TRANSMUTATION photos on Flickr

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What happened three days ago is a very bad story, a 63-year-old man shot two women in the face, one 48 years old, the other 49 years old, and then took his own life, all of which happened in a town in the province of Catania, one of them allegedly had an extramarital affair with the killer: in 2022 120 women were killed, 97 of them were killed in the family or emotional sphere, of these 57 died for hand of the partner or former partner. This tragic and sad incipit linked to the ever-present drama of feminicides, to introduce the photographic story that I made in the town of Savoca (Messina - Sicily) on 08/13/2022, of a very particular representation that was held last time in August 2018; is a narration that pits Evil (a devil armed with a long grappling hook) against Good (Saint Lucia, who holds a silver palm leaf in her hands), the Evil-Devil tries to seduce-distract Saint Lucia with own grappling hook, instead Saint Lucia remains impassive in front of her flattery: violence against women in this very suggestive representation finds distant and deep roots, Saint Lucia actually represents those women who in medieval times had to suffer the abuses perpetrated by the Baron of Savoca nicknamed "Barone Altadonna", which making use of the law "ius primae noctis" (from the Latin "right of the first night"), referred to the "right" according to which a feudal lord could rape a newly married woman on her wedding night. Therefore, this is a photographic narration that speaks of the eternal struggle that takes place between good and evil, which speaks of a dark period of history, speaks of the violence suffered by women but also by those who belonged to the poorest social classes, historical facts that have been handed down to us in the form of a story and associated-transmuted in the martyrdom of Saint Lucia, this is what happens in the town of Savoca (Sicily). This is a report of the living representation of the martyrdom of Saint Lucia (patron saint of the city of Savoca); the cult of the young Saint of Syracuse seems to date back to the fifteenth century, under the influence of Spanish traditions. The living re-enactment of the history of St. Lucia takes place on two consecutive days, Saturday and Sunday: here I try to tell some moments of Saturday, the day during which the celebration does not take place in its full beauty, it is the day during which "the silver palm" is delivered "from the Lucia of the previous edition" to the "Lucia of the current edition", it is the day during which the last details are tested, above all the "impassivity of the little girl who impersonates Saint Lucia", lovingly called "the Lucia".. And 'This is a historical event which speaks of Demons and Angels: Saint Lucy refused to marry a rich and powerful suitor (Lucy declared She was married in Christ), which reported the Christian faith of Lucia to prefect Pascasio that ordered his Praetorian Guard to drag Lucia with a rope to a place of prostitution; legend has it that the Holy became heavy, they then tried to drag it with the help of oxen, but it was impossible to move it from where he stood; failing in this, it was then given the order to cavarle eyes, but the young martyr (native of Syracuse) her eyes reappeared.

In the village of Savoca a young girl, affectionately called the "Lucy" is carried on the shoulder of a porter along the streets of the country (sitting on a pillow tied on the shoulder of a man, but in fact men are two); the young Saint remains impassive in the face of demonic temptations: the Devil, called in Sicilian dialect "u Diavulazzu, shake, shakes, turns his pitchfork in an attempt to "distract" the Saint.

The first day of this representation, on Saturday, in an old church in Savoca, the two girls who impersonate the Lucia, of the current year and the previous year, meet with the delivery of palm; the traditional event which we witness on Saturday, has all the appearance of an important rehearsal for the next day, on Sunday when the traditional festival will take place in all its beauty.

Sunday: on top of the procession there are the "Jews" (the emissaries of the prefect Pascasio) along with some Angels, is located immediately after the wagon drawn by two cows from which branches off a rope that will arrive to Saint Lucia (a girl of six years); between her and the cows there are Roman soldiers, who make their way through the crowd squirming like crazy; to hold the rope there are also male figures; the job of Devil (his mask is made of wood, whose invoice is dated, it seems, of the 400') is to distract the little Saint with the help of a long stick equipped of curved points, called "u 'croccu": Lucia hardly is deceived by the promises of the evil one, she will not abandon the state of her property concentration, aided in this by staring, almost in a trance, a small palm branch in silver , she brings devoutly in her hands.It's very important to mention the Baron Baldassarre (nicknamed Baron Altadonna), who applied without any hesitation the practice of Jus de seigneur: using this law the Baron obliged the young brides to spend the wedding night in his alcove. It 'very possible that in the representation of Saint Lucia of Savoca the character of the Devil tempting young Santa with his pitchfork, in reality is nothing but himself, Baron Altadonna, so allegorically described in this traditional Sicilian feast: the figure of the Devil if one takes into account what historians relate, does not belong more to the legend, but sadly to actual event happened.

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E' una bruttissima storia quanto accaduto tre giorni fa, un uomo di 63 anni, ha ucciso a colpi di pistola in pieno volto due donne, una di 48 anni, l'altra di 49 anni, per poi togliersi la vita, il tutto accaduto in una cittadina in provincia di Catania, una di loro avrebbe avuto una relazione extraconiugale con l'assassino: nel 2022 sono state 120 le donne uccise, 97 di loro sono state uccise in ambito familiare o affettivo, di queste 57 hanno trovato la morte per mano del partner o ex partner. Questo tragico e triste incipit legato al sempre attuale dramma dei femminicidi, per introdurre il racconto fotografico che ho realizzato nella cittadina di Savoca (Messina - Sicilia) il 13/08/2022, di una particolarissima rappresentazione che si era tenuta l'ultima volta nell'agosto del 2018; è una narrazione che vede contrapposto il Male (un diavolo armato di un lungo rampino), al Bene (Santa Lucia, che stringe tra le mani una foglia di palma d'argento), il Male-Diavolo tenta di sedurre-distrarre Santa Lucia col proprio rampino, invece Santa Lucia resta impassibile davanti le sue lusinghe: la violenza sulle donne in questa rappresentazione molto suggestiva, trova radici lontane e profonde, Santa Lucia in realtà rappresenta quelle donne che in epoca medioevale dovevano subire gli abusi perpetrati dal Barone di Savoca soprannominato "Barone Altadonna", che avvalendosi della legge "ius primae noctis" (dal latino "diritto della prima notte"), si riferiva al “diritto” secondo cui un signore feudale poteva violentare una donna appena sposata durante la sua prima notte di nozze. Quindi questa è una narrazione fotografica che parla dell'eterna lotta che avviene tra il bene ed il male, che parla di un periodo buio della storia, che parla delle violenze subite dalle donne ma anche da tutti coloro che appartenevano alle classi sociali più povere, fatti storici che sono stati tramandati fino a noi in forma di racconto ed associati-trasmutati nel martirio di Santa Lucia, questo è quanto accade nel paese di Savoca (Sicilia). Questo è un report della rappresentazione vivente del martirio di Santa Lucia (Santa patrona della città di Savoca); il culto della giovane Santa di Siracusa sembra risalire al XV secolo, sotto l'influenza delle tradizioni spagnole. La rievocazione vivente della storia di Santa Lucia avviene in due giornate consecutive, il sabato e la domenica: qui tento di raccontare alcuni momenti della giornata del sabato, giorno durante il quale la festa non si svolge nel pieno della sua bellezza, è il giorno durante il quale “la palma d’argento” viene consegnata “dalla Lucia della edizione precedente” alla “Lucia dell’attuale edizione”, è il giorno durante il quale si testano gli ultimi dettagli, soprattutto si mette alla prova “l’impassibilità della bambina che impersona Santa Lucia”, chiamata amorevolmente “la Lucia”. E' questa una rievocazione storica che parla di Demoni ed Angeli: la storia rievoca di quando la Santa, si rifiutò di andare in sposa ad un suo ricco e potente pretendente (essendosi dichiarata Cristiana e sposa in Cristo), il quale per vendetta riferì della fede Cristiana di Lucia al prefetto Pascasio; costui diede ordine ai suoi pretoriani di trascinare Lucia con una corda fino ad un lupanare, un luogo di prostituzione; la leggenda narra che la Santa divenne pesantissima, si tentò allora di trascinarla con l'ausilio dei buoi, ma fu impossibile smuoverla da dove si trovava; non riuscendo in ciò, fu allora dato l'ordine di cavarle gli occhi, ma alla giovane martire (nativa di Siracusa) gli occhi le rispuntarono. Nel paese di Savoca una giovane ragazza, chiamata con affetto "la Lucia" viene portata in spalla lungo le vie del paese (seduta su di un cuscino legato sulla spalla di un uomo; in realtà gli uomini portatori sono due, dandosi il cambio l'un l'altro); la giovane Santa rimane impassibile di fronte alle tentazioni demoniache: il Diavolo, chiamato in dialetto siciliano "u Diavulazzu, agita, scuote, fa ruotare il suo forcone nel tentativo di "distrarre" la Santa ma, vani saranno i suoi tentativi. Il primo giorno di questa rappresentazione, il sabato, in una vecchia chiesa di Savoca, le due bambine che impersonano la Lucia, dell'anno in corso e dell'anno precedente, si incontrano con la consegna della palma da una bimba all'altra; l'evento tradizionale al quale si assiste il sabato, ha tutto l'aspetto di una importante prova generale per il giorno dopo, quando la domenica la festa tradizionale avverrà in tutta la sua bellezza. La domenica: in cima alla processione ci sono i "Giudei" (gli emissari del prefetto Pascasio) insieme ad alcuni Angeli, subito dopo si trova il carro tirato da due giumente dalle quali si diparte una corda che giungerà fino a cingere il fianco della bimba che impersona Santa Lucia (una bambina di sei anni); tra lei e le giumente ci sono i soldati Romani, che si fanno largo tra la folla dimenandosi a più non posso; a tenere la corda ci sono anche delle figure maschili che evitano che gli strattonamenti dei soldati romani possano giungere fino alla Santa (ricordiamolo, che è legata a quella corda); davanti alla Santa piroetta il diavolo tentatore, u' Diavulazzu (la maschera è in legno, la cui fattura è datata, sembra, del 400'), il cui compito è quello di distrarre la piccola Santa con l'aiuto di un lungo bastone dotato di punte ricurve, chiamato dialettalmente "u' croccu": Lucia difficilmente si lascerà ingannare dalle promesse del Maligno, non abbandonerà quel suo stato di immobile concentrazione, aiutata in ciò dal fissare, quasi in stato di trance, un piccolo ramo di palma in argento, che lei stringe devotamente tra le sue mani. E’ fondamentale menzionare tra i vari personaggi storici della tradizione, il barone Baldassarre, vissuto in Savoca in epoca medioevale, soprannominato barone Altadonna, che applicava senza remora alcuna la pratica della Jus primae noctis: avvalendosi di questa legge il barone obbligava le giovani spose a trascorrere la prima notte di nozze nella sua alcova. E’ fortemente ipotizzabile che nella rappresentazione di Santa Lucia di Savoca il personaggio del Diavolo che tenta la giovane Santa col suo forcone, in realtà non sia altro che egli stesso, il barone Altadonna, così allegoricamente descritto nella festa tradizionale siciliana: la figura del Diavolo, se si tiene conto di quanto narrano gli storici, non apparterrebbe più alla leggenda, ma a questo tristo personaggio realmente vissuto, che usava quotidianamente la moneta della prepotenza.

青獅 | the green lion by Cheryl Chan

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與一般喜慶舞獅不同，舞青獅文化獨特青獅有史以來就寄託著人們驅魔避邪、納福迎祥的美好願望。在佛教典籍中青獅乃文殊菩薩坐騎，故在各大祭典，都有舞青獅的習俗，祈求國泰民安，風調雨順。

青獅頭大而沈重，動作幅度大舞起來有一定難度，舞獅員必須經過一番苦功才能駕馭。

古代，青獅子被喻為“獅王”, 若路上相遇其他黑獅，紅獅隊應避讓, 讓青獅隊先行。

Unlike the regular lion dance during festive occasions, the green lion is deemed the ride for the Manju Buddha. It's white facial hair is the signature feature besides the lash green bodice. The Green Lion Dance is carried out during prayer ceremony, believed to bring upon peace and prosperity to the nation.

The green lion's head is much heavier then the regular ones, it takes the lion dancer years of training before he is able to bring it to life.

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The Ghost Festival, also known as the Hungry Ghost Festival, or Yu Lan is a traditional Chinese festival and holiday celebrated by Chinese in many countries. In the Chinese calendar (a lunisolar calendar), the Ghost Festival is on the 15th night of the seventh month (14th in southern China).

In Chinese tradition, the fifteenth day of the seventh month in the lunar calendar is called Ghost Day and the seventh month in general is regarded as the Ghost Month (鬼月), in which ghosts and spirits, including those of the deceased ancestors, come out from the lower realm.

Distinct from both the Qingming Festival (in spring) and Chung Yeung Festival (in autumn) in which living descendants pay homage to their deceased ancestors, on Ghost Day, the deceased are believed to visit the living.

On the fifteenth day the realms of Heaven and Hell and the realm of the living are open and both Taoists and Buddhists would perform rituals to transmute and absolve the sufferings of the deceased. Intrinsic to the Ghost Month is ancestor worship, where traditionally the filial piety of descendants extends to their ancestors even after their deaths.

Activities during the month would include preparing ritualistic food offerings, burning incense, and burning joss paper, a papier-mâché form of material items such as clothes, gold and other fine goods for the visiting spirits of the ancestors

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Follow my rediscovery of the Hungry Ghosts "Yu Lan" Festival here:

七月盂蘭 Mid Summer Ghost Story

For my past visits to the Hungry Ghosts "Yu Lan" Festival here:

denniscordell.zenfolio.com

More Chinese Temples images here:

Caves & Temples

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Ravenghost Interiors Gothic Candelabra by Ravenghost

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Elegantly detailed 9 Candle Candelabra with five different transmutation options, color change wax, and configurable light. maps.secondlife.com/secondlife/Kirkstone/41/56/28

M1531 copy by bDe gNas

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Occasionally a human will stumble into the elemental realm and undergo a transformation of form into that of one of nature’s spirits. This is especially true of humans who fall into a fairy circle. The fairies will transmute the physical body of humans into one of their own, making it difficult to readjust when returning to the anthropoid realm. When this occurs, a human will undergo a deep and profound inner change. Such change occurs because the energy used in entering the elemental kingdom is “rewired” to the higher, more transcendental, frequency of the plant or mineral realms.

JM Basquiat...Knight Kadosh ?...A Battle For Your Soul ? by Hughes Songe

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How could this genius have quickly died? Like all authentic geniuses, earthly life has no real flavor, the real world seemed too insignificant for an unequal struggle with the astral cares of a body associated with the nourishment of the mind. This explains too well the representation of the digestive systems and a body diminished by its impulses connected with the members of its body, as for example with the members of an elitist circle, these members must pass into a principle of uniqueness: the monad.

Basquiat is unfortunately described as a suffering being, the incomprehension of his commentators is sad because it is superficial and without spiritual foundations. The analysis of the tortured artist is only a projection of phantasms without any mystical analysis.

"There is a graphomaniac quality to almost all of Basquiat’s work. He liked to scribble, to amend, to footnote, to second-guess and to correct himself. Words jumped out at him, from the back of cereal boxes or subway ads, and he stayed alert to their subversive properties, their double and hidden meaning. His notebooks, recently published in an exquisite facsimile by Princeton, are full of stray phrases, odd combinations. When he began painting, working up to it by way of hand-coloured collaged postcards, it was objects he went for first, drawing and writing on refrigerators, clothes, cabinets and doors, regardless of whether they belonged to him or not…

…A Basquiat alphabet: alchemy, an evil cat, black soap, corpus, cotton, crime, crimée, crown, famous, hotel, king, left paw, liberty, loin, milk, negro, nothing to be gained here, Olympics, Parker, police, PRKR, sangre, soap, sugar, teeth.

These were words he used often, names he returned to turning language into a spell to repel ghosts. The evident use of codes and symbols inspires a sort of interpretation-mania on the part of curators. But surely part of the point of the crossed-out lines and erasing hurricanes of colour is that Basquiat is attesting to the mutability of language, the way it twists and turns according to the power status of the speaker. Crimée is not the same as criminal, negro alters in different mouths, cotton might stand literally for slavery but also for fixed hierarchies of meaning and the way people get caged inside them." At The Guardian, Olivia Laing, the eminently readable author of To the River, The Trip to Echo Spring, and The Lonely City, on artist Jean-Michel Basquiat.

Can we find this analysis a little literalistic or superficial? Hughes Songe offers you another reading option:

Basquiat's painting can be seen in Genesis (3:24), when God drives Adam out of Paradise, he establishes two cherubs with a sword leading to the Tree of Life. Revelation I, 16 describes a two-edged sword coming out of the Word's mouth: "He had in his right hand seven stars, and out of his mouth came a two-edged and sharp sword; his face was as bright as the sun in its strength. »

We can also pursue Genesis as two knight men who draw a symbolic battle, the one on the left comes from the East, so he is already initiated and probably in connection with the astral as indicated by his crown of christic thorns or as the statue of liberty, his sword is a blade, or a soul, that is to say that he carries the light. The right-wing knight comes from the West and reminds us that the Western Knights Templar were initiated in Jerusalem. The Knight Kadosh is the synthesis of the two men who clash to become immortal. Venerable Master of Ceremonies, invites them to meet on the square in front of a temple and at the Areopagus Gate the Knights of the Sun who are seeking admission to the thirty-third degree. The first recorded representation of the degree "Knight Kadosh" can be linked to the Council of Eastern and Western Emperors in 1758.

Here is a possible reading grid to understand this painting by JM Basquiat. Perhaps we need to come up with ethnocentric analyses on voodoo or Amerindian rites or worse on the life of a neurotic, even drugged person, all this is told by the guides to reassure us better to be in the norm.

A genius is necessarily not readable in a grid formatted for art journalists?

The numbers on the painting could be understood? Is this just a hypothetical version for those who believe in a higher life?

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It is necessary to be aligned to connect with the astral, blue is its color, a blue square is under the sword to find its verticality. the Sufi's fight is not a horizontal fight against the other, for a material conquest, but an inner vertical fight, for a spiritual quest; which leads to the one of them, for the benefit of the other. In esotericism, some groups use a sword without a point as a symbol of balance. The orange sun of the background illuminates and burns, the light of the Spiritual Principle is the purifying fire materialized by the lightning, archetype of the sword. The flash is lightning... so the Truth lightens the error by cutting through the darkness of ignorance. The Knight Kadosch will understand that this sword can only be for him the sword of the Spirit, this force that will allow him to separate Good from Evil, Justice from injustice and to make sure that the Light of Truth guides all his actions. It is this unifying force, this One that is consubstantial to us and that we finally manage to make shine. Only a complete universe, responsible before our conscience and rich in knowledge and love, will we be able to act and perform our role as soldiers of the universal and the Heavenly.

2 The sword of the Western Redhorse is tilted at 33 degrees to indicate his request, he is not in balance and may be wearing a slipper. The sword is the divine word, it is the Word and it is the greatest gift since to have the sword is to have the Word of Life which is the instrument of justice which comes to skin the bottom of the painting. The scythe of death is just above....

3 The sword is the symbol of the Logos, the Word, having a double edge, therefore the double power, the knight no longer needs a mouth to express himself because he uses telepathy.

4 He has a big mouth that comes to him from the bottom world, his words are too human to access the planes of higher consciousness.

5 The corpus of Knight Kadosh is squared as the symbol of the Earth, it is also squared to be perfect. His heart became his soul.

6 The Western Knight still has a scale of 7 steps to climb before freeing himself from the slavery of his own inner body.

7 he must move on a chessboard or mosaic paving stone to balance his thoughts

8 the arrows symbolize the action of Time, they are in

opposition to mean that Real Time no longer exists, we are already in eternity (ether n T)

9 a black phallic symbol can indicate a first act of the transmutation work, followed by white, red and finally yellow (4 essential colours of the painting with astral blue)

10. The Great Architect of the United to Heaven (Universal) has left his compass and put his square upside down, for the true World lives hidden beneath the Earth. To the Glory of the coronation the Grand Knight Kadosch to his investiture of the duties, charges and dignitaries related to this quality and confers on him the faculty to enjoy all the rights and prerogatives attached to this rank. (He successively strikes the right shoulder and then the left shoulder of each new Knight with the blade of his sword) Knights, rise up and receive, in the name of all the Kadosch Knights, the fraternal embrace. (The standard bearer puts the standard back in its place and the Master of Ceremonies decorates the new Knights with the attributes of their rank. (The Commander takes his place in his throne and then, addressing the new Knights: Knights, you are now armed for your battle. Your weapon is not the dagger of the Sicarius, nor the knife of the executioner, nor the stylus of the calumniator, because the means of your action are located on a higher plane. Your weapon is the flaming sword of Michael Saint, the inflexible spear of George Saint, the Caduceus of Mercury. What you touch with its tip must be ennobled and placed at your side in the service of the cause for which you are fighting.

11 you have to climb the first 13 ranks to reach the 33rd, no step on the ladder is the same, the human experience is carried out in two different and, in many ways, incompatible ways. Here they are represented by the two amounts of this mystical scale. On the one hand, the disciplines of intelligence, science and technology that assume and affirm determinism. Venerable Master of Ceremonies, have two of our recipients symbolically walk through them (the Master of Ceremonies makes the recipients read, step by step, the names of the sciences inscribed therein: grammar, rhetoric, logic, arithmetic, geometry, music, astronomy)

12 A for Alchemy or Amorous and Astral ( SPIRITU ASTRA ERA), it is still a ladder to climb towards the High Grades. The symbol of the scale must be linked to the meaning of the weapons that Knight Kadosch has at his disposal to carry out his fight successfully. The scale that will allow her to access the highest level of metaphysical knowledge and in this sense, she becomes almost mystical. The aim here and now is to ensure that the binary that manages its destiny, which is the main characteristic of daily existence, is resolved, integrated into the unitary principle, into the Creative Principle. This can only be considered as something ineffable, only conceivable on a level that exceeds us, on a supra-human level. It is in fact the concept of the original Light, the very Light that prevails in all our endeavors on the initiatory path since we once knocked at the temple door and gives meaning to this quest. The scale nowadays is therefore double, stable, composed of two uprights and seven steps on each side. It is possible to climb it indifferently from one side or the other, but the process, in the initiatory progression towards the Principle, resembles the ascending path, that of Love, the ultimate goal of our process. Look up there it reads A a a a.......

13 Knight Kadosh has achieved his decorporation and now he is levitating above his ghost feet (white). We can also say that there is shade because an obstacle stands in the way and prevents the passage of light. The first awareness of the dark side is the shadow that each person takes with them. No matter how much we run, this shadow follows us everywhere. The only way to remove them is by light: the sun must reach us in such a way, for example when they are plumb, and the shadow must then remain under our feet.

14 The Western Knight: Knight, for a long time with different degrees ( 11th, 13th, 15th, 17th, 18th, 21st, 22nd, 25th, 28th and 30th) who refer to this distinction. It is linked to the lower ranks and to Earth's gravitation, it rotates on itself and around the golden background that symbolizes humanity's central star: the sun.

We can also note that the background is golden like an integral transmutation, becoming this light is the quest of Knight Kadosh, he no longer needs the apron of learning...

The ceremony is coming to an end, Knights of the South Camp, I invite you to recognize now for Grand Chosen Knights Kadosch, the Knights present between the two camps... Knights of the North Camp, I invite you to recognize from now on Grand Chosen Kadosch Knights, the Knights present between the two camps. Since this action seems to be the finality of the journey of a mystic, in general, and that of the Knight Kadosch, in particular; why does it take, then today, the form of combat, for the one who has reached the end of his individual initiation, and fight for Life what is more?

While trying to provide an answer to this question, we will try to bring the struggle of the Kadosch Knight closer to that of the Sufi mystic, as a "wali" knight, that is to say, Saint, adept of the futuwa, this spiritual knighthood of the Muslim world.

"Knight, my Brother, You are armed now for the fight of Life"

Certainly; each term has its importance, in this affirmative sentence, and undoubtedly contributes to give it its power, depth and dynamism. However, the adverb "now" is, in my opinion, the key to its front door. Because not only does it indicate a real limit in space; (where? At the 30th degree of the pyramid of the Rite, the end of the ascending realization, of the adept,) and in time (when? At the end of the consecration ceremony, of the knight), but thus placed just after the adjective "armed", it implicitly means that before having reached the 30th degree, and before having been dubbed there; the adept is not really armed to lead a fight, and even less to fight the fight of life.

