Earth, Air, Fire and Water), is collectively "governed" by a hierarchy of spiritual entities which runs (as explained in Crowley's Liber Chanokh) as the Three Holy Names, the Great Elemental King, the Six Seniors (aka Elders) (these make a total of 24 Elders as seen in the Revelation of St. John), the Two Divine Names of the Calvary Cross, the Kerubim, and the Sixteen Lesser Angels. Each tablet is further divided into four sub-quadrants (sometimes referred to as 'sub-angles') where we find the names of various Archangels and Angels who govern the quarters of the world. In this way, the entire universe, visible and invisible, is depicted as teeming with living intelligences. Each of the Elemental tablets is also divided into four sections by a figure known as the Great Central Cross. The Great Central cross consists of the two central vertical columns of the Elemental Tablet (the Linea Patris and Linea Filii) and the central horizontal line (known as the Linea Spiritus Sancti). In addition to the four Elemental Tablets, a twenty-square cell known as the Tablet of Union (aka The Black Cross, representing Spirit) completes the representation of the five traditional elemental attributes used in magic - Earth, Air, Water, Fire and Spirit. The Tablet of Union is derived from within the Great Central Cross of the Great Table. The Thirty Æthyrs : The 30 Aethyrs are numbered from 30 (TEX, the lowest and consequently the closest to the Great Table) to 1 (LIL, the highest, representing the Supreme Attainment. Magicians working the Enochian system record their impressions and visions within each of the successive Enochian Aethyrs. Each of the 30 Aethyrs is populated by "Governors" (3 for each Aethyr, except TEX which has four, thus a total of 91 Governors). Each of the governors has a sigil which can be traced onto the Great Tablet of Earth.
The Holy Table: a table with a top engraved with a Hexagram, a surrounding border of Enochian letters, and in the middle a Twelvefold table (cell) engraved with individual Enochian letters. According to Duquette and Hyatt, the Holy Table "does not directly concern Elemental or Aethyrical workings. Angels found on the Holy Table are not called forth in these operations."
The Seven Planetary Talismans: The names on these talismans (which are engraved on tin and placed on the surface of the Holy Table) are those of the Goetia. According to Duquette and Hyatt, "this indicates (or at least implies) Dee's familiarity with the Lemegeton and his attempt, at least early in his workings, to incorporate it in the Enochian system."] As with the Holy Table, Spirits found on these talismans are not called forth in these operations. The Sigillum dei Aemeth, Holy Sevenfold Table, or 'Seal of God's Truth': The symbol derives from Liber Juratus (aka The Sworn Book of Honorius or Grimoire of Honorius, of which Dee owned a copy). Five versions of this complex diagram are made from bee's wax, and engraved with the various lineal figures, letters and numbers. The four smaller ones are placed under the feet of the Holy Table. The fifth and larger one (about nine inches in diameter) is covered with a red cloth, placed on the Holy Table, and is used to support the "Shew-Stone" or "Speculum" (crystal or other device used for scrying). Scrying is an essential element of the magical system. Dee and Kelly's technique was to gaze into a concave obsidian mirror. Crowley habitually held a large topaz mounted upon a wooden cross to his forehead. Other methods include gazing into crystals, ink, fire or even a blank TV screen.Little else became of Dee's work until late in the nineteenth century,[citation needed] when it was incorporated by a brotherhood of adepts in England. The rediscovery of Dee and Kelley's material by Samuel Liddell MacGregor Mathers of the Hermetic Order of the Golden Dawn in the 1880s led to Mathers developing the material into a comprehensive system of ceremonial magic. Magicians invoked the Enochian deities whose names were written on the tablets. They also traveled in their bodies of light into these subtle regions and recorded their psychic experiences. The two major branches of the system were then grafted on to the Adeptus Minor curriculum of the Golden Dawn.