And yet; the adept has carried many different weapons and fought many battles during his evolution on the scale of the Rite. Indeed, from the 11th degree; Sublime Chivalry Chosen, Excellent Emereck, "True Man in All Circumstances", armed with the sword of justice, by King Solomon, whose motto is "to win or die." he had engaged, in a singular struggle, his life to death, for a noble and just cause. It is precisely for a just purpose that, with the sword in one hand, the trowel in the other; Knight of the East and of the Sword, he was called upon to build the Temple with one hand and to defend it with the other. His motto was "freedom to pass", which is why he had to fight to cross the Gandhara bridge and thus pass from the material world to the spiritual world. His struggle, although physical, was ultimately of spiritual significance. Armed with his sword; Knight of the East and West, conscious of the need to fight the misdeeds of intolerance, prejudice and fanaticism; Kadosch was the pilgrim Knight, working to be recognized as the son of the Light. He fought to reconcile extreme opposites; East and West, shadow and light and thus try to overcome duality. Although his only material weapon was his pilgrim's staff, symbol of the axis mundi and the inner struggles, he took the oath, as a Knight Rose Cross (return to the point), on the sword of justice, promising to defend the weak and relieve the afflicted. He proposed as his goal to "fight pride, selfishness and ambition, to make devotion and Charity prevail in their place". In the defense of the True, the Good and the Righteous, prowess, generosity, such was his chivalrous ideal. If it is true that the struggles that Kadosch has fought so far are a necessary condition, although insufficient to lead the struggle of life, the accomplishment of this journey, made in the practice of Chivalric Virtues, fully contributes to his qualification and to that aptitude, which the Most Powerful Grand Master recognizes in him, and this by considering him worthy to fight, finally, in the ranks of the Militia of the Temple.

If any fight involves a certain preparation, and a certain skill, it requires, however, weapons.

"You're armed now."

The weapon, for the fight of Life, of the Knight Kadosch, who adorns his ribbon, is certainly not the dagger with which Johabert, thirsty for revenge and blood, killed Abairam, Hiram's murderer, by beheading him.His weapon being of a different type, his fight will necessarily be of a different nature because, led on other levels.

"In the name of God, Saint Michael and Saint George, I make you a knight"

Thus, three types of weapons are suggested: the Caduceus of Mercury, the sword of Saint Michael, and the spear of Saint George. On the other hand, the main weapon of the Grand Knight Kadosch is clearly designated to him and presented by the Mighty Grand Master as soon as he descends the Mystical Scale:

"Behold, behold, the Caduceus of Mercury, everything you touch with the tip of this weapon shall be transformed into pure gold.

Is it three in one? For his weapon will be at the same time, his "magic wand that will conjure up the spell of matter, his flaming sword that will transform the events, his Kherub's sword that will reopen the gates of Paradise to him." The injunction given by the Most Powerful Grand Master to the Knight Kadosch, who has just been consecrated, "works. Go to the mode. The road is clear," he said, leaving no doubt as to where his fight would take place. His action, as a collaborator of the Great Architect of the Universe "my rights consist in not submitting myself to the decrees of Divine law but, to collaborate in them" has no meaning unless it is carried out in the world of manifestation.

His action will be carried out, in accordance with the motto of our Order "ORDO AB CHAO DEUS MEUMQUE JUS", an Order that he first began to carry out in himself, because it is necessary to "Defeat our passion" by rectifying himself, by freeing himself, after having won the fight against his ego, this Holy War that the Sufi calls: the Great Jihad.On this level, the two Knights are fighting the same battle, because the Sufi's fight is not a horizontal fight against the other, for a material conquest, but an inner vertical fight, for a spiritual quest; which leads to the one of them, for the benefit of the other. It is this passage from the heroic to the mystical epic that constitutes, for the Sufi knight, the passage from the small jihad to the great jihad, the true "holy war".

"All heroes have always fought the snake to defeat it and force it to serve." Then with his flaming sword, like the Archangel Saint Michael, Prince of the Celestial Militia, he defeated the dragon to control and control it. And if he spares his life, it is because he knows that if he dies, he will no longer be of any use. It is therefore better to convert it. Thus, victorious over Saton, the adversary; his fight, far from being destructive, is constructive, full of promise and Life. It is in this sense that we can say that the Sword of the Knight Kadosch is the weapon of his holy war, waged against the errors of the corporeal dimension and leading to his reconciliation with the spiritual dimension. It is through this Flaming Sword that the Venerable Master creates, constitutes and receives the Neophyte Apprentice. It is through it that the symbolic passage from the profane to the initiated to chivalry or by analogy to alchemy takes place. His weapon is indeed transformative of its essential nature Now armed with his weapons of Light, the caduceus of Mercury, the flaming sword of Saint Michael and the inflexible spear of Saint George, who left alone in the world, without fear or reproach, the Knight of the White and Black Eagle, remembers that the last journey of any initiation ceremony is always a projection into the future of the initiate's journey. The time has therefore come for him to finally put into action the sentence of the Secret Master's last trip: "What chivalry asks you to do is to promote justice". It is therefore here in the manifested world that he must participate effectively in the restoration of the Order, in his soul and conscience, in accordance with the Divine Plans perceived at the top of the Mystical Scale, and this "NON NOBIS, DOMINE, NON NOBIS, SED NOMINI TUO DA GLORIAM".

If the Knight Kadosch, Being of Light, thus armed, now has the right to initiative to act and fight, it is because he has succeeded in climbing the seven steps of the Mystical Ladder, and purified by Sophie's tire, he has received the supreme initiation. It is because he has conquered, as a result, this freedom of the creature so sought "for those who have overcome the obstacles", the one that is conquered "beyond the limits of the realms of forms".

The Western Knight masters this degree of proximity to the principle, "Nec plus Ultra", separated, he received his mission order, and took, when he turned around at this summit, "the commitment not to suffer the events, but to transform them.

While the Eastern Knight, inspired by Sufi gnoseology, who arrives at this "station of the heart", who becomes protected from God "Wali" and who receives from his Master the secrets of esoteric Knowledge "Gnosis" and the investiture of the "Baraka", submits himself entirely to God.

Their weapons, although both of divine nature: the Caduceus of Mercury for one, the "Baraka" for the other, do not, however, have the same scope. For the "Baraka" received by Knight Wali, as "protected and "friend of God", appears as a reward for "effort given", given to those who have committed themselves to the path of the "Hakika", the Truth, by submitting to the Divine Law. Mediator between God and men, in the service of his fellow men, the Wali, is ready to help the weak and heal the sick by the powers of the "Baraka" of which he is invested, however, his remedy, even if it is effective, will only act on the surface, just on the wound of the wounded, or on the evil from which the sick suffer. While the Caduceus of Mercury of the Knight Kadosch, the intercessor, acts in depth by rectifying and transforming the material. Everything he touches with the tip of his fingers will turn into pure gold. It is by transmutation that he operates on matter by spiritualizing it. His purpose is not limited to healing the patient's wounds or ridding him of his pain, but to make him a doctor, so that he can in turn heal and heal all those who suffer from the evils caused by darkness in order to free them from all oppression and injustice.

Thus he will be entitled to think, like Albert Camus, "I understood that it was not enough to denounce injustice, you had to give your life to fight it".

To fight to conquer Freedom for others, it seems to me, is one of the senses of the Fight for the Life of the Knight Kadosch, a fight he must lead armed with his Caduceus of Mercury, that is, his own spiritual power, resulting from the synthesis of his past experiences and victories.

"In order to allow the infinite irradiation of the pure Being, the true sovereign, to manifest itself"

If there is no doubt, that being continuously at the service of others, in a relationship of otherness, by surpassing the ego, constitutes both the fundamental bases of the knightly ideal of the Kadosch knight and those of the Sufi knight; this spirituality, despite these obvious similarities, and although it leads to the same Principle, differs in certain respects.

The Sufi Knight, who bases his spirituality on his Islamic faith, by placing his destiny entirely in the hands of God, sees his actions guided by a transcendent determinism, and therefore his freedom of action in the world being limited, he directs his struggle essentially against his inner enemies and particularly against "El Nefs", his ego. In his spiritual quest, it is God's love that makes him love man. While the knight Kadosch, who takes his destiny in hand, who bases his spirituality on his alchemical faith and on that which he has in the perfectibility of man, positions himself as a collaborator of the Great Architect of the Universe. And from the moment his action necessarily turned towards the outside, his mission, as a Universal Man, is to transmit his knowledge. And his struggle, armed with his Caduceus of Mercury, who is none other than himself, will be to devote his entire Life to perfecting the world, in accordance with the plans of the Principle.

In this perspective, it is precisely the love of man that makes him love God.

Certainly Love and self-giving are the common vectors that motivate the struggles of the two spiritual knights, but if the knightly behaviour of one is aimed at the future opening of the gates of heavenly paradise for oneself; the goal of the other is the happiness, here and now, of all humanity, in the perspective of the coming of the Holy Kingdom.

Basquiat is now armed for the fight of Life

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What happened three days ago is a very bad story, a 63-year-old man shot two women in the face, one 48 years old, the other 49 years old, and then took his own life, all of which happened in a town in the province of Catania, one of them allegedly had an extramarital affair with the killer: in 2022 120 women were killed, 97 of them were killed in the family or emotional sphere, of these 57 died for hand of the partner or former partner. This tragic and sad incipit linked to the ever-present drama of feminicides, to introduce the photographic story that I made in the town of Savoca (Messina - Sicily) on 08/13/2022, of a very particular representation that was held last time in August 2018; is a narration that pits Evil (a devil armed with a long grappling hook) against Good (Saint Lucia, who holds a silver palm leaf in her hands), the Evil-Devil tries to seduce-distract Saint Lucia with own grappling hook, instead Saint Lucia remains impassive in front of her flattery: violence against women in this very suggestive representation finds distant and deep roots, Saint Lucia actually represents those women who in medieval times had to suffer the abuses perpetrated by the Baron of Savoca nicknamed "Barone Altadonna", which making use of the law "ius primae noctis" (from the Latin "right of the first night"), referred to the "right" according to which a feudal lord could rape a newly married woman on her wedding night. Therefore, this is a photographic narration that speaks of the eternal struggle that takes place between good and evil, which speaks of a dark period of history, speaks of the violence suffered by women but also by those who belonged to the poorest social classes, historical facts that have been handed down to us in the form of a story and associated-transmuted in the martyrdom of Saint Lucia, this is what happens in the town of Savoca (Sicily). This is a report of the living representation of the martyrdom of Saint Lucia (patron saint of the city of Savoca); the cult of the young Saint of Syracuse seems to date back to the fifteenth century, under the influence of Spanish traditions. The living re-enactment of the history of St. Lucia takes place on two consecutive days, Saturday and Sunday: here I try to tell some moments of Saturday, the day during which the celebration does not take place in its full beauty, it is the day during which "the silver palm" is delivered "from the Lucia of the previous edition" to the "Lucia of the current edition", it is the day during which the last details are tested, above all the "impassivity of the little girl who impersonates Saint Lucia", lovingly called "the Lucia".. And 'This is a historical event which speaks of Demons and Angels: Saint Lucy refused to marry a rich and powerful suitor (Lucy declared She was married in Christ), which reported the Christian faith of Lucia to prefect Pascasio that ordered his Praetorian Guard to drag Lucia with a rope to a place of prostitution; legend has it that the Holy became heavy, they then tried to drag it with the help of oxen, but it was impossible to move it from where he stood; failing in this, it was then given the order to cavarle eyes, but the young martyr (native of Syracuse) her eyes reappeared.

In the village of Savoca a young girl, affectionately called the "Lucy" is carried on the shoulder of a porter along the streets of the country (sitting on a pillow tied on the shoulder of a man, but in fact men are two); the young Saint remains impassive in the face of demonic temptations: the Devil, called in Sicilian dialect "u Diavulazzu, shake, shakes, turns his pitchfork in an attempt to "distract" the Saint.

The first day of this representation, on Saturday, in an old church in Savoca, the two girls who impersonate the Lucia, of the current year and the previous year, meet with the delivery of palm; the traditional event which we witness on Saturday, has all the appearance of an important rehearsal for the next day, on Sunday when the traditional festival will take place in all its beauty.

Sunday: on top of the procession there are the "Jews" (the emissaries of the prefect Pascasio) along with some Angels, is located immediately after the wagon drawn by two cows from which branches off a rope that will arrive to Saint Lucia (a girl of six years); between her and the cows there are Roman soldiers, who make their way through the crowd squirming like crazy; to hold the rope there are also male figures; the job of Devil (his mask is made of wood, whose invoice is dated, it seems, of the 400') is to distract the little Saint with the help of a long stick equipped of curved points, called "u 'croccu": Lucia hardly is deceived by the promises of the evil one, she will not abandon the state of her property concentration, aided in this by staring, almost in a trance, a small palm branch in silver , she brings devoutly in her hands.It's very important to mention the Baron Baldassarre (nicknamed Baron Altadonna), who applied without any hesitation the practice of Jus de seigneur: using this law the Baron obliged the young brides to spend the wedding night in his alcove. It 'very possible that in the representation of Saint Lucia of Savoca the character of the Devil tempting young Santa with his pitchfork, in reality is nothing but himself, Baron Altadonna, so allegorically described in this traditional Sicilian feast: the figure of the Devil if one takes into account what historians relate, does not belong more to the legend, but sadly to actual event happened.

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E' una bruttissima storia quanto accaduto tre giorni fa, un uomo di 63 anni, ha ucciso a colpi di pistola in pieno volto due donne, una di 48 anni, l'altra di 49 anni, per poi togliersi la vita, il tutto accaduto in una cittadina in provincia di Catania, una di loro avrebbe avuto una relazione extraconiugale con l'assassino: nel 2022 sono state 120 le donne uccise, 97 di loro sono state uccise in ambito familiare o affettivo, di queste 57 hanno trovato la morte per mano del partner o ex partner. Questo tragico e triste incipit legato al sempre attuale dramma dei femminicidi, per introdurre il racconto fotografico che ho realizzato nella cittadina di Savoca (Messina - Sicilia) il 13/08/2022, di una particolarissima rappresentazione che si era tenuta l'ultima volta nell'agosto del 2018; è una narrazione che vede contrapposto il Male (un diavolo armato di un lungo rampino), al Bene (Santa Lucia, che stringe tra le mani una foglia di palma d'argento), il Male-Diavolo tenta di sedurre-distrarre Santa Lucia col proprio rampino, invece Santa Lucia resta impassibile davanti le sue lusinghe: la violenza sulle donne in questa rappresentazione molto suggestiva, trova radici lontane e profonde, Santa Lucia in realtà rappresenta quelle donne che in epoca medioevale dovevano subire gli abusi perpetrati dal Barone di Savoca soprannominato "Barone Altadonna", che avvalendosi della legge "ius primae noctis" (dal latino "diritto della prima notte"), si riferiva al “diritto” secondo cui un signore feudale poteva violentare una donna appena sposata durante la sua prima notte di nozze. Quindi questa è una narrazione fotografica che parla dell'eterna lotta che avviene tra il bene ed il male, che parla di un periodo buio della storia, che parla delle violenze subite dalle donne ma anche da tutti coloro che appartenevano alle classi sociali più povere, fatti storici che sono stati tramandati fino a noi in forma di racconto ed associati-trasmutati nel martirio di Santa Lucia, questo è quanto accade nel paese di Savoca (Sicilia). Questo è un report della rappresentazione vivente del martirio di Santa Lucia (Santa patrona della città di Savoca); il culto della giovane Santa di Siracusa sembra risalire al XV secolo, sotto l'influenza delle tradizioni spagnole. La rievocazione vivente della storia di Santa Lucia avviene in due giornate consecutive, il sabato e la domenica: qui tento di raccontare alcuni momenti della giornata del sabato, giorno durante il quale la festa non si svolge nel pieno della sua bellezza, è il giorno durante il quale “la palma d’argento” viene consegnata “dalla Lucia della edizione precedente” alla “Lucia dell’attuale edizione”, è il giorno durante il quale si testano gli ultimi dettagli, soprattutto si mette alla prova “l’impassibilità della bambina che impersona Santa Lucia”, chiamata amorevolmente “la Lucia”. E' questa una rievocazione storica che parla di Demoni ed Angeli: la storia rievoca di quando la Santa, si rifiutò di andare in sposa ad un suo ricco e potente pretendente (essendosi dichiarata Cristiana e sposa in Cristo), il quale per vendetta riferì della fede Cristiana di Lucia al prefetto Pascasio; costui diede ordine ai suoi pretoriani di trascinare Lucia con una corda fino ad un lupanare, un luogo di prostituzione; la leggenda narra che la Santa divenne pesantissima, si tentò allora di trascinarla con l'ausilio dei buoi, ma fu impossibile smuoverla da dove si trovava; non riuscendo in ciò, fu allora dato l'ordine di cavarle gli occhi, ma alla giovane martire (nativa di Siracusa) gli occhi le rispuntarono. Nel paese di Savoca una giovane ragazza, chiamata con affetto "la Lucia" viene portata in spalla lungo le vie del paese (seduta su di un cuscino legato sulla spalla di un uomo; in realtà gli uomini portatori sono due, dandosi il cambio l'un l'altro); la giovane Santa rimane impassibile di fronte alle tentazioni demoniache: il Diavolo, chiamato in dialetto siciliano "u Diavulazzu, agita, scuote, fa ruotare il suo forcone nel tentativo di "distrarre" la Santa ma, vani saranno i suoi tentativi. Il primo giorno di questa rappresentazione, il sabato, in una vecchia chiesa di Savoca, le due bambine che impersonano la Lucia, dell'anno in corso e dell'anno precedente, si incontrano con la consegna della palma da una bimba all'altra; l'evento tradizionale al quale si assiste il sabato, ha tutto l'aspetto di una importante prova generale per il giorno dopo, quando la domenica la festa tradizionale avverrà in tutta la sua bellezza. La domenica: in cima alla processione ci sono i "Giudei" (gli emissari del prefetto Pascasio) insieme ad alcuni Angeli, subito dopo si trova il carro tirato da due giumente dalle quali si diparte una corda che giungerà fino a cingere il fianco della bimba che impersona Santa Lucia (una bambina di sei anni); tra lei e le giumente ci sono i soldati Romani, che si fanno largo tra la folla dimenandosi a più non posso; a tenere la corda ci sono anche delle figure maschili che evitano che gli strattonamenti dei soldati romani possano giungere fino alla Santa (ricordiamolo, che è legata a quella corda); davanti alla Santa piroetta il diavolo tentatore, u' Diavulazzu (la maschera è in legno, la cui fattura è datata, sembra, del 400'), il cui compito è quello di distrarre la piccola Santa con l'aiuto di un lungo bastone dotato di punte ricurve, chiamato dialettalmente "u' croccu": Lucia difficilmente si lascerà ingannare dalle promesse del Maligno, non abbandonerà quel suo stato di immobile concentrazione, aiutata in ciò dal fissare, quasi in stato di trance, un piccolo ramo di palma in argento, che lei stringe devotamente tra le sue mani. E’ fondamentale menzionare tra i vari personaggi storici della tradizione, il barone Baldassarre, vissuto in Savoca in epoca medioevale, soprannominato barone Altadonna, che applicava senza remora alcuna la pratica della Jus primae noctis: avvalendosi di questa legge il barone obbligava le giovani spose a trascorrere la prima notte di nozze nella sua alcova. E’ fortemente ipotizzabile che nella rappresentazione di Santa Lucia di Savoca il personaggio del Diavolo che tenta la giovane Santa col suo forcone, in realtà non sia altro che egli stesso, il barone Altadonna, così allegoricamente descritto nella festa tradizionale siciliana: la figura del Diavolo, se si tiene conto di quanto narrano gli storici, non apparterrebbe più alla leggenda, ma a questo tristo personaggio realmente vissuto, che usava quotidianamente la moneta della prepotenza.

Philosopher's stone...VITRIOL...(Visita Interiora Terrae Rectificando Invenies Occultum Lapidem)..The weight is spoken of as being heavier than gold...Efforts to discover the philosopher's stone: Magnum Opus ("Great Work") by Hughes Songe

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In Alchemy y, the motto is a common component of the symbolic “Chamber of reflection,” where alchemist contemplates and reflects on the nature of death. In both Alchemy, the motto refers to a process of internal, spiritual purification.

From the Middle Ages to the late 17th-century, the so-called “philosopher’s stone” was the most sought-after goal in the world of alchemy, the medieval ancestor of chemistry. According to legend, the philosopher’s stone was a substance that could turn ordinary metals such as iron, tin, lead, zinc, nickel or copper into precious metals like gold and silver. It also acted as an elixir of life, with the power to cure illness, renew the properties of youth and even grant immortality to those who possessed it. The philosopher’s stone may not have been a stone at all, but a powder or other type of substance; it was variously known as “the tincture,” “the powder” or “materia prima.” In their quest to find it, alchemists examined countless substances in their laboratories, building a base of knowledge that would spawn the fields of chemistry, pharmacology and metallurgy.In chemistry, vitriol is iron or copper sulfate salts and their derivative, sulfuric acid. The name comes from the Latin for “glassy,” after the resemblance of iron sulfate to shards of green glass. Vitriol is symbolized alchemically as the “green lion,” a poisonous substance that appears when metal is degraded by acid. Sulfuric acid, or oil of vitriol, was used in the synthesis of the lapis philosophorum- the Philosopher’s Stone. One unique peoperty of sulfuric acid is the dissolution of metals- all except for gold, on which it has no effect. The alchemical motto for vitriol is “Visita Interiora Terrae Rectificando Invenies Occultum Lapidem,” “Visit the interior of the earth and rectifying (purifying) you will find the hidden stone.” The motto originated in L’Azoth des Philosophes by the 15th Century alchemist Basilius Valentinus. Many of the Western world’s most brilliant minds searched for the philosopher’s stone over the centuries, including Roger Boyle, the father of modern chemistry, and even Sir Isaac Newton, whose secretive dabblings in alchemy are well known by now. Long before Newton, however, there was Nicolas Flamel, a French bookseller and notary who lived in Paris during the 14th and early 15th centuries. In 1382, Flamel claimed to have transformed lead into gold after decoding an ancient book of alchemy with the help of a Spanish scholar familiar with the mystic Hebrew texts known as the Kabbala. Whether this was true or not, the historical record shows that Flamel did come into considerable wealth around this time, and donated his riches to charity. Harry Potter fans might recognize the name, as J.K. Rowling incorporated Nicolas Flamel into the first book in her world-famous series. Originally titled “Harry Potter and the Philosopher’s Stone” in the United Kingdom, it was renamed “Harry Potter and the Sorcerer’s Stone” for U.S. publication.

The philosopher's stone, or stone of the philosophers (Latin: lapis philosophorum) is a legendary alchemical substance capable of turning base metals such as mercury into gold (chrysopoeia, from the Greek χρυσός khrusos, "gold", and ποιεῖν poiēin, "to make") or silver. It is also called the elixir of life, useful for rejuvenation and for achieving immortality; for many centuries, it was the most sought goal in alchemy. The philosopher's stone was the central symbol of the mystical terminology of alchemy, symbolizing perfection at its finest, enlightenment, and heavenly bliss. Efforts to discover the philosopher's stone were known as the Magnum Opus ("Great Work").It’s a great fear widespreading within your entire being, while you wait in the “Chamber of reflection” the call from the Temple, and the chamber of reflection is outside the Masonic Temple/Lodge, but the waiting lasts too long, felt like externally, and your dear friend, who invited you to become one, is passing from time to time, saying,”It’s not to late, you still can vanish and no one will say a word, it’s normal…”. Being said like a calming words, but indeed they provide the fear, knowing, being told many times, that the process (The Acceptance Rite) is irreversible, and once being passed the tough and enormously challiging your entire being Acceptance Rite, there would be no turning back. At the time in the “Chamber of reflection” in practice, being said in true alchemical language, the VITRIOL, that burns your heart with hyper anxious fear, that something fatal would happen, and you still can stand up and go out free, … this is the Spiritual vitriol, that burns all your human personality, to the degree, that if you really have a proper idea, where you’re about to be invited for an Acceptance by the first and most important Rite in Alchemy, as so, as if you are a true seeker, you should know through those hundreds of books... So, when you strive to get yourself together and accumulate such a True Grit, like you are waiting on a death row to be hanged – the feeling in the Chamber of reflection is as such, especially, when by 15en minutes, someone empathetic to your little you is coming to say, that it’s not late to get up and exit as a man throughout the he door…All of your unholly metalls burns, as by litteraly the V.I.T.R.I.O.L – the biggest written word inside, which you don’t know a sh°t about…Untill they call you with a high, strong and manly Nobile voice to come in front of the Temple’s doors. At this moment, psychologically – and then you just feel it by your entire self – SPIRITUALLY – YOU ARE THE PURE SPIRIT, THAT YOU ALWAYS HAVE BEEN -indeed, long before your birth, but this you SEE AND UNDERATAND MUCH LATER – so, at that point, as a pure Spirit (Gold), cleaned by all the unpure metals built-over You for the entire life of yours – of course by the “Green Lion” you are ready to pass the process of your Initiation means, Spiritually. It’s the most glory day of your life. You are being initiated and invented to the Temple of God – which symbolize the Lodge’s inside hall (the Temple of Solomon, built, as a Home where G-d shall live… And all of that is so symbolical, that, I would said, there isn’t a single mistake in Alchemy. All is as natural, as posible, but that natural for the Spirit things are hard to be accepted by an non-purified by vitriol and then wormly accepted in the House of G-d mortals, who can’t believe, that a little part of their personality is an immortal being and their essential true Self, Who deserves the all ages motto, Know ThySelf, to be a subject of a deeper meditatation – as the Tibetan Monks are doing.

Interpretations

The various names and attributes assigned to the philosopher's stone has led to long-standing speculation on its composition and source. Esoteric candidates have been found in metals, plants, rocks, chemical compounds, and bodily products such as hair, urine, and eggs. Justus von Liebig states that 'it was indispensable that every substance accessible... should be observed and examined'. Alchemists once thought a key component in the creation of the stone was a mythical element named carmot.

Esoteric hermetic alchemists may reject work on exoteric substances, instead directing their search for the philosopher's stone inward. Though esoteric and exoteric approaches are sometimes mixed, it is clear that some authors "are not concerned with material substances but are employing the language of exoteric alchemy for the sole purpose of expressing theological, philosophical, or mystical beliefs and aspirations". New interpretations continue to be developed around spagyric, chemical, and esoteric schools of thought.

Appearance

The first key of Basil Valentine, emblem associated with the 'Great Work' of obtaining the Philosopher's stone (Twelve Keys of Basil Valentine). Descriptions of the Philosopher's Stone are numerous and various. According to alchemical texts, the stone of the philosophers came in two varieties, prepared by an almost identical method: white (for the purpose of making silver), and red (for the purpose of making gold), the white stone being a less matured version of the red stone. Some ancient and medieval alchemical texts leave clues to the physical appearance of the stone of the philosophers, specifically the red stone. It is often said to be orange (saffron colored) or red when ground to powder. Or in a solid form, an intermediate between red and purple, transparent and glass-like.The weight is spoken of as being heavier than gold, and it is soluble in any liquid, yet incombustible in fire. Alchemical authors sometimes suggest that the stone's descriptors are metaphorical. The appearance is expressed geometrically in Michael Maier's Atalanta Fugiens. "Make of a man and woman a circle; then a quadrangle; out of this a triangle; make again a circle, and you will have the Stone of the Wise. Thus is made the stone, which thou canst not discover, unless you, through diligence, learn to understand this geometrical teaching." Rupescissa uses the imagery of the Christian passion, telling us it ascends "from the sepulcher of the Most Excellent King, shining and glorious, resuscitated from the dead and wearing a red diadem...".

Properties

The most commonly mentioned properties are the ability to transmute base metals into gold or silver, and the ability to heal all forms of illness and prolong the life of any person who consumes a small part of the philosopher's stone.[ Other mentioned properties include: creation of perpetually burning lamps, transmutation of common crystals into precious stones and diamonds, reviving of dead plants, creation of flexible or malleable glass, or the creation of a clone or homunculus.

Names

Numerous synonyms were used to make oblique reference to the stone, such as "white stone" (calculus albus, identified with the calculus candidus of Revelation 2:17 which was taken as a symbol of the glory of heaven, vitriol (as expressed in the backronym Visita Interiora Terrae Rectificando Invenies Occultum Lapidem), also lapis noster, lapis occultus, in water at the box, and numerous oblique, mystical or mythological references such as Adam, Aer, Animal, Alkahest, Antidotus, Antimonium, Aqua benedicta, Aqua volans per aeram, Arcanum, Atramentum, Autumnus, Basilicus, Brutorum cor, Bufo, Capillus, Capistrum auri, Carbones, Cerberus, Chaos, Cinis cineris, Crocus, Dominus philosophorum, Divine quintessence, Draco elixir, Filius ignis, Fimus, Folium, Frater, Granum, Granum frumenti, Haematites, Hepar, Herba, Herbalis, Lac, Melancholia, Ovum philosophorum, Panacea salutifera, Pandora, Phoenix, Philosophic mercury, Pyrites, Radices arboris solares, Regina, Rex regum, Sal metallorum, Salvator terrenus, Talcum, Thesaurus, Ventus hermetis. Many of the medieval allegories for a Christ were adopted for the lapis, and the Christ and the Stone were indeed taken as identical in a mystical sense. The name of "Stone" or lapis itself is informed by early Christian allegory, such as Priscillian (4th century), who stated Unicornis est Deus, nobis petra Christus, nobis lapis angularis Jesus, nobis hominum homo Christus. In some texts it is simply called 'stone', or our stone, or in the case of Thomas Norton's Ordinal, "oure delycious stone". The stone was frequently praised and referred to in such terms.

It needs to be noted that philosophorum does not mean "of the philosopher" or "the philosopher's" in the sense of a single philosopher. It means "of the philosophers" in the sense of a plurality of philosophers.

en.wikipedia.org/wiki/Philosopher%27s_stone

BaD Jul 8, 2020 - Escapologist by penelopephotoshop

13 8

8/31 Blythe A Day

Escapology is the practice of escaping from restraints or other traps.

Escapologists (also known as escape artists) free themselves from handcuffs, straitjackets, cages, coffins, steel boxes, barrels, bags, burning buildings, fish-tanks & other perils, often in combination.

The actual term 'escapology' is reputed to have been coined originally by Australian escapologist and illusionist Murray (Norman Murray Walters), a Houdini contemporary.

The art of escaping from restraints and confined spaces has been a skill employed by performers for a very long time. It was not originally displayed as an overt act in itself but was instead used secretly to create illusions such as a disappearance or transmutation.

In the 1860s, the Davenport Brothers, who were skilled at releasing themselves from rope ties, used the art to convey the impression they were restrained while they created spirit phenomena.

The figure that is most well known for making escapology a recognized entertainment was Harry Houdini, who built his career on demonstrating the ability to escape from a huge variety of restraints in difficult situations.

11

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What happened three days ago is a very bad story, a 63-year-old man shot two women in the face, one 48 years old, the other 49 years old, and then took his own life, all of which happened in a town in the province of Catania, one of them allegedly had an extramarital affair with the killer: in 2022 120 women were killed, 97 of them were killed in the family or emotional sphere, of these 57 died for hand of the partner or former partner. This tragic and sad incipit linked to the ever-present drama of feminicides, to introduce the photographic story that I made in the town of Savoca (Messina - Sicily) on 08/13/2022, of a very particular representation that was held last time in August 2018; is a narration that pits Evil (a devil armed with a long grappling hook) against Good (Saint Lucia, who holds a silver palm leaf in her hands), the Evil-Devil tries to seduce-distract Saint Lucia with own grappling hook, instead Saint Lucia remains impassive in front of her flattery: violence against women in this very suggestive representation finds distant and deep roots, Saint Lucia actually represents those women who in medieval times had to suffer the abuses perpetrated by the Baron of Savoca nicknamed "Barone Altadonna", which making use of the law "ius primae noctis" (from the Latin "right of the first night"), referred to the "right" according to which a feudal lord could rape a newly married woman on her wedding night. Therefore, this is a photographic narration that speaks of the eternal struggle that takes place between good and evil, which speaks of a dark period of history, speaks of the violence suffered by women but also by those who belonged to the poorest social classes, historical facts that have been handed down to us in the form of a story and associated-transmuted in the martyrdom of Saint Lucia, this is what happens in the town of Savoca (Sicily). This is a report of the living representation of the martyrdom of Saint Lucia (patron saint of the city of Savoca); the cult of the young Saint of Syracuse seems to date back to the fifteenth century, under the influence of Spanish traditions. The living re-enactment of the history of St. Lucia takes place on two consecutive days, Saturday and Sunday: here I try to tell some moments of Saturday, the day during which the celebration does not take place in its full beauty, it is the day during which "the silver palm" is delivered "from the Lucia of the previous edition" to the "Lucia of the current edition", it is the day during which the last details are tested, above all the "impassivity of the little girl who impersonates Saint Lucia", lovingly called "the Lucia".. And 'This is a historical event which speaks of Demons and Angels: Saint Lucy refused to marry a rich and powerful suitor (Lucy declared She was married in Christ), which reported the Christian faith of Lucia to prefect Pascasio that ordered his Praetorian Guard to drag Lucia with a rope to a place of prostitution; legend has it that the Holy became heavy, they then tried to drag it with the help of oxen, but it was impossible to move it from where he stood; failing in this, it was then given the order to cavarle eyes, but the young martyr (native of Syracuse) her eyes reappeared.

In the village of Savoca a young girl, affectionately called the "Lucy" is carried on the shoulder of a porter along the streets of the country (sitting on a pillow tied on the shoulder of a man, but in fact men are two); the young Saint remains impassive in the face of demonic temptations: the Devil, called in Sicilian dialect "u Diavulazzu, shake, shakes, turns his pitchfork in an attempt to "distract" the Saint.

The first day of this representation, on Saturday, in an old church in Savoca, the two girls who impersonate the Lucia, of the current year and the previous year, meet with the delivery of palm; the traditional event which we witness on Saturday, has all the appearance of an important rehearsal for the next day, on Sunday when the traditional festival will take place in all its beauty.

Sunday: on top of the procession there are the "Jews" (the emissaries of the prefect Pascasio) along with some Angels, is located immediately after the wagon drawn by two cows from which branches off a rope that will arrive to Saint Lucia (a girl of six years); between her and the cows there are Roman soldiers, who make their way through the crowd squirming like crazy; to hold the rope there are also male figures; the job of Devil (his mask is made of wood, whose invoice is dated, it seems, of the 400') is to distract the little Saint with the help of a long stick equipped of curved points, called "u 'croccu": Lucia hardly is deceived by the promises of the evil one, she will not abandon the state of her property concentration, aided in this by staring, almost in a trance, a small palm branch in silver , she brings devoutly in her hands.It's very important to mention the Baron Baldassarre (nicknamed Baron Altadonna), who applied without any hesitation the practice of Jus de seigneur: using this law the Baron obliged the young brides to spend the wedding night in his alcove. It 'very possible that in the representation of Saint Lucia of Savoca the character of the Devil tempting young Santa with his pitchfork, in reality is nothing but himself, Baron Altadonna, so allegorically described in this traditional Sicilian feast: the figure of the Devil if one takes into account what historians relate, does not belong more to the legend, but sadly to actual event happened.

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E' una bruttissima storia quanto accaduto tre giorni fa, un uomo di 63 anni, ha ucciso a colpi di pistola in pieno volto due donne, una di 48 anni, l'altra di 49 anni, per poi togliersi la vita, il tutto accaduto in una cittadina in provincia di Catania, una di loro avrebbe avuto una relazione extraconiugale con l'assassino: nel 2022 sono state 120 le donne uccise, 97 di loro sono state uccise in ambito familiare o affettivo, di queste 57 hanno trovato la morte per mano del partner o ex partner. Questo tragico e triste incipit legato al sempre attuale dramma dei femminicidi, per introdurre il racconto fotografico che ho realizzato nella cittadina di Savoca (Messina - Sicilia) il 13/08/2022, di una particolarissima rappresentazione che si era tenuta l'ultima volta nell'agosto del 2018; è una narrazione che vede contrapposto il Male (un diavolo armato di un lungo rampino), al Bene (Santa Lucia, che stringe tra le mani una foglia di palma d'argento), il Male-Diavolo tenta di sedurre-distrarre Santa Lucia col proprio rampino, invece Santa Lucia resta impassibile davanti le sue lusinghe: la violenza sulle donne in questa rappresentazione molto suggestiva, trova radici lontane e profonde, Santa Lucia in realtà rappresenta quelle donne che in epoca medioevale dovevano subire gli abusi perpetrati dal Barone di Savoca soprannominato "Barone Altadonna", che avvalendosi della legge "ius primae noctis" (dal latino "diritto della prima notte"), si riferiva al “diritto” secondo cui un signore feudale poteva violentare una donna appena sposata durante la sua prima notte di nozze. Quindi questa è una narrazione fotografica che parla dell'eterna lotta che avviene tra il bene ed il male, che parla di un periodo buio della storia, che parla delle violenze subite dalle donne ma anche da tutti coloro che appartenevano alle classi sociali più povere, fatti storici che sono stati tramandati fino a noi in forma di racconto ed associati-trasmutati nel martirio di Santa Lucia, questo è quanto accade nel paese di Savoca (Sicilia). Questo è un report della rappresentazione vivente del martirio di Santa Lucia (Santa patrona della città di Savoca); il culto della giovane Santa di Siracusa sembra risalire al XV secolo, sotto l'influenza delle tradizioni spagnole. La rievocazione vivente della storia di Santa Lucia avviene in due giornate consecutive, il sabato e la domenica: qui tento di raccontare alcuni momenti della giornata del sabato, giorno durante il quale la festa non si svolge nel pieno della sua bellezza, è il giorno durante il quale “la palma d’argento” viene consegnata “dalla Lucia della edizione precedente” alla “Lucia dell’attuale edizione”, è il giorno durante il quale si testano gli ultimi dettagli, soprattutto si mette alla prova “l’impassibilità della bambina che impersona Santa Lucia”, chiamata amorevolmente “la Lucia”. E' questa una rievocazione storica che parla di Demoni ed Angeli: la storia rievoca di quando la Santa, si rifiutò di andare in sposa ad un suo ricco e potente pretendente (essendosi dichiarata Cristiana e sposa in Cristo), il quale per vendetta riferì della fede Cristiana di Lucia al prefetto Pascasio; costui diede ordine ai suoi pretoriani di trascinare Lucia con una corda fino ad un lupanare, un luogo di prostituzione; la leggenda narra che la Santa divenne pesantissima, si tentò allora di trascinarla con l'ausilio dei buoi, ma fu impossibile smuoverla da dove si trovava; non riuscendo in ciò, fu allora dato l'ordine di cavarle gli occhi, ma alla giovane martire (nativa di Siracusa) gli occhi le rispuntarono. Nel paese di Savoca una giovane ragazza, chiamata con affetto "la Lucia" viene portata in spalla lungo le vie del paese (seduta su di un cuscino legato sulla spalla di un uomo; in realtà gli uomini portatori sono due, dandosi il cambio l'un l'altro); la giovane Santa rimane impassibile di fronte alle tentazioni demoniache: il Diavolo, chiamato in dialetto siciliano "u Diavulazzu, agita, scuote, fa ruotare il suo forcone nel tentativo di "distrarre" la Santa ma, vani saranno i suoi tentativi. Il primo giorno di questa rappresentazione, il sabato, in una vecchia chiesa di Savoca, le due bambine che impersonano la Lucia, dell'anno in corso e dell'anno precedente, si incontrano con la consegna della palma da una bimba all'altra; l'evento tradizionale al quale si assiste il sabato, ha tutto l'aspetto di una importante prova generale per il giorno dopo, quando la domenica la festa tradizionale avverrà in tutta la sua bellezza. La domenica: in cima alla processione ci sono i "Giudei" (gli emissari del prefetto Pascasio) insieme ad alcuni Angeli, subito dopo si trova il carro tirato da due giumente dalle quali si diparte una corda che giungerà fino a cingere il fianco della bimba che impersona Santa Lucia (una bambina di sei anni); tra lei e le giumente ci sono i soldati Romani, che si fanno largo tra la folla dimenandosi a più non posso; a tenere la corda ci sono anche delle figure maschili che evitano che gli strattonamenti dei soldati romani possano giungere fino alla Santa (ricordiamolo, che è legata a quella corda); davanti alla Santa piroetta il diavolo tentatore, u' Diavulazzu (la maschera è in legno, la cui fattura è datata, sembra, del 400'), il cui compito è quello di distrarre la piccola Santa con l'aiuto di un lungo bastone dotato di punte ricurve, chiamato dialettalmente "u' croccu": Lucia difficilmente si lascerà ingannare dalle promesse del Maligno, non abbandonerà quel suo stato di immobile concentrazione, aiutata in ciò dal fissare, quasi in stato di trance, un piccolo ramo di palma in argento, che lei stringe devotamente tra le sue mani. E’ fondamentale menzionare tra i vari personaggi storici della tradizione, il barone Baldassarre, vissuto in Savoca in epoca medioevale, soprannominato barone Altadonna, che applicava senza remora alcuna la pratica della Jus primae noctis: avvalendosi di questa legge il barone obbligava le giovani spose a trascorrere la prima notte di nozze nella sua alcova. E’ fortemente ipotizzabile che nella rappresentazione di Santa Lucia di Savoca il personaggio del Diavolo che tenta la giovane Santa col suo forcone, in realtà non sia altro che egli stesso, il barone Altadonna, così allegoricamente descritto nella festa tradizionale siciliana: la figura del Diavolo, se si tiene conto di quanto narrano gli storici, non apparterrebbe più alla leggenda, ma a questo tristo personaggio realmente vissuto, che usava quotidianamente la moneta della prepotenza.

by Dijon Bowden

26 2

"A few weeks ago I was listening to a talk on Mindful Intelligence. The teacher was a former Buddhist monk who lived in Burma and worked with political prisoners. He talked about the use of creativity and courage in mindfulness and used an example of an artist to demonstrate how we can pick and choose emotional states similarly to how an artist can blend and diffuse color on a paint palette. I'm an empath and I experience a lot of the world through people's emotions so this was super interesting to me.

From the talk, I learned that I can transmute anger (red) to love (pink) by simply bringing in the feeling of forgiveness (white). I can increase the vibrancy of an emotion by intensifying the color. And when I'm feeling extra creative, I blend multiple colors together to experience a new combination of feelings that I never knew existed."

(1/2)

Green Tara by Rita Willaert

8

Tara in Tibetan Buddhism, is a female Bodhisattva. She is known as the "mother of liberation", and represents the virtues of success in work and achievements.

Within Tibetan Buddhism, Tārā is regarded as a Bodhisattva of compassion and action. She is the female aspect of Avalokiteśvara. Tārā is also known as a saviouress, as a heavenly deity who hears the cries of beings experiencing misery in saṃsāra.

The most widely known forms of Tārā are:

Green Tārā, (Syamatara) known as the Buddha of enlightened activity

White Tārā, (Sitatara) also known for compassion, long life, healing and serenity; also known as The Wish-fulfilling Wheel, or Cintachakra

Red Tārā, (Kurukulla) of fierce aspect associated with magnetizing all good things

Black Tārā, associated with power

Yellow Tārā, (Bhrikuti) associated with wealth and prosperity

Blue Tārā, associated with transmutation of anger

en.wikipedia.org/wiki/Tara_(Buddhism)

Temple of the Five Pagodas

Temple of the Five Pagodas , also known as the "Precious Pagoda of the Buddhist Relics of the Diamond Throne" , is a Buddhist temple in the city of Hohhot in Inner Mongolia in north-west China. It is located in the older part of the city in the vicinity of Qingcheng Park.

Construction of the temple began in 1727 and was completed in 1732. The distinctive five pagodas surmount contains a temple with 1563 images of Buddha carved into its walls each differing slightly to the other. Inside is a rare Mongolian cosmological map carved into a large stone which illustrates the zodiac and positions of numerous stars.

en.wikipedia.org/wiki/Five_Pagoda_Temple_(Hohhot)

10

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click to activate the icon of slideshow: the small triangle inscribed in the small rectangle, at the top right, in the photostream;

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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;

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What happened three days ago is a very bad story, a 63-year-old man shot two women in the face, one 48 years old, the other 49 years old, and then took his own life, all of which happened in a town in the province of Catania, one of them allegedly had an extramarital affair with the killer: in 2022 120 women were killed, 97 of them were killed in the family or emotional sphere, of these 57 died for hand of the partner or former partner. This tragic and sad incipit linked to the ever-present drama of feminicides, to introduce the photographic story that I made in the town of Savoca (Messina - Sicily) on 08/13/2022, of a very particular representation that was held last time in August 2018; is a narration that pits Evil (a devil armed with a long grappling hook) against Good (Saint Lucia, who holds a silver palm leaf in her hands), the Evil-Devil tries to seduce-distract Saint Lucia with own grappling hook, instead Saint Lucia remains impassive in front of her flattery: violence against women in this very suggestive representation finds distant and deep roots, Saint Lucia actually represents those women who in medieval times had to suffer the abuses perpetrated by the Baron of Savoca nicknamed "Barone Altadonna", which making use of the law "ius primae noctis" (from the Latin "right of the first night"), referred to the "right" according to which a feudal lord could rape a newly married woman on her wedding night. Therefore, this is a photographic narration that speaks of the eternal struggle that takes place between good and evil, which speaks of a dark period of history, speaks of the violence suffered by women but also by those who belonged to the poorest social classes, historical facts that have been handed down to us in the form of a story and associated-transmuted in the martyrdom of Saint Lucia, this is what happens in the town of Savoca (Sicily). This is a report of the living representation of the martyrdom of Saint Lucia (patron saint of the city of Savoca); the cult of the young Saint of Syracuse seems to date back to the fifteenth century, under the influence of Spanish traditions. The living re-enactment of the history of St. Lucia takes place on two consecutive days, Saturday and Sunday: here I try to tell some moments of Saturday, the day during which the celebration does not take place in its full beauty, it is the day during which "the silver palm" is delivered "from the Lucia of the previous edition" to the "Lucia of the current edition", it is the day during which the last details are tested, above all the "impassivity of the little girl who impersonates Saint Lucia", lovingly called "the Lucia".. And 'This is a historical event which speaks of Demons and Angels: Saint Lucy refused to marry a rich and powerful suitor (Lucy declared She was married in Christ), which reported the Christian faith of Lucia to prefect Pascasio that ordered his Praetorian Guard to drag Lucia with a rope to a place of prostitution; legend has it that the Holy became heavy, they then tried to drag it with the help of oxen, but it was impossible to move it from where he stood; failing in this, it was then given the order to cavarle eyes, but the young martyr (native of Syracuse) her eyes reappeared.

In the village of Savoca a young girl, affectionately called the "Lucy" is carried on the shoulder of a porter along the streets of the country (sitting on a pillow tied on the shoulder of a man, but in fact men are two); the young Saint remains impassive in the face of demonic temptations: the Devil, called in Sicilian dialect "u Diavulazzu, shake, shakes, turns his pitchfork in an attempt to "distract" the Saint.

The first day of this representation, on Saturday, in an old church in Savoca, the two girls who impersonate the Lucia, of the current year and the previous year, meet with the delivery of palm; the traditional event which we witness on Saturday, has all the appearance of an important rehearsal for the next day, on Sunday when the traditional festival will take place in all its beauty.