According to Aleister Crowley, the magician starts with the 30th aethyr and works up to the first, exploring only so far as his level of initiation will permit. According to Chris Zalewski's 1994 book, the Golden Dawn also invented the game of Enochian chess, in which aspects of the Enochian Tablets were used for divination. They used four chessboards without symbols on them, just sets of colored squares, and each board is associated with one of the four elements of magic. Florence Farr founded the Sphere Group which also experimented with Enochian magic.Aleister Crowley's work with Enochian magick generally follows the Golden Dawn system. He is known primarily for his explorations of the 30 Aethyrs, published in "The Vision and the Voice". This work established the idea that Aethyr might represent a means of initiation, and set a standard for methodical exploration, which few have equaled. It also fixed Crowley's particular perspective on the process of transcendence in the minds of many students of the occult. Crowley envisioned the Aethyr as being related to the sephiroth of the tree of life in groups of three. He also mentions that each Aethyr "bends" into the next Aethyr above it, in a way, so that in progressing through the Aethyrs from the last to the first, one also withdraws one's being from the lower levels and already experienced (this is parallel to the technique he describes in the Liber Yod, in which the magician achieves union with the deity by gradually banishing all other levels and powers.Under this conception the Aethyrs ZAX, whose parts have names formed from the cross of union, is the highest of the three attributed to Chesed. Thus, it is the last Aethyr encountered before entering the Supernal Triad and achieving transcendence. Crowley envisioned this movement as crossing an "abyss" or space, during which the magician encounters an Enochian devil named Choronzon dwelling therein. Crowley's other contribution to Enochian magick was adapting the pyramid system of the GD for use with the sex magick of the O.T.O. In this technique, physical representations of the pyramids are made for an angel's name, but inverted to form the square "cups". These serve as talismans, which are charged using the end product of the sex magick operation.
Paul Foster Case (1884–1954), an occultist who began his magical career with the Alpha et Omega, was critical of the Enochian system. According to Case, the system of Dee and Kelley was partial from the start, an incomplete system derived from an earlier and complete Qabalistic system, and lacked sufficient protection methods. Case believed he had witnessed the physical breakdown of a number of practitioners of Enochian magic, due to the lack of protective methods. When Case founded his own magical order, the Builders of the Adytum (B.O.T.A.), he removed the Enochian system and substituted elemental tablets based on Qabalistic formulae communicated to him by Master R.The first Enochian Key or Call is a recapitulation of the steps by which the creator of the system brought it into being. The Key follows the same macrocosmic-to-microcosmic progression used in the example consecration ritual, but then supplements this with a response from the microcosm directed at the macrocosm. Note that the description of the downward current contains seven significant phrases, suggesting the planets and sun, the macrocosm, while the description of the response contains five significant phrases, suggesting the four elements and elemental spirit, the microcosm."...and trussed you together as the palms of my hands." The magickal image continues by showing the god gathering the fibers of light into a bundle or cable. The god concentrates the energies within the area of work in preparation for shaping."Whose seats I garnished with the fire of gathering, which beautified your garments with admiration." Having generated the positive or spiritual pole of the creation, the god now looks to the anti-positive or material pole. The "seats" are the squares of the tablets in their two-dimensional form. The god embodies a part of his will in the Tablets, defining the order and place to which the spiritual energies will be attracted and attached. When the energies are attached to the Tablets, the pattern of will embodied in the Tablets extends back along their path to the positive pole, conditioning all the perceptible expressions (the "garments") of the energies.. The usual assumption of later magicians (which is not universally accepted) is that the remaining Calls refer to the "Minor Angles" within the Tablets.