Sunday: on top of the procession there are the "Jews" (the emissaries of the prefect Pascasio) along with some Angels, is located immediately after the wagon drawn by two cows from which branches off a rope that will arrive to Saint Lucia (a girl of six years); between her and the cows there are Roman soldiers, who make their way through the crowd squirming like crazy; to hold the rope there are also male figures; the job of Devil (his mask is made of wood, whose invoice is dated, it seems, of the 400') is to distract the little Saint with the help of a long stick equipped of curved points, called "u 'croccu": Lucia hardly is deceived by the promises of the evil one, she will not abandon the state of her property concentration, aided in this by staring, almost in a trance, a small palm branch in silver , she brings devoutly in her hands.It's very important to mention the Baron Baldassarre (nicknamed Baron Altadonna), who applied without any hesitation the practice of Jus de seigneur: using this law the Baron obliged the young brides to spend the wedding night in his alcove. It 'very possible that in the representation of Saint Lucia of Savoca the character of the Devil tempting young Santa with his pitchfork, in reality is nothing but himself, Baron Altadonna, so allegorically described in this traditional Sicilian feast: the figure of the Devil if one takes into account what historians relate, does not belong more to the legend, but sadly to actual event happened.

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E' una bruttissima storia quanto accaduto tre giorni fa, un uomo di 63 anni, ha ucciso a colpi di pistola in pieno volto due donne, una di 48 anni, l'altra di 49 anni, per poi togliersi la vita, il tutto accaduto in una cittadina in provincia di Catania, una di loro avrebbe avuto una relazione extraconiugale con l'assassino: nel 2022 sono state 120 le donne uccise, 97 di loro sono state uccise in ambito familiare o affettivo, di queste 57 hanno trovato la morte per mano del partner o ex partner. Questo tragico e triste incipit legato al sempre attuale dramma dei femminicidi, per introdurre il racconto fotografico che ho realizzato nella cittadina di Savoca (Messina - Sicilia) il 13/08/2022, di una particolarissima rappresentazione che si era tenuta l'ultima volta nell'agosto del 2018; è una narrazione che vede contrapposto il Male (un diavolo armato di un lungo rampino), al Bene (Santa Lucia, che stringe tra le mani una foglia di palma d'argento), il Male-Diavolo tenta di sedurre-distrarre Santa Lucia col proprio rampino, invece Santa Lucia resta impassibile davanti le sue lusinghe: la violenza sulle donne in questa rappresentazione molto suggestiva, trova radici lontane e profonde, Santa Lucia in realtà rappresenta quelle donne che in epoca medioevale dovevano subire gli abusi perpetrati dal Barone di Savoca soprannominato "Barone Altadonna", che avvalendosi della legge "ius primae noctis" (dal latino "diritto della prima notte"), si riferiva al “diritto” secondo cui un signore feudale poteva violentare una donna appena sposata durante la sua prima notte di nozze. Quindi questa è una narrazione fotografica che parla dell'eterna lotta che avviene tra il bene ed il male, che parla di un periodo buio della storia, che parla delle violenze subite dalle donne ma anche da tutti coloro che appartenevano alle classi sociali più povere, fatti storici che sono stati tramandati fino a noi in forma di racconto ed associati-trasmutati nel martirio di Santa Lucia, questo è quanto accade nel paese di Savoca (Sicilia). Questo è un report della rappresentazione vivente del martirio di Santa Lucia (Santa patrona della città di Savoca); il culto della giovane Santa di Siracusa sembra risalire al XV secolo, sotto l'influenza delle tradizioni spagnole. La rievocazione vivente della storia di Santa Lucia avviene in due giornate consecutive, il sabato e la domenica: qui tento di raccontare alcuni momenti della giornata del sabato, giorno durante il quale la festa non si svolge nel pieno della sua bellezza, è il giorno durante il quale “la palma d’argento” viene consegnata “dalla Lucia della edizione precedente” alla “Lucia dell’attuale edizione”, è il giorno durante il quale si testano gli ultimi dettagli, soprattutto si mette alla prova “l’impassibilità della bambina che impersona Santa Lucia”, chiamata amorevolmente “la Lucia”. E' questa una rievocazione storica che parla di Demoni ed Angeli: la storia rievoca di quando la Santa, si rifiutò di andare in sposa ad un suo ricco e potente pretendente (essendosi dichiarata Cristiana e sposa in Cristo), il quale per vendetta riferì della fede Cristiana di Lucia al prefetto Pascasio; costui diede ordine ai suoi pretoriani di trascinare Lucia con una corda fino ad un lupanare, un luogo di prostituzione; la leggenda narra che la Santa divenne pesantissima, si tentò allora di trascinarla con l'ausilio dei buoi, ma fu impossibile smuoverla da dove si trovava; non riuscendo in ciò, fu allora dato l'ordine di cavarle gli occhi, ma alla giovane martire (nativa di Siracusa) gli occhi le rispuntarono. Nel paese di Savoca una giovane ragazza, chiamata con affetto "la Lucia" viene portata in spalla lungo le vie del paese (seduta su di un cuscino legato sulla spalla di un uomo; in realtà gli uomini portatori sono due, dandosi il cambio l'un l'altro); la giovane Santa rimane impassibile di fronte alle tentazioni demoniache: il Diavolo, chiamato in dialetto siciliano "u Diavulazzu, agita, scuote, fa ruotare il suo forcone nel tentativo di "distrarre" la Santa ma, vani saranno i suoi tentativi. Il primo giorno di questa rappresentazione, il sabato, in una vecchia chiesa di Savoca, le due bambine che impersonano la Lucia, dell'anno in corso e dell'anno precedente, si incontrano con la consegna della palma da una bimba all'altra; l'evento tradizionale al quale si assiste il sabato, ha tutto l'aspetto di una importante prova generale per il giorno dopo, quando la domenica la festa tradizionale avverrà in tutta la sua bellezza. La domenica: in cima alla processione ci sono i "Giudei" (gli emissari del prefetto Pascasio) insieme ad alcuni Angeli, subito dopo si trova il carro tirato da due giumente dalle quali si diparte una corda che giungerà fino a cingere il fianco della bimba che impersona Santa Lucia (una bambina di sei anni); tra lei e le giumente ci sono i soldati Romani, che si fanno largo tra la folla dimenandosi a più non posso; a tenere la corda ci sono anche delle figure maschili che evitano che gli strattonamenti dei soldati romani possano giungere fino alla Santa (ricordiamolo, che è legata a quella corda); davanti alla Santa piroetta il diavolo tentatore, u' Diavulazzu (la maschera è in legno, la cui fattura è datata, sembra, del 400'), il cui compito è quello di distrarre la piccola Santa con l'aiuto di un lungo bastone dotato di punte ricurve, chiamato dialettalmente "u' croccu": Lucia difficilmente si lascerà ingannare dalle promesse del Maligno, non abbandonerà quel suo stato di immobile concentrazione, aiutata in ciò dal fissare, quasi in stato di trance, un piccolo ramo di palma in argento, che lei stringe devotamente tra le sue mani. E’ fondamentale menzionare tra i vari personaggi storici della tradizione, il barone Baldassarre, vissuto in Savoca in epoca medioevale, soprannominato barone Altadonna, che applicava senza remora alcuna la pratica della Jus primae noctis: avvalendosi di questa legge il barone obbligava le giovani spose a trascorrere la prima notte di nozze nella sua alcova. E’ fortemente ipotizzabile che nella rappresentazione di Santa Lucia di Savoca il personaggio del Diavolo che tenta la giovane Santa col suo forcone, in realtà non sia altro che egli stesso, il barone Altadonna, così allegoricamente descritto nella festa tradizionale siciliana: la figura del Diavolo, se si tiene conto di quanto narrano gli storici, non apparterrebbe più alla leggenda, ma a questo tristo personaggio realmente vissuto, che usava quotidianamente la moneta della prepotenza.

Folies Bergère...GOLD AND THE MYSTERIOUS WORLD OF ALCHEMY....Gold Capped: Making gold with alchemy by Hughes Songe

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The Folies Bergère (French pronunciation: [fɔ.li bɛʁ.ʒɛʁ]) is a cabaret music hall, located in Paris, France. Located at 32 Rue Richer in the 9th Arrondissement, the Folies Bergère was built as an opera house by the architect Plumeret. It opened on 2 May 1869 as the Folies Trévise, with light entertainment including operettas, comic opera, popular songs, and gymnastics. It became the Folies Bergère on 13 September 1872, named after nearby Rue Bergère. The house was at the height of its fame and popularity from the 1890s' Belle Époque through the 1920s.

Revues featured extravagant costumes, sets and effects, and often nude women. In 1926, Josephine Baker, an African-American expatriate singer, dancer and entertainer, caused a sensation at the Folies Bergère by dancing in a costume consisting of a skirt made of a string of artificial bananas and little else.

The institution is still in business, and is still a strong symbol of French and Parisian life.

Contents

1History

2Performers

3Filmography

4Similar venues

5In popular culture

6See also

7Notes

8External links

History

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Jules Chéret, Folies Bergère, Fleur de Lotus, 1893 Art Nouveau poster for the Ballet Pantomime

Costume, c. 1900

Located at 32 Rue Richer in the 9th Arrondissement, the Folies Bergère was built as an opera house by the architect Plumeret. The métro stations are Cadet and Grands Boulevards.

It opened on 2 May 1869[citation needed] as the Folies Trévise, with light entertainment including operettas, opéra comique (comic opera), popular songs, and gymnastics. It became the Folies Bergère on 13 September 1872, named after a nearby street, Rue Bergère ("bergère" means "shepherdess").[1]

Manet's A Bar at the Folies-Bergère

In 1882, Édouard Manet painted his well-known painting A Bar at the Folies-Bergère which depicts a bar-girl, one of the demimondaines, standing before a mirror.

In 1886, Édouard Marchand conceived a new genre of entertainment for the Folies Bergère: the music-hall revue. Women would be the heart of Marchand's concept for the Folies. In the early 1890s, the American dancer Loie Fuller starred at the Folies Bergère. In 1902, illness forced Marchand to leave after 16 years.[2]

Josephine Baker in a banana skirt from the Folies Bergère production Un Vent de Folie

In 1918, Paul Derval [fr] (1880–1966) made his mark on the revue. His revues featured extravagant costumes, sets and effects, and "small nude women". Derval's small nude women would become the hallmark of the Folies. During his 48 years at the Folies, he launched the careers of many French stars including Maurice Chevalier, Mistinguett, Josephine Baker, Fernandel and many others. In 1926, Josephine Baker, an African-American ex-patriate singer, dancer and entertainer, caused a sensation at the Folies Bergère in a new revue, La Folie du Jour, in which she danced a number Fatou wearing a costume consisting of a skirt made of a string of artificial bananas and little else. Her erotic dancing and near-nude performances were renowned. The Folies Bergère catered to popular taste. Shows featured elaborate costumes; the women's were frequently revealing, practically leaving them naked, and shows often contained a good deal of nudity. Shows also played up the "exoticness" of people and objects from other cultures, obliging the Parisian fascination with the négritude of the 1920s.[clarification needed]

In 1926 the facade of the theatre was given a complete make-over by the artist Maurice Pico [fr]. The facade was redone in Art Deco style, one of the many Parisian theatres of this period using the style.[3]

In 1936, Derval brought Josephine Baker from New York City to lead the revue En Super Folies. Michel Gyarmathy [de], a young Hungarian arrived from Balassagyarmat, his hometown, designed the poster for En Super Folies, a show starring Josephine Baker in 1936. This began a long love story between Michel Gyarmathy, Paris, the Folies Bergère and the public of the whole world which lasted 56 years. The funeral of Paul Derval was held on 20 May 1966. He was 86 and had reigned supreme over the most celebrated music hall in the world. His wife Antonia, supported by Michel Gyarmathy, succeeded him. In August 1974, the Folies Antonia Derval passed on the direction of the business to Hélène Martini, the empress of the night (25 years earlier she had been a showgirl in the revues). This new mistress of the house reverted to the original concept to maintain the continued existence of the last music hall which remained faithful to the tradition.

Since 2006, the Folies Bergère has presented some musical productions with Stage Entertainment like Cabaret (2006–2008) or Zorro (2009–2010).

en.wikipedia.org/wiki/Folies_Berg%C3%A8re

Why was gold so important to alchemists and how does the work of these ancient mystics and proto-scientists relate to our modern understandings of...

17 September 2018

GINTE SERENAITE

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Why was gold so important to alchemists and how does the work of these ancient mystics and proto-scientists relate to our modern understandings of the world?

Since ancient times, gold has been recognised not only for its beauty but also for its unique chemical and physical properties. Nowhere was gold more valued than in the mysterious practice of alchemy: a philosophical and protoscientific tradition that sought to create gold from other elements and practiced throughout history, from Ancient Egypt right up until the European Enlightenment.

Alchemist’s laboratory picture from Amphitheatrum Sapientiae Aeternae Solius Verae written by Heinrich Khurath in 1595

The first records of alchemic practice date back to the advent of metallurgy around 3500 BC. Historians have identified traditions of alchemy, in China, India, the Middle East and Europe. The Egyptian alchemist Zosimos of Panopolis writes around 300 BC about the concept of a ‘philosopher’s stone’ a legendary material central to alchemy which could allegedly cure all ills, grant eternal life and turn metals into gold. It was believed by some to have been given to Adam by God.

An alchemist in search of the philosopher's stone by Joseph Wright

An alchemist in search of the philosopher’s stone by Joseph Wright

Alchemy primarily focuses on the transmutation of common metals (e.g. lead, copper) into ‘noble metals’, particularly gold, as well as the creation of a ‘panacea’ – a remedy which would cure all diseases and prolong life indefinitely. Gold was believed to be the origin of all metals, a view well illustrated by George Starkey (known by the pseudonym of Eirenaeus Philalethes) – a 17th century Colonial American alchemist who wrote “All metallic seed is the seed of gold: for gold is the intention of nature with regard to all metals. If the base metals are not gold, it is only through some accidental hindrance: they are all potentially gold.”[i]

Such an interpretation of gold’s chemical properties motivated alchemists from around the world to search for the ‘philosopher’s stone’ – a legendary substance or elixir that was thought of being capable of turning base metals into gold.

Even Sir Isaac Newton (1642-1727), recognised as one of science’s seminal geniuses and perhaps the most influential figure in the scientific revolution, devoted a great deal of time to alchemy. He believed that in the entire mineral kingdom, metals were the only materials that could ‘vegetate’ whereas other minerals could only form mechanically.[ii] Newton spent days locked up in his laboratory practising alchemy and trying to perform a transmutation of lead into gold. Some believe he finally succeeded in it. Perhaps that explains why, at the peak of his career, he was appointed director of England’s Royal Mint, with the duty of securing and accounting for England’s repository of gold.[iii]

Sir Isaac Newton (1642-1727)

Having the ability to turn lead into gold would have obvious benefits today, but the reason behind why ancient and medieval alchemists sought to change base metals into gold was not simply greed. As Nevill Drury and Lynne Hume wrote in their book The Varieties of Magical Experience: Indigenous, Medieval, and Modern Magic: “The alchemists did not regard all metals as equally mature or ‘perfect.’ Gold symbolized the highest development in nature and came to personify human renewal and regeneration. A ‘golden’ human being was resplendent with spiritual beauty and had triumphed over the lurking power of evil. The basest metal, lead, represented the sinful and unrepentant individual who was readily overcome by the forces of darkness… If lead and gold both consisted of fire, air, water, and earth, then surely by changing the proportions of the constituent elements, lead could be transformed into gold. Gold was superior to lead because, by its very nature, it contained the perfect balance of all four elements.[iv]’

Many of the goals sought by ancient and medieval alchemist have now been attained by today’s chemists and nuclear physicists. Henri Becquerel’s discovery of radioactivity in 1896 and Joseph John Thomson’s discovery of the electron a year later, led to an understanding of natural transmutation. Further to this, the joint experiments carried out by Ernest Rutherford and Frederick Soddy in the early 20th century proved that the radioactivity of thorium was the result of a disintegration or decay process of one element into another. This transmutation and other consecutive discoveries facilitated the liberation of tremendous amounts of energy which scientist TJ Trenn referred to as ‘the gold of newer alchemy.[v]’

Although the creation of gold from other metals proved impossible for alchemy, alchemists played an important role in formulating our understanding of the material world and in laying the foundations of modern science. And their legacy lives on: in the 21st century we have now found a way to create gold and other elements by replicating exploding stars.

Image top: the alchemist Michael Sendivogius by Jan Matejko

[i] Franklyn J (Ed.) 1973. ‘A Dictionary of the Occult’, p. 5, Causeway Books: New York.

[ii] Dobbs BJ.T, Ambix 1979. p. 26, 145-169; Isis, 1982, 73, 511-528; also see Burndy MS 16, fol. 3r

[iii] archive.is/20130217100410/http://gtresearchnews.gatech.ed...

[iv] Hume L., Drury N. 2013. The Varieties of Magical Experience: Indigenous, Medieval, and Modern Magic, p. 122-123, Praeger: California.

[v] Trenn T.J. 1981. ‘Transmutation: Natural and Artificial’, p. 56, Heyden & Son: London.

glintpay.com/blog/gold-mysterious-world-alchemy/

Want to get Gold Capped? This column shows you how. Join author Basil "Euripides" Berntsen, also of outdps.com, the Hunting Party podcast and the Call to Auction podcast.

Alchemy is an awesome way to make money in WoW. As we've said before, some businesses are proactive, requiring you to invest time and money in order to make profits. Some are reactive, allowing you to use a cooldown to craft something that's in demand for smallish volume of sales at high profit. Alchemy is unique in the sense that it allows you to both! You can craft and sell potions, flasks and elixirs, and you can transmute an epic gem once a day and Titanium Bars without a cooldown since patch 3.3.

Alchemy mastery specialization choice

Let's start with the easy part. Assuming you have an alchemist at 450 skill, you will really want to get a specialization.You have to choose between one of the three possibilities, unless you're crazy like some of my auctioneer buddies who have more than one alchemist!

Transmutation mastery is the most common spec among auctioneers. It allows you to proc extra items whenever you transmute. This is key if you're into the saronite-to-titanium market, and is well worth the time and money needed to get it solely based on the epic gem transmutes. You need to pick up the quest Master of Transmutation all the way back in Netherstorm.

Elixir mastery (or flask mastery, as it should have been called) is another specialization you can get. It lets you proc additional freebies when you're making flasks, battle elixirs or guardian elixirs. You need to start off at the "Master of Elixirs" quest in the Shattrath's Lower City.

Potion mastery is the last option, and (you guessed it!) it allows you to proc additional potions. The quest you must complete to get this is Master of Potions in the Cenarion Expedition area of Zangarmarsh.

You choice between these specs should be based on what you see yourself doing the most. If you make a lot of flasks but only transmute your daily epic gem, the extra yield on your flasks will be more profit than extra epic gem yield. One important thing to note: if you change your mind and want to switch, you just need to pay 150g and won't have to do the quest again.

Selling flasks and elixirs

Raiders are your biggest market for flasks and elixirs. Obviously, this means that your big nights will happen on the instance resets and weekends, when most people are in raids. I find that there's more competition on weekends, though, so focus my efforts on Tuesdays.

Your two biggest sellers are going to be:

Flask of Endless Rage is the physical DPS flask of choice. It's not the best for all specs and all classes, but it's certainly the most popular, because it lasts through death.

Flask of the Frost Wyrm is the caster flask of choice, as well as the choice of many healers.

You will see some sales if you list Flasks of Stoneblood for tanks and Flask of Pure Mojo for those classes that need mana regen; however, not in nearly the volume the first two will see. You should also consider doing your Northrend Alchemy Research every three days until you have all the elixirs. These don't sell as fast, but they do sell, and the barrier to entry for the market is higher than it is for the bread and butter flasks. As with all products like this, make sure you remember to vary your stack size when you're selling them.

Selling potions

Potions are another big seller on raid nights. Most people like to have a stack of something or other on them when they're doing their end-game raiding or PvP. Guess what? The good ones are discovered by Northrend Alchemy Research again. Every three days! Don't forget!

Your big sellers are the obvious ones: These potions restore health or mana or increase butt-kickery for short periods of time.

Potion of Speed

Potion of Wild Magic

Indestructible Potion

Runic Healing Potion

Runic Mana Potion

Powerful Rejuvenation Potion

There's a much longer list of potions that may sell, but these are the primary ones. Also, there's a bunch of really specific resist potions that are rareish drops off of specific mobs in Icecrown. These absorb damage of a particular school of magic but are rarely called for on the AH (at least when I checked last).

Transmutation consideration

The last, and often most profitable, way to make money with an alchemist is transmutation. There are a bunch of transmutations that share a cooldown. If you transmute an epic gem, you can't transmute an eternal, for example. Anyway, now that the titanium transmutation has no cooldown, this is a large money-maker -- more so if you can buy Saronite Ore and smelt it yourself into Saronite Bars. Whether you sell the titanium or use it to craft something else that's profitable, this is probably the cheapest way to get it, especially if you factor in the extra 20% from transmute mastery.

Transmuting epic gems basically free money. You start off with the ability to make anything but Cardinal Rubies (which require a quest); however, these days, the other ones are often more profitable. Especially since anyone can buy a Cardinal Ruby for 10,000 honor now. Look at the price of the mats for each epic gem, and look at the price for the raw gem. Whatever has the highest margin, do that. Even if you're prospecting saronite for your mats, take the most profitable one. The fact that you paid less for your mats doesn't mean that they're worth less. If you find that the Eye of Zul is the best margin, just sell your Scarlet Rubies (or cut and sell them).

Anyways, no matter how much or little thought you put into it, make sure you transmute something every day.

[image credit: Amy Loves Yah via flickr]

www.engadget.com/2010-04-21-gold-capped-making-gold-with-...

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What happened three days ago is a very bad story, a 63-year-old man shot two women in the face, one 48 years old, the other 49 years old, and then took his own life, all of which happened in a town in the province of Catania, one of them allegedly had an extramarital affair with the killer: in 2022 120 women were killed, 97 of them were killed in the family or emotional sphere, of these 57 died for hand of the partner or former partner. This tragic and sad incipit linked to the ever-present drama of feminicides, to introduce the photographic story that I made in the town of Savoca (Messina - Sicily) on 08/13/2022, of a very particular representation that was held last time in August 2018; is a narration that pits Evil (a devil armed with a long grappling hook) against Good (Saint Lucia, who holds a silver palm leaf in her hands), the Evil-Devil tries to seduce-distract Saint Lucia with own grappling hook, instead Saint Lucia remains impassive in front of her flattery: violence against women in this very suggestive representation finds distant and deep roots, Saint Lucia actually represents those women who in medieval times had to suffer the abuses perpetrated by the Baron of Savoca nicknamed "Barone Altadonna", which making use of the law "ius primae noctis" (from the Latin "right of the first night"), referred to the "right" according to which a feudal lord could rape a newly married woman on her wedding night. Therefore, this is a photographic narration that speaks of the eternal struggle that takes place between good and evil, which speaks of a dark period of history, speaks of the violence suffered by women but also by those who belonged to the poorest social classes, historical facts that have been handed down to us in the form of a story and associated-transmuted in the martyrdom of Saint Lucia, this is what happens in the town of Savoca (Sicily). This is a report of the living representation of the martyrdom of Saint Lucia (patron saint of the city of Savoca); the cult of the young Saint of Syracuse seems to date back to the fifteenth century, under the influence of Spanish traditions. The living re-enactment of the history of St. Lucia takes place on two consecutive days, Saturday and Sunday: here I try to tell some moments of Saturday, the day during which the celebration does not take place in its full beauty, it is the day during which "the silver palm" is delivered "from the Lucia of the previous edition" to the "Lucia of the current edition", it is the day during which the last details are tested, above all the "impassivity of the little girl who impersonates Saint Lucia", lovingly called "the Lucia".. And 'This is a historical event which speaks of Demons and Angels: Saint Lucy refused to marry a rich and powerful suitor (Lucy declared She was married in Christ), which reported the Christian faith of Lucia to prefect Pascasio that ordered his Praetorian Guard to drag Lucia with a rope to a place of prostitution; legend has it that the Holy became heavy, they then tried to drag it with the help of oxen, but it was impossible to move it from where he stood; failing in this, it was then given the order to cavarle eyes, but the young martyr (native of Syracuse) her eyes reappeared.

In the village of Savoca a young girl, affectionately called the "Lucy" is carried on the shoulder of a porter along the streets of the country (sitting on a pillow tied on the shoulder of a man, but in fact men are two); the young Saint remains impassive in the face of demonic temptations: the Devil, called in Sicilian dialect "u Diavulazzu, shake, shakes, turns his pitchfork in an attempt to "distract" the Saint.