The Golden Dawn method of associating the Callings with the tablets and Lesser Angles has become the accepted "standard". Donald Tyson recently proposed an alternative method which has received some attention
en.wikipedia.org/wiki/Enochian_magic
SUMMARY OF PATH POSITIONS IN ACHAD'S TREE OF LIFE
Path Trump Connects with:
Aleph The Fool Malkuth Yesod
Beth The Magician Malkuth Hod
Gimel The Priestess Yesod Hod
Daleth The Empress Malkuth Netzach
Heh The Emperor Tiphereth Geburah
Vav The Hierophant Hod Netzach
Zain The Lovers Hod Tiphereth
Cheth The Chariot Yesod Netzach
Teth Strength Netzach Tiphereth
YodT he Hermit Hod Geburah
Kaph The Wheel of Fortune Kether Chokmah
Lamed Justice Netzach Chesed
Mem The Hanged Man Yesod Tiphereth
Nun Death Geburah Chesed
Samek Temperance Chesed Chokmah
AyinThe DevilTiphereth Binah
PehThe Tower Geburah Binah
Tzaddi The Star Binah Chokmah
Qoph The Moon Tiphereth Chesed
Resh The Sun Tiphereth Chokmah
Shin Judgement Kether Tiphereth
TauT he Universe Kether Binah
"To whom I made a law to govern the holy ones," The word translated as "holy ones" appears to derive from the same root as the enochian words for "fire", suggesting that the holy ones are those who possess the spiritual will. The god specifies the manner in which his creation will respond to the mages and adepts."Moreover, you lifted up your voices and sware obedience and faith..."The connection between the two poles having been made, and the conditions of their interaction being set, the angels of the creation voice their response to the god, swearing to continue to follow the god's will. "...to him that liveth and triumpheth," The spirits of the Tablets affirm the existence of their creator by saying that he lives, and affirm the success of the act of creation by saying that he triumphs. The echoing of the god's statements by the spirits of the tablets also suggests that the conditions the god laid on the creation as a whole
are reflected in miniature within the creation. It shall be shown that this is the case with the Tablets as we proceed.In the remainder of the Key, the magician using it calls upon the
spirits to respond to him fully and openly. The word translated here as "servant" might be better rendered as "minister" or "representative". The magician asserts that he has a right to demand a response from the spirits because his acts are in accord with the will of their creator.
www.sacred-texts.com/eso/enoch/1stkey.txt
Angelic chatter, but very little solid information. Additionally, the reader must deal with forays into apocalyptic religion, Elizabethan politics, Dee's and Kelly's personal issues, and the various irrelevant issues Dee insisted on inserting into the work. Chronologically, Dee and Kelly's work falls into three highly productive periods separated by months when nothing of particular value was received. The material received in each period generally stands on its own, and is only loosely related to that of the other periods. but the term is often applied to all work. First Period: The Heptarchia Mystica. Equipment: Ring, Lamen, and Holy Table The angels claimed that the ring they designed for Dee was the same one used by Solomon to control demons. The ring had a full band, to which was attached a rectangular plate. The letters PELE (coming from Latin for "he will do miracles") were inscribed in the four corners. In the center was a circle crossed by a horizontal line, with the letter "V" inscribed above and the letter "L" below. Two different lamens were given to Dee. The first bears a generic resemblance to various sigils of goetia being an assortment of free-form lines and oddly placed letters. The giving being indicated that it was to be made of gold and worn every time and place for the purpose of protection. given by an evil spirit. During the spring session of 1583, the angels indicated that a session had been scheduled in which detailed instructions would be given for the use of Heptarchic magick. If this session took place, it is not in the records that have survived; but some idea of the general technique can be gathered from the comments in other parts of the recording. The magician would be seated at the Holy Table, wearing the ring and lamen. table in front of him. He would hold an appropriate Heptarchic king's talisman in one hand, with a talisman of the names of the king's ministers placed beneath his feet. The magician would then invite the king with petition and prayer, followed by petitions to his prince, and invocations of the six chief ministers. They would appear in the stone of clairvoyance, whereupon the magician would instruct them to accomplish the task he desired.The Liber Loagaeth is the most mysterious part of Dee and Kelly's work. It is also known by different names like