The first day of this representation, on Saturday, in an old church in Savoca, the two girls who impersonate the Lucia, of the current year and the previous year, meet with the delivery of palm; the traditional event which we witness on Saturday, has all the appearance of an important rehearsal for the next day, on Sunday when the traditional festival will take place in all its beauty.

Sunday: on top of the procession there are the "Jews" (the emissaries of the prefect Pascasio) along with some Angels, is located immediately after the wagon drawn by two cows from which branches off a rope that will arrive to Saint Lucia (a girl of six years); between her and the cows there are Roman soldiers, who make their way through the crowd squirming like crazy; to hold the rope there are also male figures; the job of Devil (his mask is made of wood, whose invoice is dated, it seems, of the 400') is to distract the little Saint with the help of a long stick equipped of curved points, called "u 'croccu": Lucia hardly is deceived by the promises of the evil one, she will not abandon the state of her property concentration, aided in this by staring, almost in a trance, a small palm branch in silver , she brings devoutly in her hands.It's very important to mention the Baron Baldassarre (nicknamed Baron Altadonna), who applied without any hesitation the practice of Jus de seigneur: using this law the Baron obliged the young brides to spend the wedding night in his alcove. It 'very possible that in the representation of Saint Lucia of Savoca the character of the Devil tempting young Santa with his pitchfork, in reality is nothing but himself, Baron Altadonna, so allegorically described in this traditional Sicilian feast: the figure of the Devil if one takes into account what historians relate, does not belong more to the legend, but sadly to actual event happened.

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E' una bruttissima storia quanto accaduto tre giorni fa, un uomo di 63 anni, ha ucciso a colpi di pistola in pieno volto due donne, una di 48 anni, l'altra di 49 anni, per poi togliersi la vita, il tutto accaduto in una cittadina in provincia di Catania, una di loro avrebbe avuto una relazione extraconiugale con l'assassino: nel 2022 sono state 120 le donne uccise, 97 di loro sono state uccise in ambito familiare o affettivo, di queste 57 hanno trovato la morte per mano del partner o ex partner. Questo tragico e triste incipit legato al sempre attuale dramma dei femminicidi, per introdurre il racconto fotografico che ho realizzato nella cittadina di Savoca (Messina - Sicilia) il 13/08/2022, di una particolarissima rappresentazione che si era tenuta l'ultima volta nell'agosto del 2018; è una narrazione che vede contrapposto il Male (un diavolo armato di un lungo rampino), al Bene (Santa Lucia, che stringe tra le mani una foglia di palma d'argento), il Male-Diavolo tenta di sedurre-distrarre Santa Lucia col proprio rampino, invece Santa Lucia resta impassibile davanti le sue lusinghe: la violenza sulle donne in questa rappresentazione molto suggestiva, trova radici lontane e profonde, Santa Lucia in realtà rappresenta quelle donne che in epoca medioevale dovevano subire gli abusi perpetrati dal Barone di Savoca soprannominato "Barone Altadonna", che avvalendosi della legge "ius primae noctis" (dal latino "diritto della prima notte"), si riferiva al “diritto” secondo cui un signore feudale poteva violentare una donna appena sposata durante la sua prima notte di nozze. Quindi questa è una narrazione fotografica che parla dell'eterna lotta che avviene tra il bene ed il male, che parla di un periodo buio della storia, che parla delle violenze subite dalle donne ma anche da tutti coloro che appartenevano alle classi sociali più povere, fatti storici che sono stati tramandati fino a noi in forma di racconto ed associati-trasmutati nel martirio di Santa Lucia, questo è quanto accade nel paese di Savoca (Sicilia). Questo è un report della rappresentazione vivente del martirio di Santa Lucia (Santa patrona della città di Savoca); il culto della giovane Santa di Siracusa sembra risalire al XV secolo, sotto l'influenza delle tradizioni spagnole. La rievocazione vivente della storia di Santa Lucia avviene in due giornate consecutive, il sabato e la domenica: qui tento di raccontare alcuni momenti della giornata del sabato, giorno durante il quale la festa non si svolge nel pieno della sua bellezza, è il giorno durante il quale “la palma d’argento” viene consegnata “dalla Lucia della edizione precedente” alla “Lucia dell’attuale edizione”, è il giorno durante il quale si testano gli ultimi dettagli, soprattutto si mette alla prova “l’impassibilità della bambina che impersona Santa Lucia”, chiamata amorevolmente “la Lucia”. E' questa una rievocazione storica che parla di Demoni ed Angeli: la storia rievoca di quando la Santa, si rifiutò di andare in sposa ad un suo ricco e potente pretendente (essendosi dichiarata Cristiana e sposa in Cristo), il quale per vendetta riferì della fede Cristiana di Lucia al prefetto Pascasio; costui diede ordine ai suoi pretoriani di trascinare Lucia con una corda fino ad un lupanare, un luogo di prostituzione; la leggenda narra che la Santa divenne pesantissima, si tentò allora di trascinarla con l'ausilio dei buoi, ma fu impossibile smuoverla da dove si trovava; non riuscendo in ciò, fu allora dato l'ordine di cavarle gli occhi, ma alla giovane martire (nativa di Siracusa) gli occhi le rispuntarono. Nel paese di Savoca una giovane ragazza, chiamata con affetto "la Lucia" viene portata in spalla lungo le vie del paese (seduta su di un cuscino legato sulla spalla di un uomo; in realtà gli uomini portatori sono due, dandosi il cambio l'un l'altro); la giovane Santa rimane impassibile di fronte alle tentazioni demoniache: il Diavolo, chiamato in dialetto siciliano "u Diavulazzu, agita, scuote, fa ruotare il suo forcone nel tentativo di "distrarre" la Santa ma, vani saranno i suoi tentativi. Il primo giorno di questa rappresentazione, il sabato, in una vecchia chiesa di Savoca, le due bambine che impersonano la Lucia, dell'anno in corso e dell'anno precedente, si incontrano con la consegna della palma da una bimba all'altra; l'evento tradizionale al quale si assiste il sabato, ha tutto l'aspetto di una importante prova generale per il giorno dopo, quando la domenica la festa tradizionale avverrà in tutta la sua bellezza. La domenica: in cima alla processione ci sono i "Giudei" (gli emissari del prefetto Pascasio) insieme ad alcuni Angeli, subito dopo si trova il carro tirato da due giumente dalle quali si diparte una corda che giungerà fino a cingere il fianco della bimba che impersona Santa Lucia (una bambina di sei anni); tra lei e le giumente ci sono i soldati Romani, che si fanno largo tra la folla dimenandosi a più non posso; a tenere la corda ci sono anche delle figure maschili che evitano che gli strattonamenti dei soldati romani possano giungere fino alla Santa (ricordiamolo, che è legata a quella corda); davanti alla Santa piroetta il diavolo tentatore, u' Diavulazzu (la maschera è in legno, la cui fattura è datata, sembra, del 400'), il cui compito è quello di distrarre la piccola Santa con l'aiuto di un lungo bastone dotato di punte ricurve, chiamato dialettalmente "u' croccu": Lucia difficilmente si lascerà ingannare dalle promesse del Maligno, non abbandonerà quel suo stato di immobile concentrazione, aiutata in ciò dal fissare, quasi in stato di trance, un piccolo ramo di palma in argento, che lei stringe devotamente tra le sue mani. E’ fondamentale menzionare tra i vari personaggi storici della tradizione, il barone Baldassarre, vissuto in Savoca in epoca medioevale, soprannominato barone Altadonna, che applicava senza remora alcuna la pratica della Jus primae noctis: avvalendosi di questa legge il barone obbligava le giovani spose a trascorrere la prima notte di nozze nella sua alcova. E’ fortemente ipotizzabile che nella rappresentazione di Santa Lucia di Savoca il personaggio del Diavolo che tenta la giovane Santa col suo forcone, in realtà non sia altro che egli stesso, il barone Altadonna, così allegoricamente descritto nella festa tradizionale siciliana: la figura del Diavolo, se si tiene conto di quanto narrano gli storici, non apparterrebbe più alla leggenda, ma a questo tristo personaggio realmente vissuto, che usava quotidianamente la moneta della prepotenza.

10 1

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click to activate the icon of slideshow: the small triangle inscribed in the small rectangle, at the top right, in the photostream;

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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;

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What happened three days ago is a very bad story, a 63-year-old man shot two women in the face, one 48 years old, the other 49 years old, and then took his own life, all of which happened in a town in the province of Catania, one of them allegedly had an extramarital affair with the killer: in 2022 120 women were killed, 97 of them were killed in the family or emotional sphere, of these 57 died for hand of the partner or former partner. This tragic and sad incipit linked to the ever-present drama of feminicides, to introduce the photographic story that I made in the town of Savoca (Messina - Sicily) on 08/13/2022, of a very particular representation that was held last time in August 2018; is a narration that pits Evil (a devil armed with a long grappling hook) against Good (Saint Lucia, who holds a silver palm leaf in her hands), the Evil-Devil tries to seduce-distract Saint Lucia with own grappling hook, instead Saint Lucia remains impassive in front of her flattery: violence against women in this very suggestive representation finds distant and deep roots, Saint Lucia actually represents those women who in medieval times had to suffer the abuses perpetrated by the Baron of Savoca nicknamed "Barone Altadonna", which making use of the law "ius primae noctis" (from the Latin "right of the first night"), referred to the "right" according to which a feudal lord could rape a newly married woman on her wedding night. Therefore, this is a photographic narration that speaks of the eternal struggle that takes place between good and evil, which speaks of a dark period of history, speaks of the violence suffered by women but also by those who belonged to the poorest social classes, historical facts that have been handed down to us in the form of a story and associated-transmuted in the martyrdom of Saint Lucia, this is what happens in the town of Savoca (Sicily). This is a report of the living representation of the martyrdom of Saint Lucia (patron saint of the city of Savoca); the cult of the young Saint of Syracuse seems to date back to the fifteenth century, under the influence of Spanish traditions. The living re-enactment of the history of St. Lucia takes place on two consecutive days, Saturday and Sunday: here I try to tell some moments of Saturday, the day during which the celebration does not take place in its full beauty, it is the day during which "the silver palm" is delivered "from the Lucia of the previous edition" to the "Lucia of the current edition", it is the day during which the last details are tested, above all the "impassivity of the little girl who impersonates Saint Lucia", lovingly called "the Lucia".. And 'This is a historical event which speaks of Demons and Angels: Saint Lucy refused to marry a rich and powerful suitor (Lucy declared She was married in Christ), which reported the Christian faith of Lucia to prefect Pascasio that ordered his Praetorian Guard to drag Lucia with a rope to a place of prostitution; legend has it that the Holy became heavy, they then tried to drag it with the help of oxen, but it was impossible to move it from where he stood; failing in this, it was then given the order to cavarle eyes, but the young martyr (native of Syracuse) her eyes reappeared.

In the village of Savoca a young girl, affectionately called the "Lucy" is carried on the shoulder of a porter along the streets of the country (sitting on a pillow tied on the shoulder of a man, but in fact men are two); the young Saint remains impassive in the face of demonic temptations: the Devil, called in Sicilian dialect "u Diavulazzu, shake, shakes, turns his pitchfork in an attempt to "distract" the Saint.

The first day of this representation, on Saturday, in an old church in Savoca, the two girls who impersonate the Lucia, of the current year and the previous year, meet with the delivery of palm; the traditional event which we witness on Saturday, has all the appearance of an important rehearsal for the next day, on Sunday when the traditional festival will take place in all its beauty.

Sunday: on top of the procession there are the "Jews" (the emissaries of the prefect Pascasio) along with some Angels, is located immediately after the wagon drawn by two cows from which branches off a rope that will arrive to Saint Lucia (a girl of six years); between her and the cows there are Roman soldiers, who make their way through the crowd squirming like crazy; to hold the rope there are also male figures; the job of Devil (his mask is made of wood, whose invoice is dated, it seems, of the 400') is to distract the little Saint with the help of a long stick equipped of curved points, called "u 'croccu": Lucia hardly is deceived by the promises of the evil one, she will not abandon the state of her property concentration, aided in this by staring, almost in a trance, a small palm branch in silver , she brings devoutly in her hands.It's very important to mention the Baron Baldassarre (nicknamed Baron Altadonna), who applied without any hesitation the practice of Jus de seigneur: using this law the Baron obliged the young brides to spend the wedding night in his alcove. It 'very possible that in the representation of Saint Lucia of Savoca the character of the Devil tempting young Santa with his pitchfork, in reality is nothing but himself, Baron Altadonna, so allegorically described in this traditional Sicilian feast: the figure of the Devil if one takes into account what historians relate, does not belong more to the legend, but sadly to actual event happened.

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E' una bruttissima storia quanto accaduto tre giorni fa, un uomo di 63 anni, ha ucciso a colpi di pistola in pieno volto due donne, una di 48 anni, l'altra di 49 anni, per poi togliersi la vita, il tutto accaduto in una cittadina in provincia di Catania, una di loro avrebbe avuto una relazione extraconiugale con l'assassino: nel 2022 sono state 120 le donne uccise, 97 di loro sono state uccise in ambito familiare o affettivo, di queste 57 hanno trovato la morte per mano del partner o ex partner. Questo tragico e triste incipit legato al sempre attuale dramma dei femminicidi, per introdurre il racconto fotografico che ho realizzato nella cittadina di Savoca (Messina - Sicilia) il 13/08/2022, di una particolarissima rappresentazione che si era tenuta l'ultima volta nell'agosto del 2018; è una narrazione che vede contrapposto il Male (un diavolo armato di un lungo rampino), al Bene (Santa Lucia, che stringe tra le mani una foglia di palma d'argento), il Male-Diavolo tenta di sedurre-distrarre Santa Lucia col proprio rampino, invece Santa Lucia resta impassibile davanti le sue lusinghe: la violenza sulle donne in questa rappresentazione molto suggestiva, trova radici lontane e profonde, Santa Lucia in realtà rappresenta quelle donne che in epoca medioevale dovevano subire gli abusi perpetrati dal Barone di Savoca soprannominato "Barone Altadonna", che avvalendosi della legge "ius primae noctis" (dal latino "diritto della prima notte"), si riferiva al “diritto” secondo cui un signore feudale poteva violentare una donna appena sposata durante la sua prima notte di nozze. Quindi questa è una narrazione fotografica che parla dell'eterna lotta che avviene tra il bene ed il male, che parla di un periodo buio della storia, che parla delle violenze subite dalle donne ma anche da tutti coloro che appartenevano alle classi sociali più povere, fatti storici che sono stati tramandati fino a noi in forma di racconto ed associati-trasmutati nel martirio di Santa Lucia, questo è quanto accade nel paese di Savoca (Sicilia). Questo è un report della rappresentazione vivente del martirio di Santa Lucia (Santa patrona della città di Savoca); il culto della giovane Santa di Siracusa sembra risalire al XV secolo, sotto l'influenza delle tradizioni spagnole. La rievocazione vivente della storia di Santa Lucia avviene in due giornate consecutive, il sabato e la domenica: qui tento di raccontare alcuni momenti della giornata del sabato, giorno durante il quale la festa non si svolge nel pieno della sua bellezza, è il giorno durante il quale “la palma d’argento” viene consegnata “dalla Lucia della edizione precedente” alla “Lucia dell’attuale edizione”, è il giorno durante il quale si testano gli ultimi dettagli, soprattutto si mette alla prova “l’impassibilità della bambina che impersona Santa Lucia”, chiamata amorevolmente “la Lucia”. E' questa una rievocazione storica che parla di Demoni ed Angeli: la storia rievoca di quando la Santa, si rifiutò di andare in sposa ad un suo ricco e potente pretendente (essendosi dichiarata Cristiana e sposa in Cristo), il quale per vendetta riferì della fede Cristiana di Lucia al prefetto Pascasio; costui diede ordine ai suoi pretoriani di trascinare Lucia con una corda fino ad un lupanare, un luogo di prostituzione; la leggenda narra che la Santa divenne pesantissima, si tentò allora di trascinarla con l'ausilio dei buoi, ma fu impossibile smuoverla da dove si trovava; non riuscendo in ciò, fu allora dato l'ordine di cavarle gli occhi, ma alla giovane martire (nativa di Siracusa) gli occhi le rispuntarono. Nel paese di Savoca una giovane ragazza, chiamata con affetto "la Lucia" viene portata in spalla lungo le vie del paese (seduta su di un cuscino legato sulla spalla di un uomo; in realtà gli uomini portatori sono due, dandosi il cambio l'un l'altro); la giovane Santa rimane impassibile di fronte alle tentazioni demoniache: il Diavolo, chiamato in dialetto siciliano "u Diavulazzu, agita, scuote, fa ruotare il suo forcone nel tentativo di "distrarre" la Santa ma, vani saranno i suoi tentativi. Il primo giorno di questa rappresentazione, il sabato, in una vecchia chiesa di Savoca, le due bambine che impersonano la Lucia, dell'anno in corso e dell'anno precedente, si incontrano con la consegna della palma da una bimba all'altra; l'evento tradizionale al quale si assiste il sabato, ha tutto l'aspetto di una importante prova generale per il giorno dopo, quando la domenica la festa tradizionale avverrà in tutta la sua bellezza. La domenica: in cima alla processione ci sono i "Giudei" (gli emissari del prefetto Pascasio) insieme ad alcuni Angeli, subito dopo si trova il carro tirato da due giumente dalle quali si diparte una corda che giungerà fino a cingere il fianco della bimba che impersona Santa Lucia (una bambina di sei anni); tra lei e le giumente ci sono i soldati Romani, che si fanno largo tra la folla dimenandosi a più non posso; a tenere la corda ci sono anche delle figure maschili che evitano che gli strattonamenti dei soldati romani possano giungere fino alla Santa (ricordiamolo, che è legata a quella corda); davanti alla Santa piroetta il diavolo tentatore, u' Diavulazzu (la maschera è in legno, la cui fattura è datata, sembra, del 400'), il cui compito è quello di distrarre la piccola Santa con l'aiuto di un lungo bastone dotato di punte ricurve, chiamato dialettalmente "u' croccu": Lucia difficilmente si lascerà ingannare dalle promesse del Maligno, non abbandonerà quel suo stato di immobile concentrazione, aiutata in ciò dal fissare, quasi in stato di trance, un piccolo ramo di palma in argento, che lei stringe devotamente tra le sue mani. E’ fondamentale menzionare tra i vari personaggi storici della tradizione, il barone Baldassarre, vissuto in Savoca in epoca medioevale, soprannominato barone Altadonna, che applicava senza remora alcuna la pratica della Jus primae noctis: avvalendosi di questa legge il barone obbligava le giovani spose a trascorrere la prima notte di nozze nella sua alcova. E’ fortemente ipotizzabile che nella rappresentazione di Santa Lucia di Savoca il personaggio del Diavolo che tenta la giovane Santa col suo forcone, in realtà non sia altro che egli stesso, il barone Altadonna, così allegoricamente descritto nella festa tradizionale siciliana: la figura del Diavolo, se si tiene conto di quanto narrano gli storici, non apparterrebbe più alla leggenda, ma a questo tristo personaggio realmente vissuto, che usava quotidianamente la moneta della prepotenza.

No_61 by David Hanes

24 2

echolessness.tumblr.com/

Part of "Together" - an exhibit of Jaume Plensa by Caffe_Paradiso

11

On the occasion of the 56th International Art Exhibition of la Biennale di Venezia, one of Venice’s most celebrated landmarks, the Basilica of San Giorgio Maggiore, will host Together, a major exhibition of new works by Spanish artist Jaume Plensa.

Plensa (Spain, b.1955) is one of the world’s foremost artists working in the public art space, with permanent works spanning the globe including the Crown Fountain (Chicago), Echo (Seattle), Breathing (London) and Roots (Tokyo). The exhibition is curated by Clare Lilley, Director of Programmes at Yorkshire Sculpture Park. The works in the exhibition all make their debut in San Giorgio and reflect the artist’s continued interest in a bodily relationship to space, scale, material and place.

For four hundred years the Basilica of San Giorgio Maggiore has been a place of worship, communication and meditation, where Palladio’s profound architecture creates a stilling and contemplative environment. Plensa’s response to this powerful space is Together; a conversation between two sculptures - hand, suspended beneath the cupola in the foreground of the altar, and head, sited in the nave. Placed on the dominant west-east axis of the building, the works set up a line of spiritual and intellectual discourse which evokes emotion and seeks to connect with his viewers on an intuitive level.

As a speaker of five languages alongside a nomadic life that takes him around the globe, Plensa’s work reflects a desire to break down barriers. Merging difference is a cornerstone of his work, and here it is further emphasized by the installation of meticulous drawings and a group of five alabaster portraits in the contiguous Officina dell’Arte Spirituale, located 300 meters from the entrance to the Basilica on the island’s northern edge. Plunged in darkness and lit to reveal their luminous opacity, the sculptures were carved using reformed scans of real girls; chosen because, like nomads, they have traveled, settled and traveled again. Chosen, too, because they are teenage girls on the cusp of leaving and arriving, whose potential – like that of all humanity – so deeply glows.

Plensa’s sculptures reference a Judeo-Christian tradition while connecting with a much longer human history, where the making of art has social purpose and which we see played out across histories and geographies – in heads from the Croatian Upper Paleolithic, carved some 26,000 years ago; in exquisite, elongated hands incised in stone from 1300 BCE Egypt. For these and other reasons, Plensa’s forms will connect people and welcome them into the Basilica. Made from stainless steel which distills and diffuses light, Plensa’s hand and head are at times transmutable hazes that pull and root the gaze. The opening, gestural hand formed from characters of eight languages, speaks of a coming together of peoples and traditions. Similarly, Nuria’s face speaks of diversity; indeed the subject is the daughter of a Chinese friend in Barcelona, who in her young life has already crossed many borders.

Clare Lilley, Curator, commented: “Plensa’s installations for the Isola di San Georgio Maggiore are testament to his acute understanding of space and scale. His sculptures do not impose themselves on these historic spaces; rather they capture and reflect the actual light and shadows within to communicate a metaphorical language. Both visually stunning and intimate, they draw our attention to a world where migration and difference challenge civilized behavior; in this place, which for centuries has welcomed world travelers, Plensa’s work will connect people of many faiths and of no faith.

In collaboration with the monks of the Abbazia di San Giorgio, as part of the cultural activities of the Benedicti Claustra Onlus, Together hopes to advance the Benedictine community’s efforts to develop a number of restoration projects of the monumental Palladian complex on San Giorgio Maggiore. Inspired by textual elements in the body of Plensa’s work, the project has contributed a significant donation to restore the Abbazia’s 15th and 16th Century illuminated manuscripts; prayer books previously too delicate for public view. (Press release)

G-Force by Wayne Harris

11 1

the finished(ish) Battle of the Planets pic...

TRANSMUTE!

(or something like that)

A Room with a View by Ludvig Lindeberg

20 2

Instagram | Youtube

“It isn't possible to love and part. You will wish that it was. You can transmute love, ignore it, muddle it, but you can never pull it out of you. I know by experience that the poets are right: love is eternal.”

― E.M. Forster, A Room with a View

No_97 by David Hanes

13

www.katharinemulherin.com/dynamic/exhibit_artist.asp?Exhi...

12

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

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...

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

What happened three days ago is a very bad story, a 63-year-old man shot two women in the face, one 48 years old, the other 49 years old, and then took his own life, all of which happened in a town in the province of Catania, one of them allegedly had an extramarital affair with the killer: in 2022 120 women were killed, 97 of them were killed in the family or emotional sphere, of these 57 died for hand of the partner or former partner. This tragic and sad incipit linked to the ever-present drama of feminicides, to introduce the photographic story that I made in the town of Savoca (Messina - Sicily) on 08/13/2022, of a very particular representation that was held last time in August 2018; is a narration that pits Evil (a devil armed with a long grappling hook) against Good (Saint Lucia, who holds a silver palm leaf in her hands), the Evil-Devil tries to seduce-distract Saint Lucia with own grappling hook, instead Saint Lucia remains impassive in front of her flattery: violence against women in this very suggestive representation finds distant and deep roots, Saint Lucia actually represents those women who in medieval times had to suffer the abuses perpetrated by the Baron of Savoca nicknamed "Barone Altadonna", which making use of the law "ius primae noctis" (from the Latin "right of the first night"), referred to the "right" according to which a feudal lord could rape a newly married woman on her wedding night. Therefore, this is a photographic narration that speaks of the eternal struggle that takes place between good and evil, which speaks of a dark period of history, speaks of the violence suffered by women but also by those who belonged to the poorest social classes, historical facts that have been handed down to us in the form of a story and associated-transmuted in the martyrdom of Saint Lucia, this is what happens in the town of Savoca (Sicily). This is a report of the living representation of the martyrdom of Saint Lucia (patron saint of the city of Savoca); the cult of the young Saint of Syracuse seems to date back to the fifteenth century, under the influence of Spanish traditions. The living re-enactment of the history of St. Lucia takes place on two consecutive days, Saturday and Sunday: here I try to tell some moments of Saturday, the day during which the celebration does not take place in its full beauty, it is the day during which "the silver palm" is delivered "from the Lucia of the previous edition" to the "Lucia of the current edition", it is the day during which the last details are tested, above all the "impassivity of the little girl who impersonates Saint Lucia", lovingly called "the Lucia".. And 'This is a historical event which speaks of Demons and Angels: Saint Lucy refused to marry a rich and powerful suitor (Lucy declared She was married in Christ), which reported the Christian faith of Lucia to prefect Pascasio that ordered his Praetorian Guard to drag Lucia with a rope to a place of prostitution; legend has it that the Holy became heavy, they then tried to drag it with the help of oxen, but it was impossible to move it from where he stood; failing in this, it was then given the order to cavarle eyes, but the young martyr (native of Syracuse) her eyes reappeared.

In the village of Savoca a young girl, affectionately called the "Lucy" is carried on the shoulder of a porter along the streets of the country (sitting on a pillow tied on the shoulder of a man, but in fact men are two); the young Saint remains impassive in the face of demonic temptations: the Devil, called in Sicilian dialect "u Diavulazzu, shake, shakes, turns his pitchfork in an attempt to "distract" the Saint.

The first day of this representation, on Saturday, in an old church in Savoca, the two girls who impersonate the Lucia, of the current year and the previous year, meet with the delivery of palm; the traditional event which we witness on Saturday, has all the appearance of an important rehearsal for the next day, on Sunday when the traditional festival will take place in all its beauty.

Sunday: on top of the procession there are the "Jews" (the emissaries of the prefect Pascasio) along with some Angels, is located immediately after the wagon drawn by two cows from which branches off a rope that will arrive to Saint Lucia (a girl of six years); between her and the cows there are Roman soldiers, who make their way through the crowd squirming like crazy; to hold the rope there are also male figures; the job of Devil (his mask is made of wood, whose invoice is dated, it seems, of the 400') is to distract the little Saint with the help of a long stick equipped of curved points, called "u 'croccu": Lucia hardly is deceived by the promises of the evil one, she will not abandon the state of her property concentration, aided in this by staring, almost in a trance, a small palm branch in silver , she brings devoutly in her hands.It's very important to mention the Baron Baldassarre (nicknamed Baron Altadonna), who applied without any hesitation the practice of Jus de seigneur: using this law the Baron obliged the young brides to spend the wedding night in his alcove. It 'very possible that in the representation of Saint Lucia of Savoca the character of the Devil tempting young Santa with his pitchfork, in reality is nothing but himself, Baron Altadonna, so allegorically described in this traditional Sicilian feast: the figure of the Devil if one takes into account what historians relate, does not belong more to the legend, but sadly to actual event happened.

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

E' una bruttissima storia quanto accaduto tre giorni fa, un uomo di 63 anni, ha ucciso a colpi di pistola in pieno volto due donne, una di 48 anni, l'altra di 49 anni, per poi togliersi la vita, il tutto accaduto in una cittadina in provincia di Catania, una di loro avrebbe avuto una relazione extraconiugale con l'assassino: nel 2022 sono state 120 le donne uccise, 97 di loro sono state uccise in ambito familiare o affettivo, di queste 57 hanno trovato la morte per mano del partner o ex partner. Questo tragico e triste incipit legato al sempre attuale dramma dei femminicidi, per introdurre il racconto fotografico che ho realizzato nella cittadina di Savoca (Messina - Sicilia) il 13/08/2022, di una particolarissima rappresentazione che si era tenuta l'ultima volta nell'agosto del 2018; è una narrazione che vede contrapposto il Male (un diavolo armato di un lungo rampino), al Bene (Santa Lucia, che stringe tra le mani una foglia di palma d'argento), il Male-Diavolo tenta di sedurre-distrarre Santa Lucia col proprio rampino, invece Santa Lucia resta impassibile davanti le sue lusinghe: la violenza sulle donne in questa rappresentazione molto suggestiva, trova radici lontane e profonde, Santa Lucia in realtà rappresenta quelle donne che in epoca medioevale dovevano subire gli abusi perpetrati dal Barone di Savoca soprannominato "Barone Altadonna", che avvalendosi della legge "ius primae noctis" (dal latino "diritto della prima notte"), si riferiva al “diritto” secondo cui un signore feudale poteva violentare una donna appena sposata durante la sua prima notte di nozze. Quindi questa è una narrazione fotografica che parla dell'eterna lotta che avviene tra il bene ed il male, che parla di un periodo buio della storia, che parla delle violenze subite dalle donne ma anche da tutti coloro che appartenevano alle classi sociali più povere, fatti storici che sono stati tramandati fino a noi in forma di racconto ed associati-trasmutati nel martirio di Santa Lucia, questo è quanto accade nel paese di Savoca (Sicilia). Questo è un report della rappresentazione vivente del martirio di Santa Lucia (Santa patrona della città di Savoca); il culto della giovane Santa di Siracusa sembra risalire al XV secolo, sotto l'influenza delle tradizioni spagnole. La rievocazione vivente della storia di Santa Lucia avviene in due giornate consecutive, il sabato e la domenica: qui tento di raccontare alcuni momenti della giornata del sabato, giorno durante il quale la festa non si svolge nel pieno della sua bellezza, è il giorno durante il quale “la palma d’argento” viene consegnata “dalla Lucia della edizione precedente” alla “Lucia dell’attuale edizione”, è il giorno durante il quale si testano gli ultimi dettagli, soprattutto si mette alla prova “l’impassibilità della bambina che impersona Santa Lucia”, chiamata amorevolmente “la Lucia”. E' questa una rievocazione storica che parla di Demoni ed Angeli: la storia rievoca di quando la Santa, si rifiutò di andare in sposa ad un suo ricco e potente pretendente (essendosi dichiarata Cristiana e sposa in Cristo), il quale per vendetta riferì della fede Cristiana di Lucia al prefetto Pascasio; costui diede ordine ai suoi pretoriani di trascinare Lucia con una corda fino ad un lupanare, un luogo di prostituzione; la leggenda narra che la Santa divenne pesantissima, si tentò allora di trascinarla con l'ausilio dei buoi, ma fu impossibile smuoverla da dove si trovava; non riuscendo in ciò, fu allora dato l'ordine di cavarle gli occhi, ma alla giovane martire (nativa di Siracusa) gli occhi le rispuntarono. Nel paese di Savoca una giovane ragazza, chiamata con affetto "la Lucia" viene portata in spalla lungo le vie del paese (seduta su di un cuscino legato sulla spalla di un uomo; in realtà gli uomini portatori sono due, dandosi il cambio l'un l'altro); la giovane Santa rimane impassibile di fronte alle tentazioni demoniache: il Diavolo, chiamato in dialetto siciliano "u Diavulazzu, agita, scuote, fa ruotare il suo forcone nel tentativo di "distrarre" la Santa ma, vani saranno i suoi tentativi. Il primo giorno di questa rappresentazione, il sabato, in una vecchia chiesa di Savoca, le due bambine che impersonano la Lucia, dell'anno in corso e dell'anno precedente, si incontrano con la consegna della palma da una bimba all'altra; l'evento tradizionale al quale si assiste il sabato, ha tutto l'aspetto di una importante prova generale per il giorno dopo, quando la domenica la festa tradizionale avverrà in tutta la sua bellezza. La domenica: in cima alla processione ci sono i "Giudei" (gli emissari del prefetto Pascasio) insieme ad alcuni Angeli, subito dopo si trova il carro tirato da due giumente dalle quali si diparte una corda che giungerà fino a cingere il fianco della bimba che impersona Santa Lucia (una bambina di sei anni); tra lei e le giumente ci sono i soldati Romani, che si fanno largo tra la folla dimenandosi a più non posso; a tenere la corda ci sono anche delle figure maschili che evitano che gli strattonamenti dei soldati romani possano giungere fino alla Santa (ricordiamolo, che è legata a quella corda); davanti alla Santa piroetta il diavolo tentatore, u' Diavulazzu (la maschera è in legno, la cui fattura è datata, sembra, del 400'), il cui compito è quello di distrarre la piccola Santa con l'aiuto di un lungo bastone dotato di punte ricurve, chiamato dialettalmente "u' croccu": Lucia difficilmente si lascerà ingannare dalle promesse del Maligno, non abbandonerà quel suo stato di immobile concentrazione, aiutata in ciò dal fissare, quasi in stato di trance, un piccolo ramo di palma in argento, che lei stringe devotamente tra le sue mani. E’ fondamentale menzionare tra i vari personaggi storici della tradizione, il barone Baldassarre, vissuto in Savoca in epoca medioevale, soprannominato barone Altadonna, che applicava senza remora alcuna la pratica della Jus primae noctis: avvalendosi di questa legge il barone obbligava le giovani spose a trascorrere la prima notte di nozze nella sua alcova. E’ fortemente ipotizzabile che nella rappresentazione di Santa Lucia di Savoca il personaggio del Diavolo che tenta la giovane Santa col suo forcone, in realtà non sia altro che egli stesso, il barone Altadonna, così allegoricamente descritto nella festa tradizionale siciliana: la figura del Diavolo, se si tiene conto di quanto narrano gli storici, non apparterrebbe più alla leggenda, ma a questo tristo personaggio realmente vissuto, che usava quotidianamente la moneta della prepotenza.

2022 Chatsworth Radical Horizons 213 by Tim Priest

8 1

Paracelse -02 by Alain Mauranne

5

University of Hohenheim

II.Paracelsus of the Transmutation of the Metals

9 3

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What happened three days ago is a very bad story, a 63-year-old man shot two women in the face, one 48 years old, the other 49 years old, and then took his own life, all of which happened in a town in the province of Catania, one of them allegedly had an extramarital affair with the killer: in 2022 120 women were killed, 97 of them were killed in the family or emotional sphere, of these 57 died for hand of the partner or former partner. This tragic and sad incipit linked to the ever-present drama of feminicides, to introduce the photographic story that I made in the town of Savoca (Messina - Sicily) on 08/13/2022, of a very particular representation that was held last time in August 2018; is a narration that pits Evil (a devil armed with a long grappling hook) against Good (Saint Lucia, who holds a silver palm leaf in her hands), the Evil-Devil tries to seduce-distract Saint Lucia with own grappling hook, instead Saint Lucia remains impassive in front of her flattery: violence against women in this very suggestive representation finds distant and deep roots, Saint Lucia actually represents those women who in medieval times had to suffer the abuses perpetrated by the Baron of Savoca nicknamed "Barone Altadonna", which making use of the law "ius primae noctis" (from the Latin "right of the first night"), referred to the "right" according to which a feudal lord could rape a newly married woman on her wedding night. Therefore, this is a photographic narration that speaks of the eternal struggle that takes place between good and evil, which speaks of a dark period of history, speaks of the violence suffered by women but also by those who belonged to the poorest social classes, historical facts that have been handed down to us in the form of a story and associated-transmuted in the martyrdom of Saint Lucia, this is what happens in the town of Savoca (Sicily). This is a report of the living representation of the martyrdom of Saint Lucia (patron saint of the city of Savoca); the cult of the young Saint of Syracuse seems to date back to the fifteenth century, under the influence of Spanish traditions. The living re-enactment of the history of St. Lucia takes place on two consecutive days, Saturday and Sunday: here I try to tell some moments of Saturday, the day during which the celebration does not take place in its full beauty, it is the day during which "the silver palm" is delivered "from the Lucia of the previous edition" to the "Lucia of the current edition", it is the day during which the last details are tested, above all the "impassivity of the little girl who impersonates Saint Lucia", lovingly called "the Lucia".. And 'This is a historical event which speaks of Demons and Angels: Saint Lucy refused to marry a rich and powerful suitor (Lucy declared She was married in Christ), which reported the Christian faith of Lucia to prefect Pascasio that ordered his Praetorian Guard to drag Lucia with a rope to a place of prostitution; legend has it that the Holy became heavy, they then tried to drag it with the help of oxen, but it was impossible to move it from where he stood; failing in this, it was then given the order to cavarle eyes, but the young martyr (native of Syracuse) her eyes reappeared.

In the village of Savoca a young girl, affectionately called the "Lucy" is carried on the shoulder of a porter along the streets of the country (sitting on a pillow tied on the shoulder of a man, but in fact men are two); the young Saint remains impassive in the face of demonic temptations: the Devil, called in Sicilian dialect "u Diavulazzu, shake, shakes, turns his pitchfork in an attempt to "distract" the Saint.

The first day of this representation, on Saturday, in an old church in Savoca, the two girls who impersonate the Lucia, of the current year and the previous year, meet with the delivery of palm; the traditional event which we witness on Saturday, has all the appearance of an important rehearsal for the next day, on Sunday when the traditional festival will take place in all its beauty.

Sunday: on top of the procession there are the "Jews" (the emissaries of the prefect Pascasio) along with some Angels, is located immediately after the wagon drawn by two cows from which branches off a rope that will arrive to Saint Lucia (a girl of six years); between her and the cows there are Roman soldiers, who make their way through the crowd squirming like crazy; to hold the rope there are also male figures; the job of Devil (his mask is made of wood, whose invoice is dated, it seems, of the 400') is to distract the little Saint with the help of a long stick equipped of curved points, called "u 'croccu": Lucia hardly is deceived by the promises of the evil one, she will not abandon the state of her property concentration, aided in this by staring, almost in a trance, a small palm branch in silver , she brings devoutly in her hands.It's very important to mention the Baron Baldassarre (nicknamed Baron Altadonna), who applied without any hesitation the practice of Jus de seigneur: using this law the Baron obliged the young brides to spend the wedding night in his alcove. It 'very possible that in the representation of Saint Lucia of Savoca the character of the Devil tempting young Santa with his pitchfork, in reality is nothing but himself, Baron Altadonna, so allegorically described in this traditional Sicilian feast: the figure of the Devil if one takes into account what historians relate, does not belong more to the legend, but sadly to actual event happened.

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E' una bruttissima storia quanto accaduto tre giorni fa, un uomo di 63 anni, ha ucciso a colpi di pistola in pieno volto due donne, una di 48 anni, l'altra di 49 anni, per poi togliersi la vita, il tutto accaduto in una cittadina in provincia di Catania, una di loro avrebbe avuto una relazione extraconiugale con l'assassino: nel 2022 sono state 120 le donne uccise, 97 di loro sono state uccise in ambito familiare o affettivo, di queste 57 hanno trovato la morte per mano del partner o ex partner. Questo tragico e triste incipit legato al sempre attuale dramma dei femminicidi, per introdurre il racconto fotografico che ho realizzato nella cittadina di Savoca (Messina - Sicilia) il 13/08/2022, di una particolarissima rappresentazione che si era tenuta l'ultima volta nell'agosto del 2018; è una narrazione che vede contrapposto il Male (un diavolo armato di un lungo rampino), al Bene (Santa Lucia, che stringe tra le mani una foglia di palma d'argento), il Male-Diavolo tenta di sedurre-distrarre Santa Lucia col proprio rampino, invece Santa Lucia resta impassibile davanti le sue lusinghe: la violenza sulle donne in questa rappresentazione molto suggestiva, trova radici lontane e profonde, Santa Lucia in realtà rappresenta quelle donne che in epoca medioevale dovevano subire gli abusi perpetrati dal Barone di Savoca soprannominato "Barone Altadonna", che avvalendosi della legge "ius primae noctis" (dal latino "diritto della prima notte"), si riferiva al “diritto” secondo cui un signore feudale poteva violentare una donna appena sposata durante la sua prima notte di nozze. Quindi questa è una narrazione fotografica che parla dell'eterna lotta che avviene tra il bene ed il male, che parla di un periodo buio della storia, che parla delle violenze subite dalle donne ma anche da tutti coloro che appartenevano alle classi sociali più povere, fatti storici che sono stati tramandati fino a noi in forma di racconto ed associati-trasmutati nel martirio di Santa Lucia, questo è quanto accade nel paese di Savoca (Sicilia). Questo è un report della rappresentazione vivente del martirio di Santa Lucia (Santa patrona della città di Savoca); il culto della giovane Santa di Siracusa sembra risalire al XV secolo, sotto l'influenza delle tradizioni spagnole. La rievocazione vivente della storia di Santa Lucia avviene in due giornate consecutive, il sabato e la domenica: qui tento di raccontare alcuni momenti della giornata del sabato, giorno durante il quale la festa non si svolge nel pieno della sua bellezza, è il giorno durante il quale “la palma d’argento” viene consegnata “dalla Lucia della edizione precedente” alla “Lucia dell’attuale edizione”, è il giorno durante il quale si testano gli ultimi dettagli, soprattutto si mette alla prova “l’impassibilità della bambina che impersona Santa Lucia”, chiamata amorevolmente “la Lucia”. E' questa una rievocazione storica che parla di Demoni ed Angeli: la storia rievoca di quando la Santa, si rifiutò di andare in sposa ad un suo ricco e potente pretendente (essendosi dichiarata Cristiana e sposa in Cristo), il quale per vendetta riferì della fede Cristiana di Lucia al prefetto Pascasio; costui diede ordine ai suoi pretoriani di trascinare Lucia con una corda fino ad un lupanare, un luogo di prostituzione; la leggenda narra che la Santa divenne pesantissima, si tentò allora di trascinarla con l'ausilio dei buoi, ma fu impossibile smuoverla da dove si trovava; non riuscendo in ciò, fu allora dato l'ordine di cavarle gli occhi, ma alla giovane martire (nativa di Siracusa) gli occhi le rispuntarono. Nel paese di Savoca una giovane ragazza, chiamata con affetto "la Lucia" viene portata in spalla lungo le vie del paese (seduta su di un cuscino legato sulla spalla di un uomo; in realtà gli uomini portatori sono due, dandosi il cambio l'un l'altro); la giovane Santa rimane impassibile di fronte alle tentazioni demoniache: il Diavolo, chiamato in dialetto siciliano "u Diavulazzu, agita, scuote, fa ruotare il suo forcone nel tentativo di "distrarre" la Santa ma, vani saranno i suoi tentativi. Il primo giorno di questa rappresentazione, il sabato, in una vecchia chiesa di Savoca, le due bambine che impersonano la Lucia, dell'anno in corso e dell'anno precedente, si incontrano con la consegna della palma da una bimba all'altra; l'evento tradizionale al quale si assiste il sabato, ha tutto l'aspetto di una importante prova generale per il giorno dopo, quando la domenica la festa tradizionale avverrà in tutta la sua bellezza. La domenica: in cima alla processione ci sono i "Giudei" (gli emissari del prefetto Pascasio) insieme ad alcuni Angeli, subito dopo si trova il carro tirato da due giumente dalle quali si diparte una corda che giungerà fino a cingere il fianco della bimba che impersona Santa Lucia (una bambina di sei anni); tra lei e le giumente ci sono i soldati Romani, che si fanno largo tra la folla dimenandosi a più non posso; a tenere la corda ci sono anche delle figure maschili che evitano che gli strattonamenti dei soldati romani possano giungere fino alla Santa (ricordiamolo, che è legata a quella corda); davanti alla Santa piroetta il diavolo tentatore, u' Diavulazzu (la maschera è in legno, la cui fattura è datata, sembra, del 400'), il cui compito è quello di distrarre la piccola Santa con l'aiuto di un lungo bastone dotato di punte ricurve, chiamato dialettalmente "u' croccu": Lucia difficilmente si lascerà ingannare dalle promesse del Maligno, non abbandonerà quel suo stato di immobile concentrazione, aiutata in ciò dal fissare, quasi in stato di trance, un piccolo ramo di palma in argento, che lei stringe devotamente tra le sue mani. E’ fondamentale menzionare tra i vari personaggi storici della tradizione, il barone Baldassarre, vissuto in Savoca in epoca medioevale, soprannominato barone Altadonna, che applicava senza remora alcuna la pratica della Jus primae noctis: avvalendosi di questa legge il barone obbligava le giovani spose a trascorrere la prima notte di nozze nella sua alcova. E’ fortemente ipotizzabile che nella rappresentazione di Santa Lucia di Savoca il personaggio del Diavolo che tenta la giovane Santa col suo forcone, in realtà non sia altro che egli stesso, il barone Altadonna, così allegoricamente descritto nella festa tradizionale siciliana: la figura del Diavolo, se si tiene conto di quanto narrano gli storici, non apparterrebbe più alla leggenda, ma a questo tristo personaggio realmente vissuto, che usava quotidianamente la moneta della prepotenza.

Transmutation by Daphne Schnitzer

6 2

Back at the Harbor with the 3D printed Flyer 6x6 pinhole camera and a roll of Ektar 100.

Buddha Encircled in Gold by buddhadog

11 29

A Haiku Note:

======================

Rope around the neck

a symbol of attachments

learn to let them go

======================

“You only lose what you cling to.”

~ The Buddha ~

~ (0101 1111) ~

::::::::::: 5F:::::::::::

=====: 95 :=====

======================================================

................. From the Sayings of Buddha ...............

The greatest achievement is selflessness.

The greatest worth is self-mastery.

The greatest qualities is seeking to serve others.

The greatest precept is continual awareness.

The greatest medicine is the emptiness of everything.

The greatest action is not conforming with the worlds ways.

The greatest magic is transmuting the passions.

The greatest generosity is non-attachment.

The greatest goodness is a peaceful mind.

The greatest patience is humility.

The greatest effort is not concerned with results.

The greatest meditation is a mind that lets go.

The greatest wisdom is seeing through appearances.

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

10 1

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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;

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www.fotografidigitali.it/gallery/2726/opere-italiane-segn...

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

What happened three days ago is a very bad story, a 63-year-old man shot two women in the face, one 48 years old, the other 49 years old, and then took his own life, all of which happened in a town in the province of Catania, one of them allegedly had an extramarital affair with the killer: in 2022 120 women were killed, 97 of them were killed in the family or emotional sphere, of these 57 died for hand of the partner or former partner. This tragic and sad incipit linked to the ever-present drama of feminicides, to introduce the photographic story that I made in the town of Savoca (Messina - Sicily) on 08/13/2022, of a very particular representation that was held last time in August 2018; is a narration that pits Evil (a devil armed with a long grappling hook) against Good (Saint Lucia, who holds a silver palm leaf in her hands), the Evil-Devil tries to seduce-distract Saint Lucia with own grappling hook, instead Saint Lucia remains impassive in front of her flattery: violence against women in this very suggestive representation finds distant and deep roots, Saint Lucia actually represents those women who in medieval times had to suffer the abuses perpetrated by the Baron of Savoca nicknamed "Barone Altadonna", which making use of the law "ius primae noctis" (from the Latin "right of the first night"), referred to the "right" according to which a feudal lord could rape a newly married woman on her wedding night. Therefore, this is a photographic narration that speaks of the eternal struggle that takes place between good and evil, which speaks of a dark period of history, speaks of the violence suffered by women but also by those who belonged to the poorest social classes, historical facts that have been handed down to us in the form of a story and associated-transmuted in the martyrdom of Saint Lucia, this is what happens in the town of Savoca (Sicily). This is a report of the living representation of the martyrdom of Saint Lucia (patron saint of the city of Savoca); the cult of the young Saint of Syracuse seems to date back to the fifteenth century, under the influence of Spanish traditions. The living re-enactment of the history of St. Lucia takes place on two consecutive days, Saturday and Sunday: here I try to tell some moments of Saturday, the day during which the celebration does not take place in its full beauty, it is the day during which "the silver palm" is delivered "from the Lucia of the previous edition" to the "Lucia of the current edition", it is the day during which the last details are tested, above all the "impassivity of the little girl who impersonates Saint Lucia", lovingly called "the Lucia".. And 'This is a historical event which speaks of Demons and Angels: Saint Lucy refused to marry a rich and powerful suitor (Lucy declared She was married in Christ), which reported the Christian faith of Lucia to prefect Pascasio that ordered his Praetorian Guard to drag Lucia with a rope to a place of prostitution; legend has it that the Holy became heavy, they then tried to drag it with the help of oxen, but it was impossible to move it from where he stood; failing in this, it was then given the order to cavarle eyes, but the young martyr (native of Syracuse) her eyes reappeared.