book of Enoch and the Liber Mysteriorum Sextus et Sanctus. So far no one has seriously attempted to use it, or to understand its nature, beyond what is found in the diaries. According to the angels, "loagaeth" means "speech of God", this book is supposed to be, literally, the words by which God created all things. It is supposed to be the language in which the "true names" of all things are known, giving power over them. As described in the Liber Mysteriorum Quintis, the book was to consist of 48 "leaves", of which each contains a 49x49 grid. Infact, the book actually presented to Kelly is somewhat different. It contains 49 "invocations" in an unknown language, 95 square tables filled with letters and numbers, 2 similar tables not filled, and 4 drawn tables twice the width of the others. 2 "leaves" are recorded, but these are not included in the final book, and apparently serve as an introduction or prologue to the work. this term. There is no translation by which this could be judged in detail, but the text lacks the logical repetitions and word placements which are characteristic of the 48 Enochian invocations given in later years. There is no apparent grammar in the text. Donald Laycock remarks that the language is strongly alliterative and repetitively rhyming, while Robert Turner calls it "glossolalic". many "languages", all being spoken immediately. The purpose of the Loagaeth has been said to be the unleashing/introduction of a new age on earth, the last age before the end of all things. Instructions for use for this purpose were never given; the angels continually put it off, saying that only God could decide when the time has come. During the presentation of the two leaves of the Liber Mysteriorum Quintis, in the stone of clairvoyance an angel moved successively towards letters, and Kelly pronounced the names of the angelic character. Dee transcribed a version using the Roman alphabet, apparently with the intention of redoing it in angelic characters at a later date. of Kelly; this light was seen by both of them. Once the light entered Kelly's head, his consciousness was transformed so that he could understand the text as he read it. He was strongly commanded not to provide a translation, explaining that God would choose the time for it to be revealed. He provided the translation of a few of the words, but it was insufficient to capture the meaning of the text as a whole. When the light withdrew from Kelly's head, he immediately ceased to understand the text, and could no longer see it in the stone. On a few occasions, the light continued to work within him for a short time after the session ended, and at those times Dee noticed that Kelly said many wonderful (and unrecorded) things about the nature of the texts. But the moment the light went out, Kelly couldn't understand it anymore, nor remember what he had said during the previous moment. The record indicates that the 23rd line of the first leaf was a preface to the creation and distinction of the angels, and the 24th line a pleasant invitation to the good angels. Nothing else is recorded concerning the purpose of this book.
Enochian Magic and the Apocalypse
There are 2 major threads of thought in Christian millennialism. One thread, called postmillennialism, is largely utopian in nature. He sees the millennium as the beginning of a period of progressive perfection of conditions on Earth; the basic principle is that the world must be perfected and the city of God built on earth before Christ returns, and only after Christ returns will the world end. Two decades after Dee, this form of millennialism was the driving force behind the religious groups shoeing the English colonization of America. Dee's own thought contains many post-millennial ideals in the search for Enochian magick, one of his goals was to gain means to bring earthly governments and societies to God's design, thereby bringing the return of Christ closer. quickly. The other thread, called premillennialism, is the more catastrophic variety. In this version, the typical scenario is the return of Christ, and then mankind's current "evil" societies will be destroyed in worldwide disasters, while the elect are preserved from evil. After the world is destroyed, Christ will join the faithful in a city built by God to rule over the earth for a thousand years. While there is a strong millennial flavor to the angel's statements, they are almost uniformly of the postmillennial variety. The angels divided the world into four ages. The first of these ages began with the creation and ended with the flood; the second ended with the appearance of Christ. The revelation of Liber Loagaeth ended the third age and triggered the final age, in which the world would be brought to perfection before Christ's return. . A particular passage makes this clear.
The Enochian Magical System of Golden Dawn
Regardie, Israel, The Golden Dawn, Llewellyn Publications, 1971, St Paul, MN. Reprinted at regular intervals. Contains detailed descriptions of the Enochian Magical System developed from GD. Zalewski, Pat. Golden Dawn Enochian Magic, Llewellyn Certainly there are influences of the Qabalah (the Sigillum Dei Aemeth, the communications of Uriel, Michael...) but this is not the originality and the strength of the system. Some practitioners of Enochian magic said that it was a Qabala (when I hear a Qabala I tend to write Kabbalah, like in the theater) that put into action the world of Atziluth, the highest of the four Qabalah classic. It's quite difficult to verify...even ! (See the introduction to the Necrono-micon at Belfond Editions).
But back to Enochian magick proper. The successors of the G.. D.. today reorganize its system and Schueler in his Enochian Magic) gives the material and the rituals "step by step" ("step by step"). Americans (and us too) like to practice if it is simple and impressive... The investigation by Enochian magic generally gives results, we cannot really say that they are controllable since they do not correspond to any standard of experiences already lived by the inventors of this practice.