In the village of Savoca a young girl, affectionately called the "Lucy" is carried on the shoulder of a porter along the streets of the country (sitting on a pillow tied on the shoulder of a man, but in fact men are two); the young Saint remains impassive in the face of demonic temptations: the Devil, called in Sicilian dialect "u Diavulazzu, shake, shakes, turns his pitchfork in an attempt to "distract" the Saint.

The first day of this representation, on Saturday, in an old church in Savoca, the two girls who impersonate the Lucia, of the current year and the previous year, meet with the delivery of palm; the traditional event which we witness on Saturday, has all the appearance of an important rehearsal for the next day, on Sunday when the traditional festival will take place in all its beauty.

Sunday: on top of the procession there are the "Jews" (the emissaries of the prefect Pascasio) along with some Angels, is located immediately after the wagon drawn by two cows from which branches off a rope that will arrive to Saint Lucia (a girl of six years); between her and the cows there are Roman soldiers, who make their way through the crowd squirming like crazy; to hold the rope there are also male figures; the job of Devil (his mask is made of wood, whose invoice is dated, it seems, of the 400') is to distract the little Saint with the help of a long stick equipped of curved points, called "u 'croccu": Lucia hardly is deceived by the promises of the evil one, she will not abandon the state of her property concentration, aided in this by staring, almost in a trance, a small palm branch in silver , she brings devoutly in her hands.It's very important to mention the Baron Baldassarre (nicknamed Baron Altadonna), who applied without any hesitation the practice of Jus de seigneur: using this law the Baron obliged the young brides to spend the wedding night in his alcove. It 'very possible that in the representation of Saint Lucia of Savoca the character of the Devil tempting young Santa with his pitchfork, in reality is nothing but himself, Baron Altadonna, so allegorically described in this traditional Sicilian feast: the figure of the Devil if one takes into account what historians relate, does not belong more to the legend, but sadly to actual event happened.

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

E' una bruttissima storia quanto accaduto tre giorni fa, un uomo di 63 anni, ha ucciso a colpi di pistola in pieno volto due donne, una di 48 anni, l'altra di 49 anni, per poi togliersi la vita, il tutto accaduto in una cittadina in provincia di Catania, una di loro avrebbe avuto una relazione extraconiugale con l'assassino: nel 2022 sono state 120 le donne uccise, 97 di loro sono state uccise in ambito familiare o affettivo, di queste 57 hanno trovato la morte per mano del partner o ex partner. Questo tragico e triste incipit legato al sempre attuale dramma dei femminicidi, per introdurre il racconto fotografico che ho realizzato nella cittadina di Savoca (Messina - Sicilia) il 13/08/2022, di una particolarissima rappresentazione che si era tenuta l'ultima volta nell'agosto del 2018; è una narrazione che vede contrapposto il Male (un diavolo armato di un lungo rampino), al Bene (Santa Lucia, che stringe tra le mani una foglia di palma d'argento), il Male-Diavolo tenta di sedurre-distrarre Santa Lucia col proprio rampino, invece Santa Lucia resta impassibile davanti le sue lusinghe: la violenza sulle donne in questa rappresentazione molto suggestiva, trova radici lontane e profonde, Santa Lucia in realtà rappresenta quelle donne che in epoca medioevale dovevano subire gli abusi perpetrati dal Barone di Savoca soprannominato "Barone Altadonna", che avvalendosi della legge "ius primae noctis" (dal latino "diritto della prima notte"), si riferiva al “diritto” secondo cui un signore feudale poteva violentare una donna appena sposata durante la sua prima notte di nozze. Quindi questa è una narrazione fotografica che parla dell'eterna lotta che avviene tra il bene ed il male, che parla di un periodo buio della storia, che parla delle violenze subite dalle donne ma anche da tutti coloro che appartenevano alle classi sociali più povere, fatti storici che sono stati tramandati fino a noi in forma di racconto ed associati-trasmutati nel martirio di Santa Lucia, questo è quanto accade nel paese di Savoca (Sicilia). Questo è un report della rappresentazione vivente del martirio di Santa Lucia (Santa patrona della città di Savoca); il culto della giovane Santa di Siracusa sembra risalire al XV secolo, sotto l'influenza delle tradizioni spagnole. La rievocazione vivente della storia di Santa Lucia avviene in due giornate consecutive, il sabato e la domenica: qui tento di raccontare alcuni momenti della giornata del sabato, giorno durante il quale la festa non si svolge nel pieno della sua bellezza, è il giorno durante il quale “la palma d’argento” viene consegnata “dalla Lucia della edizione precedente” alla “Lucia dell’attuale edizione”, è il giorno durante il quale si testano gli ultimi dettagli, soprattutto si mette alla prova “l’impassibilità della bambina che impersona Santa Lucia”, chiamata amorevolmente “la Lucia”. E' questa una rievocazione storica che parla di Demoni ed Angeli: la storia rievoca di quando la Santa, si rifiutò di andare in sposa ad un suo ricco e potente pretendente (essendosi dichiarata Cristiana e sposa in Cristo), il quale per vendetta riferì della fede Cristiana di Lucia al prefetto Pascasio; costui diede ordine ai suoi pretoriani di trascinare Lucia con una corda fino ad un lupanare, un luogo di prostituzione; la leggenda narra che la Santa divenne pesantissima, si tentò allora di trascinarla con l'ausilio dei buoi, ma fu impossibile smuoverla da dove si trovava; non riuscendo in ciò, fu allora dato l'ordine di cavarle gli occhi, ma alla giovane martire (nativa di Siracusa) gli occhi le rispuntarono. Nel paese di Savoca una giovane ragazza, chiamata con affetto "la Lucia" viene portata in spalla lungo le vie del paese (seduta su di un cuscino legato sulla spalla di un uomo; in realtà gli uomini portatori sono due, dandosi il cambio l'un l'altro); la giovane Santa rimane impassibile di fronte alle tentazioni demoniache: il Diavolo, chiamato in dialetto siciliano "u Diavulazzu, agita, scuote, fa ruotare il suo forcone nel tentativo di "distrarre" la Santa ma, vani saranno i suoi tentativi. Il primo giorno di questa rappresentazione, il sabato, in una vecchia chiesa di Savoca, le due bambine che impersonano la Lucia, dell'anno in corso e dell'anno precedente, si incontrano con la consegna della palma da una bimba all'altra; l'evento tradizionale al quale si assiste il sabato, ha tutto l'aspetto di una importante prova generale per il giorno dopo, quando la domenica la festa tradizionale avverrà in tutta la sua bellezza. La domenica: in cima alla processione ci sono i "Giudei" (gli emissari del prefetto Pascasio) insieme ad alcuni Angeli, subito dopo si trova il carro tirato da due giumente dalle quali si diparte una corda che giungerà fino a cingere il fianco della bimba che impersona Santa Lucia (una bambina di sei anni); tra lei e le giumente ci sono i soldati Romani, che si fanno largo tra la folla dimenandosi a più non posso; a tenere la corda ci sono anche delle figure maschili che evitano che gli strattonamenti dei soldati romani possano giungere fino alla Santa (ricordiamolo, che è legata a quella corda); davanti alla Santa piroetta il diavolo tentatore, u' Diavulazzu (la maschera è in legno, la cui fattura è datata, sembra, del 400'), il cui compito è quello di distrarre la piccola Santa con l'aiuto di un lungo bastone dotato di punte ricurve, chiamato dialettalmente "u' croccu": Lucia difficilmente si lascerà ingannare dalle promesse del Maligno, non abbandonerà quel suo stato di immobile concentrazione, aiutata in ciò dal fissare, quasi in stato di trance, un piccolo ramo di palma in argento, che lei stringe devotamente tra le sue mani. E’ fondamentale menzionare tra i vari personaggi storici della tradizione, il barone Baldassarre, vissuto in Savoca in epoca medioevale, soprannominato barone Altadonna, che applicava senza remora alcuna la pratica della Jus primae noctis: avvalendosi di questa legge il barone obbligava le giovani spose a trascorrere la prima notte di nozze nella sua alcova. E’ fortemente ipotizzabile che nella rappresentazione di Santa Lucia di Savoca il personaggio del Diavolo che tenta la giovane Santa col suo forcone, in realtà non sia altro che egli stesso, il barone Altadonna, così allegoricamente descritto nella festa tradizionale siciliana: la figura del Diavolo, se si tiene conto di quanto narrano gli storici, non apparterrebbe più alla leggenda, ma a questo tristo personaggio realmente vissuto, che usava quotidianamente la moneta della prepotenza.

拜見大士爺 God of All Spirits by Cheryl Chan

17 6

面燃大士，為佛教、道教的著名神祇，俗謂“大士爺”、“大士王”、“普渡公”或“普渡爺”。

相傳是觀音化身，負責監督盂蘭勝會，震懾前來接受分衣施食的小鬼，使其不敢在陽間作怪。

所以說，盂蘭勝會現場可是最安全的地方 :)

大士爺的造型也因為不同習俗而有所不同。

The Lord of All Spirits is said to be a second self of the All Merciful Kwan Yin, despite his chilling looks, he is actually the "good guy" who keeps the wandering spirits in line, and to oversee the smooth transition of events at the Hungry Ghosts Festival venue.

This paper crafted statue can reach up to 20 feet tall, it will be burnt at the end of the festival, symbolizing his return to the heavenly realm.

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The Ghost Festival, also known as the Hungry Ghost Festival, or Yu Lan is a traditional Chinese festival and holiday celebrated by Chinese in many countries. In the Chinese calendar (a lunisolar calendar), the Ghost Festival is on the 15th night of the seventh month (14th in southern China).

In Chinese tradition, the fifteenth day of the seventh month in the lunar calendar is called Ghost Day and the seventh month in general is regarded as the Ghost Month (鬼月), in which ghosts and spirits, including those of the deceased ancestors, come out from the lower realm.

Distinct from both the Qingming Festival (in spring) and Chung Yeung Festival (in autumn) in which living descendants pay homage to their deceased ancestors, on Ghost Day, the deceased are believed to visit the living.

On the fifteenth day the realms of Heaven and Hell and the realm of the living are open and both Taoists and Buddhists would perform rituals to transmute and absolve the sufferings of the deceased. Intrinsic to the Ghost Month is ancestor worship, where traditionally the filial piety of descendants extends to their ancestors even after their deaths.

Activities during the month would include preparing ritualistic food offerings, burning incense, and burning joss paper, a papier-mâché form of material items such as clothes, gold and other fine goods for the visiting spirits of the ancestors

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Follow my rediscovery of the Hungry Ghosts "Yu Lan" Festival here:

七月盂蘭 Mid Summer Ghost Story

For my past visits to the Hungry Ghosts "Yu Lan" Festival here:

More Chinese Temples images here:

Caves & Temples

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No_106 by David Hanes

11

Transmutation by Bob Longworth

6 4

Transmutation, one of the sculptures in the Burning Man exhibition in the Chatsworth estate country park.

I am Nojoom, Age 10 and Divorced .... by Qi Bo (Ezio Famà)

20 2

---- Angels & Demons (devil tries to tempt Saint Lucia, August 2018, Savoca - Sicily) ----

---- Angeli & Demoni (il demonio tenta Santa Lucia, agosto 2018, Savoca - Sicilia) ----

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this is a photographic narration that speaks of the eternal struggle that takes place between good and evil, which speaks of a dark period of history, speaks of the violence suffered by women but also by those who belonged to the poorest social classes, historical facts that have been handed down to us in the form of a story and associated-transmuted in the martyrdom of Saint Lucia, this is what happens in the town of Savoca (Sicily). This is a short and long report, I did in Savoca on August 2018 about the living representation of the martyrdom of Saint Lucia (patron saint of the city of Savoca); the cult of the young Saint of Syracuse seems to date back to the fifteenth century, under the influence of Spanish traditions. The commemoration of the history of St. Lucia occurs in two consecutive days, Saturday and Sunday: here I try to tell some times of the day on Sunday, a day during which the festival is held at the height of her beauty. And 'This is a historical event which speaks of Demons and Angels: Saint Lucy refused to marry a rich and powerful suitor (Lucy declared She was married in Christ), which reported the Christian faith of Lucia to prefect Pascasio that ordered his Praetorian Guard to drag Lucia with a rope to a place of prostitution; legend has it that the Holy became heavy, they then tried to drag it with the help of oxen, but it was impossible to move it from where he stood; failing in this, it was then given the order to cavarle eyes, but the young martyr (native of Syracuse) her eyes reappeared.

In the village of Savoca a young girl, affectionately called the "Lucy" is carried on the shoulder of a porter along the streets of the country (sitting on a pillow tied on the shoulder of a man, but in fact men are two); the young Saint remains impassive in the face of demonic temptations: the Devil, called in Sicilian dialect "u Diavulazzu, shake, shakes, turns his pitchfork in an attempt to "distract" the Saint.

The first day of this representation, on Saturday, in an old church in Savoca, the two girls who impersonate the Lucia, of the current year and the previous year, meet with the delivery of palm; the traditional event which we witness on Saturday, has all the appearance of an important rehearsal for the next day, on Sunday when the traditional festival will take place in all its beauty.

Sunday: on top of the procession there are the "Jews" (the emissaries of the prefect Pascasio) along with some Angels, is located immediately after the wagon drawn by two cows from which branches off a rope that will arrive to Saint Lucia (a girl of six years); between her and the cows there are Roman soldiers, who make their way through the crowd squirming like crazy; to hold the rope there are also male figures; the job of Devil (his mask is made of wood, whose invoice is dated, it seems, of the 400') is to distract the little Saint with the help of a long stick equipped of curved points, called "u 'croccu": Lucia hardly is deceived by the promises of the evil one, she will not abandon the state of her property concentration, aided in this by staring, almost in a trance, a small palm branch in silver , she brings devoutly in her hands.It's very important to mention the Baron Baldassarre (nicknamed Baron Altadonna), who applied without any hesitation the practice of Jus de seigneur: using this law the Baron obliged the young brides to spend the wedding night in his alcove. It 'very possible that in the representation of Saint Lucia of Savoca the character of the Devil tempting young Santa with his pitchfork, in reality is nothing but himself, Baron Altadonna, so allegorically described in this traditional Sicilian feast: the figure of the Devil if one takes into account what historians relate, does not belong more to the legend, but sadly to actual event happened. Post scriptum: the photographs, realized both on Saturday and Sunday, were organized and posted without taking into account the temporal chronology of what happened during the two days of the event; two photos of the mummy of Baron Altadonna have been included, which is located in the crypt of the Capuchin Fathers of Savoca; the portraits of two "Lucie" from previous editions, grandfather and great-grandfather of the "DIAVOLI" dynasty were included; the "silver palm" was delivered by Lucia of 2016 (Valentina), to the current Lucia (Miriana), in 2017 the event was not performed.

Ezio Famà.

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questa è una narrazione fotografica che parla dell'eterna lotta che avviene tra il bene ed il male, che parla di un periodo buio della storia, che parla delle violenze subite dalle donne ma anche da coloro che appartenevano alle classi sociali più povere, fatti storici che sono stati tramandati fino a noi in forma di racconto ed associati-trasmutati nel martirio di Santa Lucia, questo è quanto accade nel paese di Savoca (Sicilia). Questo è un report corto e lungo, che ho realizzato in quel di Savoca lo scorso mese di Agosto 2018, su quella che è la rappresentazione vivente del martirio di Santa Lucia (Santa patrona della città di Savoca); il culto della giovane Santa di Siracusa sembra risalire al XV secolo, sotto l'influenza delle tradizioni spagnole. La rievocazione vivente della storia di S.Lucia avviene in due giornate consecutive, il sabato e la domenica: qui tento di raccontare alcuni momenti della giornata della domenica, giorno durante il quale la festa si svolge nel pieno della sua bellezza. E' questa una rievocazione storica che parla di Demoni ed Angeli: la storia rievoca di quando la Santa, si rifiutò di andare in sposa ad un suo ricco e potente pretendente (essendosi dichiarata Cristiana e sposa in Cristo), il quale per vendetta riferì della fede Cristiana di Lucia al prefetto Pascasio; costui diede ordine ai suoi pretoriani di trascinare Lucia con una corda fino ad un lupanare, un luogo di prostituzione; la leggenda narra che la Santa divenne pesantissima, si tentò allora di trascinarla con l'ausilio dei buoi, ma fu impossibile smuoverla da dove si trovava; non riuscendo in ciò, fu allora dato l'ordine di cavarle gli occhi, ma alla giovane martire (nativa di Siracusa) gli occhi le rispuntarono. Nel paese di Savoca una giovane ragazza, chiamata con affetto "la Lucia" viene portata in spalla lungo le vie del paese (seduta su di un cuscino legato sulla spalla di un uomo; in realtà gli uomini portatori sono due, dandosi il cambio l'un l'altro); la giovane Santa rimane impassibile di fronte alle tentazioni demoniache: il Diavolo, chiamato in dialetto siciliano "u Diavulazzu, agita, scuote, fa ruotare il suo forcone nel tentativo di "distrarre" la Santa ma, vani saranno i suoi tentativi. Il primo giorno di questa rappresentazione, il sabato, in una vecchia chiesa di Savoca, le due bambine che impersonano la Lucia, dell'anno in corso e dell'anno precedente, si incontrano con la consegna della palma da una bimba all'altra; l'evento tradizionale al quale si assiste il sabato, ha tutto l'aspetto di una importante prova generale per il giorno dopo, quando la domenica la festa tradizionale avverrà in tutta la sua bellezza.La domenica: in cima alla processione ci sono i "Giudei" (gli emissari del prefetto Pascasio) insieme ad alcuni Angeli, subito dopo si trova il carro tirato da due giumente dalle quali si diparte una corda che giungerà fino a cingere il fianco della bimba che impersona Santa Lucia (una bambina di sei anni); tra lei e le giumente ci sono i soldati Romani, che si fanno largo tra la folla dimenandosi a più non posso; a tenere la corda ci sono anche delle figure maschili che evitano che gli strattonamenti dei soldati romani possano giungere fino alla Santa (ricordiamolo, che è legata a quella corda); davanti alla Santa piroetta il diavolo tentatore, u' Diavulazzu (la maschera è in legno, la cui fattura è datata, sembra, del 400'), il cui compito è quello di distrarre la piccola Santa con l'aiuto di un lungo bastone dotato di punte ricurve, chiamto dialettalmente "u' croccu": Lucia difficilmente si lascerà ingannare dalle promesse del Maligno, non abbandonerà quel suo stato di immobile concentrazione, aiutata in ciò dal fissare, quasi in stato di trance, un piccolo ramo di palma in argento, che lei strige devotamente tra le sue mani. E’ fondamentale menzionare tra i vari personaggi storici della tradizione, il barone Baldassarre, vissuto in Savoca in epoca medioevale, soprannominato barone Altadonna, che applicava senza remora alcuna la pratica della Jus primae noctis: avvalendosi di questa legge il barone obbligava le giovani spose a trascorrere la prima notte di nozze nella sua alcova. E’ fortemente ipotizzabile che nella rappresentazione di Santa Lucia di Savoca il personaggio del Diavolo che tenta la giovane Santa col suo forcone, in realtà non sia altro che egli stesso, il barone Altadonna, così allegoricamente descritto nella festa tradizionale siciliana: la figura del Diavolo, se si tiene conto di quanto narrano gli storici, non apparterrebbe più alla leggenda, ma a questo tristo personaggio realmente vissuto, che usava quotidianamente la moneta della prepotenza. Post scriptum: le fotografie, realizzate sia il sabato che la domenica, sono state organizzate e postate senza tenere conto della cronologia temporale di quanto avvenuto nei due giorni della manifestazione; sono state inserite due foto della mummia del barone Altadonna, che si trova nella cripta dei Padri Cappuccini di Savoca; sono stati inseriti i ritratti di due "Lucie" delle precedenti edizioni, del nonno e del bisnonno della dinastia dei "DIAVOLI"; la "palma d'argento" è stata consegnata dalla Lucia del 2016 (Valentina), alla attuale Lucia (Miriana); nel 2017 la manifestazione non è stata eseguita.

Ezio Famà.

10

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What happened three days ago is a very bad story, a 63-year-old man shot two women in the face, one 48 years old, the other 49 years old, and then took his own life, all of which happened in a town in the province of Catania, one of them allegedly had an extramarital affair with the killer: in 2022 120 women were killed, 97 of them were killed in the family or emotional sphere, of these 57 died for hand of the partner or former partner. This tragic and sad incipit linked to the ever-present drama of feminicides, to introduce the photographic story that I made in the town of Savoca (Messina - Sicily) on 08/13/2022, of a very particular representation that was held last time in August 2018; is a narration that pits Evil (a devil armed with a long grappling hook) against Good (Saint Lucia, who holds a silver palm leaf in her hands), the Evil-Devil tries to seduce-distract Saint Lucia with own grappling hook, instead Saint Lucia remains impassive in front of her flattery: violence against women in this very suggestive representation finds distant and deep roots, Saint Lucia actually represents those women who in medieval times had to suffer the abuses perpetrated by the Baron of Savoca nicknamed "Barone Altadonna", which making use of the law "ius primae noctis" (from the Latin "right of the first night"), referred to the "right" according to which a feudal lord could rape a newly married woman on her wedding night. Therefore, this is a photographic narration that speaks of the eternal struggle that takes place between good and evil, which speaks of a dark period of history, speaks of the violence suffered by women but also by those who belonged to the poorest social classes, historical facts that have been handed down to us in the form of a story and associated-transmuted in the martyrdom of Saint Lucia, this is what happens in the town of Savoca (Sicily). This is a report of the living representation of the martyrdom of Saint Lucia (patron saint of the city of Savoca); the cult of the young Saint of Syracuse seems to date back to the fifteenth century, under the influence of Spanish traditions. The living re-enactment of the history of St. Lucia takes place on two consecutive days, Saturday and Sunday: here I try to tell some moments of Saturday, the day during which the celebration does not take place in its full beauty, it is the day during which "the silver palm" is delivered "from the Lucia of the previous edition" to the "Lucia of the current edition", it is the day during which the last details are tested, above all the "impassivity of the little girl who impersonates Saint Lucia", lovingly called "the Lucia".. And 'This is a historical event which speaks of Demons and Angels: Saint Lucy refused to marry a rich and powerful suitor (Lucy declared She was married in Christ), which reported the Christian faith of Lucia to prefect Pascasio that ordered his Praetorian Guard to drag Lucia with a rope to a place of prostitution; legend has it that the Holy became heavy, they then tried to drag it with the help of oxen, but it was impossible to move it from where he stood; failing in this, it was then given the order to cavarle eyes, but the young martyr (native of Syracuse) her eyes reappeared.

In the village of Savoca a young girl, affectionately called the "Lucy" is carried on the shoulder of a porter along the streets of the country (sitting on a pillow tied on the shoulder of a man, but in fact men are two); the young Saint remains impassive in the face of demonic temptations: the Devil, called in Sicilian dialect "u Diavulazzu, shake, shakes, turns his pitchfork in an attempt to "distract" the Saint.

The first day of this representation, on Saturday, in an old church in Savoca, the two girls who impersonate the Lucia, of the current year and the previous year, meet with the delivery of palm; the traditional event which we witness on Saturday, has all the appearance of an important rehearsal for the next day, on Sunday when the traditional festival will take place in all its beauty.