Be that as it may, the Enochian, this language with its grammar and its syntax, this magical system and its original Theogony, remains a mystery that should not be taken for a simple variant of this or that traditional system already known. It is therefore useful when approaching it to master the fundamental elements which are used for its use without being subservient to the rituals of the pentagrams and hexagrams, to their signs, to the notions of Qabala of the G., D.., etc. This will make it possible to know what is original or what is borrowed in the Enochian, and what one can think of such or such contemporary development. A culture that will provide some points of reference in our consumer society where the practice of magic has much in common with video games or the daily television session.
In this, the most honorable goal (if it can be a question of honour) is the success of the experience known as the "Knowledge and Conversation of the Holy Guardian Angel", i.e. contact with one's true will, devoid of intention, in other words his heart. But it also applies to solving the various problems of life. After all, a magic is white or black only according to the use that is made of it... Let's say that we are still far from the religious John Dee. In fact not, for if Dee's conscious aims and methods were very far from those of our contemporaries, would ultimately the adventures and misadventures of his life, the problem of his relationship with Kelly evidently culminating in the ritually ordered exchange what they did with their wives would not be indications that this practice was beginning to ferment the elements of their consciences into a quintessential non-conformist?
MATTHEW LEON.
This text constitutes the introduction to the "Book of the gathering of forces" Editions RAMUEL 1994
Today we can no longer answer, lacking the benchmarks of a conventional morality no longer existing in the heart of the modern magician. But what is left? On what do we base ourselves if our practice has not yet allowed us an unambiguous contact with our heart, if our magical training lets us wander in the imagination that we have shaped? Publications 1990, St Paul, MN.
Synesthesia (American English) or synaesthesia (British English) is a perceptual phenomenon in which stimulation of one sensory or cognitive pathway leads to involuntary experiences in a second sensory or cognitive pathway. People who report a lifelong history of such experiences are known as synesthetes. Awareness of synesthetic perceptions varies from person to person. In one common form of synesthesia, known as grapheme–color synesthesia or color–graphemic synesthesia, letters or numbers are perceived as inherently colored.In spatial-sequence, or number form synesthesia, numbers, months of the year, or days of the week elicit precise locations in space (e.g., 1980 may be "farther away" than 1990), or may appear as a three-dimensional map (clockwise or counterclockwise). Synesthetic associations can occur in any combination and any number of senses or cognitive pathways. Little is known about how synesthesia develops. It has been suggested that synesthesia develops during childhood when children are intensively engaged with abstract concepts for the first time. This hypothesis—referred to as semantic vacuum hypothesis—could explain why the most common forms of synesthesia are grapheme-color, spatial sequence, and number form. These are usually the first abstract concepts that educational systems require children to learn. The earliest recorded case of synesthesia is attributed to the Oxford University academic and philosopher John Locke, who, in 1690, made a report about a blind man who said he experienced the color scarlet when he heard the sound of a trumpet. However, there is disagreement as to whether Locke described an actual instance of synesthesia or was using a metaphor. The first medical account came from German physician Georg Tobias Ludwig Sachs in 1812. The term is from the Ancient Greek σύν syn, 'together', and αἴσθησις aisthēsis, 'sensation'.
en.wikipedia.org/wiki/Synesthesia
When Pamela Coleman Smith was attending the Pratt Institute of Art, she realized that she possessed a high degree of sound-color synesthesia, i.e., she was able to visualize colors and forms while listening to music and could transmit those visualizations into tangible works of art. Modern psychologists define synesthesia as a crossing-over of sensory input. Depending upon the type of synesthesia, individuals are able to hear colors, see music, smell words, etc. Many people, particularly artists, possess this phenomenon to some extent; however, Pamela possessed sound-color synesthesia to an exceptionally high degree. She was able to create sound paintings just by unconsciously drawing while listening to passages of music. She embodied the Symbolist ideal in this area. Many examples of her work in this area have survived, including three watercolors in the possession of the Stieglitz/Georgia O'Keeffe Archive. In July 1908, an article appeared in The Strand Magazine entitled "Pictures in Music." The article included six black and white images of her music paintings (see below) and provided a long quotation by her which described how her art was created. A pertinent excerpt from that article is as follows: Do you see pictures in music? When you hear a Beethoven symphony or a sonata by Schumann, do mystic human figures and landscapes float before your eyes ? It is by no means new or uncommon for a composer to have a distinct picture in his mind when he sets himself to create a work. Schumann saw children at play in an embowered wood, dancing merrily until, lo ! the sudden advent of a satyr sent them shrieking to their homes. Few, however, have been able to delineate their hallucinations born of music.
Mendelssohn, who was no mean draughtsman, was often asked to do so, but always refused. "It is like asking a sculptor to paint a portrait of his statue," he once said. " All art is one, just as the human body is one, but each of the members has its functions. It is the function of music to hear, not to see." Nevertheless, it is highly interesting to see music translated in the terms of a sister art, and this is what a clever artist, Miss Pamela Colman Smith, has done, in pictures which are published now for the first time in The Strand Magazine. Many of the compositions selected by the artist will instantly be recognized as conveying, in quite a surprising way, a vivid idea of the music as a whole. Every reader can ascertain for himself whether he possesses this peculiar psychic gift—this power of conjuring up music pictures. When you next hear a famous sonata, close your eyes and see what, if any, "pictures" pass before the eye of your brain. Under the magical influence of music the soul has glimpses of wondrous shapes, lit by the light that never was on sea or land. "You ask me how these pictures are evolved," said Miss Colman Smith. "They are not pictures of the music theme — pictures of the flying notes—not conscious illustrations of the name given to a piece of music, but just what I see when I hear music—thoughts loosened and set free by the spell of sound. "When I take a brush in hand and the music begins, it is like unlocking the door into a beautiful country. There, stretched far away, are plains and mountains and the billowy sea, and as the music forms a net of sound the people who dwell there enter the scene; tall, slow-moving, stately queens, with jewelled crowns and garments gay or sad, who walk on mountain - tops or stand beside the shore, watching the water - people. These water-folk are passionless, and sway or fall with little heed of time; they toss the spray and, bending down, dive headlong through the deep. "There are the dwellers, too, of the great plain, who sit and brood, made of stone and motionless; the trees, which slumber till some elf goes by with magic spear and wakes the green to life ; towers, white and tall, standing against the darkening sky— Those tall white towers that one sees afar, Topping the mountain crests like crowns of snow. Their silence hangs so heavy in the air That thoughts are stifled. "Then huddling crowds, who carry spears, hasten across the changing scene. Sunsets fade from rose to grey, and clouds scud across the sky. "For a long time the land I saw when hearing Beethoven was unpeopled; hills, plains, ruined towers, churches by the sea. After a time I saw far off a little company of spearmen ride away across the plain. But now the clanging sea is strong with the salt of the lashing spray and full of elemental life; the riders of the waves, the Queen of Tides, who carries in her hand the pearl-like moon, and bubbles gleaming on the inky wave. "Often when hearing Bach I hear bells ringing in the sky, rung by whirling cords held in the hands of maidens dressed in brown. There is a rare freshness in the air, like morning on a mountain-top, with opal-coloured mists that chase each other fast across the scene. "Chopin brings night ; gardens where mystery and dread lurk under every bush, but joy and passion throb within the air, and the cold moon bewitches all the scene. There is a garden that I often see, with moonlight glistening on the vine-leaves, and drooping roses with pale petals fluttering down, tall, misty trees and purple sky, and lovers wandering there. A drawing of that garden I have shown to several people and asked them if they could play the music that I heard when I drew it. They have all, without any hesitation, played the same. I do not know the name, but— well, I know the music of that place."
77.5 X 92.5"
machine pieced and hand quilted.
I am so happy this is finally done!!!! I look at quilts people post on Flickr all the time....they kept me inspired, and pushed me to finish mine :) I have only been quilting for a year, self taught, I'm pretty happy with the way this quilt turned out :)
I am so far behind with my thank yous!!! Many many thanks to all my Flickr friends for taking the time to view my work! I really appreciate you time and effort!! Thank you for all your wonderfully kind and generous comments, awards, favs, and invites!!! Have wonderful day!!!!
“Life has taught us that love does not consist in gazing at each other, but in looking outward together in the same direction”
Sanju, Wishing you a beautiful and happy married life :) This photo is for you.
Explore #144 : Thank you friends :)
A view from Kovalam beach. View On Black