Sunday: on top of the procession there are the "Jews" (the emissaries of the prefect Pascasio) along with some Angels, is located immediately after the wagon drawn by two cows from which branches off a rope that will arrive to Saint Lucia (a girl of six years); between her and the cows there are Roman soldiers, who make their way through the crowd squirming like crazy; to hold the rope there are also male figures; the job of Devil (his mask is made of wood, whose invoice is dated, it seems, of the 400') is to distract the little Saint with the help of a long stick equipped of curved points, called "u 'croccu": Lucia hardly is deceived by the promises of the evil one, she will not abandon the state of her property concentration, aided in this by staring, almost in a trance, a small palm branch in silver , she brings devoutly in her hands.It's very important to mention the Baron Baldassarre (nicknamed Baron Altadonna), who applied without any hesitation the practice of Jus de seigneur: using this law the Baron obliged the young brides to spend the wedding night in his alcove. It 'very possible that in the representation of Saint Lucia of Savoca the character of the Devil tempting young Santa with his pitchfork, in reality is nothing but himself, Baron Altadonna, so allegorically described in this traditional Sicilian feast: the figure of the Devil if one takes into account what historians relate, does not belong more to the legend, but sadly to actual event happened.

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E' una bruttissima storia quanto accaduto tre giorni fa, un uomo di 63 anni, ha ucciso a colpi di pistola in pieno volto due donne, una di 48 anni, l'altra di 49 anni, per poi togliersi la vita, il tutto accaduto in una cittadina in provincia di Catania, una di loro avrebbe avuto una relazione extraconiugale con l'assassino: nel 2022 sono state 120 le donne uccise, 97 di loro sono state uccise in ambito familiare o affettivo, di queste 57 hanno trovato la morte per mano del partner o ex partner. Questo tragico e triste incipit legato al sempre attuale dramma dei femminicidi, per introdurre il racconto fotografico che ho realizzato nella cittadina di Savoca (Messina - Sicilia) il 13/08/2022, di una particolarissima rappresentazione che si era tenuta l'ultima volta nell'agosto del 2018; è una narrazione che vede contrapposto il Male (un diavolo armato di un lungo rampino), al Bene (Santa Lucia, che stringe tra le mani una foglia di palma d'argento), il Male-Diavolo tenta di sedurre-distrarre Santa Lucia col proprio rampino, invece Santa Lucia resta impassibile davanti le sue lusinghe: la violenza sulle donne in questa rappresentazione molto suggestiva, trova radici lontane e profonde, Santa Lucia in realtà rappresenta quelle donne che in epoca medioevale dovevano subire gli abusi perpetrati dal Barone di Savoca soprannominato "Barone Altadonna", che avvalendosi della legge "ius primae noctis" (dal latino "diritto della prima notte"), si riferiva al “diritto” secondo cui un signore feudale poteva violentare una donna appena sposata durante la sua prima notte di nozze. Quindi questa è una narrazione fotografica che parla dell'eterna lotta che avviene tra il bene ed il male, che parla di un periodo buio della storia, che parla delle violenze subite dalle donne ma anche da tutti coloro che appartenevano alle classi sociali più povere, fatti storici che sono stati tramandati fino a noi in forma di racconto ed associati-trasmutati nel martirio di Santa Lucia, questo è quanto accade nel paese di Savoca (Sicilia). Questo è un report della rappresentazione vivente del martirio di Santa Lucia (Santa patrona della città di Savoca); il culto della giovane Santa di Siracusa sembra risalire al XV secolo, sotto l'influenza delle tradizioni spagnole. La rievocazione vivente della storia di Santa Lucia avviene in due giornate consecutive, il sabato e la domenica: qui tento di raccontare alcuni momenti della giornata del sabato, giorno durante il quale la festa non si svolge nel pieno della sua bellezza, è il giorno durante il quale “la palma d’argento” viene consegnata “dalla Lucia della edizione precedente” alla “Lucia dell’attuale edizione”, è il giorno durante il quale si testano gli ultimi dettagli, soprattutto si mette alla prova “l’impassibilità della bambina che impersona Santa Lucia”, chiamata amorevolmente “la Lucia”. E' questa una rievocazione storica che parla di Demoni ed Angeli: la storia rievoca di quando la Santa, si rifiutò di andare in sposa ad un suo ricco e potente pretendente (essendosi dichiarata Cristiana e sposa in Cristo), il quale per vendetta riferì della fede Cristiana di Lucia al prefetto Pascasio; costui diede ordine ai suoi pretoriani di trascinare Lucia con una corda fino ad un lupanare, un luogo di prostituzione; la leggenda narra che la Santa divenne pesantissima, si tentò allora di trascinarla con l'ausilio dei buoi, ma fu impossibile smuoverla da dove si trovava; non riuscendo in ciò, fu allora dato l'ordine di cavarle gli occhi, ma alla giovane martire (nativa di Siracusa) gli occhi le rispuntarono. Nel paese di Savoca una giovane ragazza, chiamata con affetto "la Lucia" viene portata in spalla lungo le vie del paese (seduta su di un cuscino legato sulla spalla di un uomo; in realtà gli uomini portatori sono due, dandosi il cambio l'un l'altro); la giovane Santa rimane impassibile di fronte alle tentazioni demoniache: il Diavolo, chiamato in dialetto siciliano "u Diavulazzu, agita, scuote, fa ruotare il suo forcone nel tentativo di "distrarre" la Santa ma, vani saranno i suoi tentativi. Il primo giorno di questa rappresentazione, il sabato, in una vecchia chiesa di Savoca, le due bambine che impersonano la Lucia, dell'anno in corso e dell'anno precedente, si incontrano con la consegna della palma da una bimba all'altra; l'evento tradizionale al quale si assiste il sabato, ha tutto l'aspetto di una importante prova generale per il giorno dopo, quando la domenica la festa tradizionale avverrà in tutta la sua bellezza. La domenica: in cima alla processione ci sono i "Giudei" (gli emissari del prefetto Pascasio) insieme ad alcuni Angeli, subito dopo si trova il carro tirato da due giumente dalle quali si diparte una corda che giungerà fino a cingere il fianco della bimba che impersona Santa Lucia (una bambina di sei anni); tra lei e le giumente ci sono i soldati Romani, che si fanno largo tra la folla dimenandosi a più non posso; a tenere la corda ci sono anche delle figure maschili che evitano che gli strattonamenti dei soldati romani possano giungere fino alla Santa (ricordiamolo, che è legata a quella corda); davanti alla Santa piroetta il diavolo tentatore, u' Diavulazzu (la maschera è in legno, la cui fattura è datata, sembra, del 400'), il cui compito è quello di distrarre la piccola Santa con l'aiuto di un lungo bastone dotato di punte ricurve, chiamato dialettalmente "u' croccu": Lucia difficilmente si lascerà ingannare dalle promesse del Maligno, non abbandonerà quel suo stato di immobile concentrazione, aiutata in ciò dal fissare, quasi in stato di trance, un piccolo ramo di palma in argento, che lei stringe devotamente tra le sue mani. E’ fondamentale menzionare tra i vari personaggi storici della tradizione, il barone Baldassarre, vissuto in Savoca in epoca medioevale, soprannominato barone Altadonna, che applicava senza remora alcuna la pratica della Jus primae noctis: avvalendosi di questa legge il barone obbligava le giovani spose a trascorrere la prima notte di nozze nella sua alcova. E’ fortemente ipotizzabile che nella rappresentazione di Santa Lucia di Savoca il personaggio del Diavolo che tenta la giovane Santa col suo forcone, in realtà non sia altro che egli stesso, il barone Altadonna, così allegoricamente descritto nella festa tradizionale siciliana: la figura del Diavolo, se si tiene conto di quanto narrano gli storici, non apparterrebbe più alla leggenda, ma a questo tristo personaggio realmente vissuto, che usava quotidianamente la moneta della prepotenza.

by Hermes Trismegistus, the Universal Mind of the "highest Power" (situated on the Enneadic plane). the Hermetic Divine triad OTHER GREAT CIRCLE ALIGNMENTS OF ANCIENT SITES by Hughes Songe

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The Great Work in Heidelberg, look at the Serpent (Green Snacke by Goethe) under his face?the Universal Mind of the "highest Power" is over his head?

Palingenesia liberates the soul and is a reversal of physical birth (which imprisoned the soul in the body). This spiritual birth leads (thanks to the presence of a spiritual master and an initiatory father/son-relationship) to the soul's perfection through the knowledge of God, a "baptism in intellect" (IV.3-4). In the process of purification and Self-knowledge, traditional rituals may have been used, but the higher mysteries (the Hermetic initiation proper) involved a "mental" or "spiritual" sacrifice (I.31), the offering of hymns of praise and thanksgiving. The ritual and the noetic were thus fully integrated.Indeed, the "Nous", the Divine intellect or "soul of God", binds together the hierarchy of God, the world (of the Deities, minerals, plants & animals) and man. In particular, "Nous" is the way of the human soul to free itself from the snares of the flesh and be illuminated by the "light" of the "gnosis", for indeed, God is experienced as light. A "good Nous" will be able to repel the assaults of the world. The spiritual master becomes a personification of this Divine intellect. The master becomes one with the Divine Nous ("I am Mind") in the initiation of his disciple. In Hermetism, this "Nous" is personified by Hermes Trismegistus, the Universal Mind of the "highest Power" (situated on the Enneadic plane).In Ancient Egyptian theology, divine triads were used to express the divine family-unit, usually composed out of Pharaoh (the son) and a divine couple (father & mother), legitimizing his rule as divine king. Pharaoh Akhenaten had introduced a monotheistic triad (exclusive and against all other deities) : Aten, Akhenaten and Nefertiti. In Heliopolis, the original triad was Atum, Shu and Tefnut, in Memphis, Ptah, Sekhmet and Nefertem emerged, whereas Thebes worshipped Amun, Mut and Khonsu. The trinity naturally developed into three or one Ennead.In Hermetic triad reads as :God, the Unbegotten One, the essence of being, the Father of All - the "Decad" ;

Nous, the First Intellect, the Self-Begotten One, the Mind or Light of God - the "Ennead" ;

Ennead circle ⭕️ began with Atlantis was a great landing on Earth and a energetic belting game in production of a cosmically electric ⚡️

Logos, the "son" from "Nous", the Begotten One above the Seven Archons - the "Ogdoad". In Global Sacred Alignments, Terry Walsh diagrams several alignments of ancient sites on straight lines around the center of the earth, and mentions several others. He addresses the alignment of the Great Pyramid with Easter Island, Machupicchu and Persepolis, and he diagrams an alignment of Easter Island with Tiahuanaco, Luxor, Mohenjo Daro, Varanasi and Bandiagara, the ancient land of the Dogons. This second alignment also crosses over Dendera, Bodh Gaya and Mandalay.

The total circumference of this second alignment is 24,892 miles. The great circle distance from Easter Island to Tiahuanaco is 2,703 miles, 10.8% of the total circumference. The distance from Tiahuanaco to Bandiagara is 4,930 miles, 19.8%. The distance from Bandiagara to Luxor is 2,473 miles, 9.9%. The distance from Luxor to Easter Island’s antipodal point in the Indus Valley near Ganweriwali is 2,363 miles, 9.5%.

The One Entity or God (the "Tenth") is known to Its creation as the One Mind or Hermes which contains the "noetic" root of every individual existing thing (cf. Plato, Spinoza). This Divine Mind (the attributes or names of the nameless God) allows all things to be sympathetic transformations (adaptations, modi) of God.Hermetism is initiatory because it wants to elevate the soul to the level of its true Divine nature. Palingenesia is an ascension while alive. Rebirth implies more than just a confrontation with the Gods (as in Ancient Egypt), but a true interaction between Perfect Man and -thanks to the Presence of Mind- God. This interaction leads to a total emergence of the Divine spark in man and hence to his Deification (finally being completely his own Divine Self and thus himself "a God", a being permanently realizing the Enneadic nature (XIII.3,10 & 14). This highest state may be attained in the afterlife, although the Ogdoadic nature may be realized while alive on Earth. Because Easter Island, Machupicchu, the Great Pyramid, the Indus Valley and Angkor are also aligned at 10% intervals around the earth, there is a high coincidence of paired sites along these two alignments. In addition to the convergence of the two alignments at Easter Island and Mohenjo-Daro, Machupicchu is paired with Tiahuanaco and the Great Pyramid is paired with Luxor. If the pairing of these sites along these two alignments is not a coincidence, two good places to look for other ancient sites would be in the Sahara Desert, near the border between Mali and Mauritania, at 21° N, 7° 40' W, 2,488 miles southwest of the Great Pyramid, and in the shallow water of the South China Sea, just off the coast of Vietnam, at 18°43'N, 106°27'E, 2,488 miles southeast of Mohenjo-Daro.

The axis points of this great circle are 62°03'N, 124°40'W and 62°03'S, 55°20'E. The great circle crosses the equator at 34°40'W and 145°20'E. The upper latitudes are 27°57'N at 55°20'E and 27°57'S at 124°40'W.

"Man is a Divine being, not to be compared with the other Earthly beings, but with those who are called Gods, up in the heavens. Rather, if one must dare to speak the truth, man truly is established above even these Gods, or at least fully their equal. After all, none of the celestial Gods will leave the heavenly frontiers and descend to Earth ; yet man ascends even into heavens, and measured them, and knows their heights and depths, and everything else about them he learns with exactitude, and, supreme marvel, he even has no need to leave the Earth to establish himself upon high, so far does his power extend ! We must thus dare to say : Earthly man is a mortal God, the celestial God is an immortal Man. And so it is through these two, the world and man, that all things exist ; but they were all created by the One." CH, Libellus X, 24-25.The Hermetic triad can be traced back to Egyptian sources thus :the one god alone, pre-existing before creation as the primordial ocean of Nun ; the self-creative creator (in the form of Atum-Re), emerging out of the Nun (hatching out of his egg) as the origin of everything and the "father of the gods ; the unique "son of god" or Pharaoh, who mediates between the realm of the deities (sky) and the realm of humans (Earth). In this scheme, 10 ontological layers, strata or realms are posited : One supernatural Divine triad ("agennetos, autogennetos, gennetos") and Seven natural "powers of fate" or "archons". Hermetism is a gnosticism because it claims knowledge of God is possible. To know God one has to merge with Universal Mind, conveying a "special" light, causing a private and inner illumination or "gnosis". The purified soul is absorbed into God and realizes its own Divinity. Hermetism is a "way of immortality" (X.7). But as an Alexandro-Egyptian gnosticism, Hermetism did not introduce "evil" in the archons : God our Father is Good and His creation (including His Deities) is beautiful, the crucial moral choice is up to the individual. "For from thee, the unbegotten one, the begotten one came into being. The birth of the self-begotten one is through thee, giving birth to all begotten things that exists."

Robinson, 1984, p.294. The Hermetic Divine triad is modalistic and subordinates the hierarchy of being. God (10 : the Decad) is the first and ultimate level of existence, the One existing for Unity Alone (the Absolute in its Absoluteness). God (the incomprehensible, unrevealable and unknowable Father) is unborn, the "Logos autogenes" and the "son of Nous" born. What this is can not be said (cf. apophasis : absolute silence, no tales). Hermes (9 : the Ennead) is Self-begotten (not created or generated by God) and is the "soul" of God, the mode of God's holding together His creation by Universal Mind (Nous) and Word (logos). The Begotten One (8 : the Ogdoad), again a level lower, has no power of Self-generation, and is part of the process of time and space (this "son" is the "world" or "logos" given by Hermes as master, teacher and father). This level of the Perfect(ed) Human beings is higher than the Deities (or at least equal to them).The Seven Archons, ruling fate and subordinated to supernatural command, are beautiful and good (demons may exists, but there is no evil God). That evil exists at all is due to man's nature and his slavish prostrations before his physical passions & vices. Clouding his true nature, these evils cause ignorance and make man subject to the fatal blows of the blind planetary forces, measured by astrologers and manipulated by magicians. On their own, both astrologers and magi fail to reach the Hermetic goal of life : "gnosis" or an inner awakening in the light coming forth from God's Mind, i.e. an entrance in the supernatural strata of being (the Ogdoad, which borders the natural world, and the Ennead). "{O my Father}, yesterday You promised me that You would bring my mind into the eighth and afterwards You would bring me into the ninth. You said that this is the order of the tradition."Robinson, 1984, p.292.Resisting fate binds one to fate. Only the Divine light of "gnosis" allows the soul to move beyond nature and abide in the supernatural. Here, fate has no hold, for the Gods never leave their heaven, and, as Paracelsus would claim centuries earlier : the wise command the stars !► literary Hermeticism and the Western Tradition : a few highlights The earliest links made between Egyptian wisdom and Christianity appear in the writings of Clement of Alexandria (150 - 215), Origen of Alexandria (185 - 254) and Augustine of Hippo (354 - 430)."As early as Origen's Contra Celsus (I, 28), we encounter the claim that it was in Egypt, and specifically as an adult laborer, that Jesus had learned all the magical arts with which he worked miracles and on which he based his divinity. The tradition also occurred in early rabbinic literature, but it was of course suppressed in official Christianity."Hornung, 2001, pp.76-77.Indeed, Morton (1978) writes :"The rabbinic report that in Egypt Jesus was tattooed with magic spells does not appear in polemic material, but is cited as a known fact in discussion of a legal question by a rabbi who was probably born about the time of the crucifixion. The antiquity of the source, type of citation, connection with the report that he was in Egypt, and agreement with Egyptian magical practices are considerable arguments in its favor."Morton, 1978, pp.150-151.The link between Egyptian wisdom, under the guise of Hermetism, Christianity and Islam is also pertinent and often forgotten. "The mystical powers of Hermes exerted themselves far beyond the Pagan world of Late Antiquity, transmuting medieval Christian and Islamic understanding of the relationship between rational knowledge and revelation." Green, 1992, p.85.This explains why, when Arab translations overflowed Europe, Hermetic concepts came along."The Sabaeans in Harran, who were without a sacred scripture under Islam, in order to count as a 'people of the Book', elevated the Corpus Hermeticum into such a holy book in the ninth century, thereby contributing to the continued existence of Hermetic texts among the Arab writers."Hornung, 2001, pp.53.The first elements of literary Hermeticism were probably introduced in Western Europe by the Knight Templars (an order initiated in 1118). This powerful organization would pass on "the light of the Orient" to Rosicrucianism and Freemasonry. Both drew on the translations of the Corpus Hermeticum, available as early as 1471, but also on alchemy, centuries older."The first Latin texts on alchemy were translated from Arabic in the 12th century, and included the Septem tractatus Hermetis Sapientia Triplicis and the Liber de Compositione Alchemiae of Morienus. A leitmotif that occurs with respect of the Arabic and Latin alchemical texts is the discovery in an underground chamber or crypt of a stela made of marble, ebony or emerald, with mysterious writing or symbols on it."

Burnett, Ch (Ucko & Champion, 2003, p.94).► the Order of the Temple. Jerusalem fell to the curved swords of Islam in 638 AD. In 1095, Pope Urban II decided to incite the sovereigns of the West to recapture the city. He wanted to bring together the Eastern (Orthodox) and Western (Roman) strains of Christianity, a scandalous divide caused by a fundamental dogmatic difference about the nature of the Holy Spirit (who, in the Eastern Church, does not proceed from the Son as in the Filioquist West). In 1099, the year Godefroy de Bouillon of Flanders conquered the city, the Pope died. It would be recaptured in 1244. According to Templar tradition, the Order of the Knights Templar was founded by Huges de Payns, a 48 year old nobleman, and eight other Knights. They took their vows on the 12th of June 1118 at the Castle of Arginy in the County of Rhône. The nine Knights were devoted to Christ and pledged to ensure the safety of the pilgrims to Jerusalem and the protection of the Holy Sepulchre. The Grand Master was very successful and obtained gifts of land and property to start the order. By 1129, the Templar Order was established in Europe. The battle standard of the Order, the Gonfalon Beauceant or Beauseant was a red eight-pointed cross, the "Croix patteé gueules", on a background of white and black squares. Their motto was : Non nobis Domine, non nobis, sed Nomini Tua da gloriam. The seal of the Order was the design of two horsemen on the same horse, indicating the vow of poverty, the fraternity as well as the dual role of monk and warrior. When Pope Honorius died in 1130, Bernard of St. Clairvaux supported the man who became Innocent II, to the great advantage of the Order, for eventually his Templars were subject to no authority save the Pope's. Their Order became a state within states and enjoyed considerable freedom, endowed with incredible wealth. The purity of these ideals were compromised by the politics of the Near East. Although the inner order retained the ideal, the outer structures failed. This inner order had access to "heretical" knowledge. Hermetical doctrines taught them the universe was conditioned by the laws of sound, color, number, weight and measure. Impregnated with the "Orientale Lumen", studying the "sciences of the Moors", Jewish Qabalah & Muslim Sufism and helped by Arab translations, they were able to read unknown Greek & Latin authors and drink from the grand reservoir of Mediterranean and Hellenistic spirituality. Eventually, new technologies were learned. These were introduced in the West, fertilized Christian culture, transformed the architecture of churches & cathedrals and enlightened the intelligentsia of their time. Hence, the Templar Order helped prepare the European Renaissance ...In 1312, during a Council held in Vienne, Pope Clement V, backed by the King of France (who had been refused by the Order) abolished the Order of the Knights Templar. After this, the Order lost central command, and various groups were created, like the Order of Montesa in Spain (1317), the Order of Christ in Portugal (1319) and the Elder Brothers of the Rose Cross in France (returning from Scotland). These "Frères Aînés de la Rose-Croix" (1317) drew up a new Templar Rule adopted by a college of 33 men, renewed and maintained by co-option.Templars made links with troubadours, alchemists, qabalists and Muslims, in particular certain Muslim brotherhoods (the flowering of Sufism, the mysticism of Islam, was conterminous with the rise of the Knights Templar). It was one of the tasks of St. Bernard and his Templars, to bring Judaism, Christianity and Islam together, and in this intention they saw the work of the Paraclete. They also worked to allow the latter to manifest in this world again and strove for the "Return of the Christ in Solar Glory". This was accepted by both Judaism (the coming of the Messiah), Christianity (the "Parousia") and Islam (prophet Jesus, the "Word" of Allah, returning to judge the world). Templars are called to sacrifice the selfish aspect of their natures, so the spirit of Christ may manifest in them in victu.

► the Zohar..Before the entry of the Hermetica on the European scene, Jewish gnosticism made its move. In the Sepher Zohar (Book of Splendor), the "classic" of Jewish mysticism, a commentary on the Torah is presented. Written in Aramaic, it was purported to be the teachings of the 2nd century Palestinian Rabbi Shimon ben Yohai. During the time of Roman persecution, so its legend relates, Rabbi Shimon hid in a cave for 13 years, studying the Torah with his son. During this time, he is said to have been inspired by God to write the Zohar ... Around the same time, the Corpus Hermeticum was codified.

In the 13th century, a Spanish Jew by the name of Moshe de Leon (according to Graetz "a base and despicable swindler") claimed to have discovered the text, and it was subsequently published and distributed throughout the Jewish world. This strategy of finding so-called "lost texts" would become a standard approach (only in the previous century would it make real science, cf. the Qumran scrolls and the Nag Hammadi library). The influence of the Zohar was considerable, also on members of the Western Tradition. Eventually, its basic scheme, the "Tree of Life", would be viewed as the backbone of Western spirituality ... "... the level of abstraction reached by cabalistic thought was foreign to the Egyptian mindset. Nevertheless, in later esoterica, we constantly find a link between Egyptosophy and cabala, and the connection between Moses and Egyptian wisdom to be found in many Christian writers is also relevant to our theme." Hornung, 2001, p.80. Unfortunately for the literalists, historian Gershom Scholem made clear de Leon himself was the most likely author of the Zohar. He had forged its ancient origins. Among other things, but most importantly, Scholem noticed frequent errors in Aramaic grammar and its highly suspicious traces of Spanish words and sentence patterns ! There is no real mention of this book in any Jewish literature until the 13th century. Moreover, recent studies showed how early qabalah (cf. Sepher Bahir, Sepher Yetzirah) was influenced by the Greeks, in particular the mathematical mysticism of Pythagoras (the Sephiroth and the Greek Decad, numerology and Merkabah mysticism - Barry, 1999). It even contains elements of Egyptian thought, introducing precreation and describing it in identical negative terms as had the Egyptians (cf. Nun and "Ain Soph Aur"). "... it is sufficient to note that Hebrew Qabalist doctrines reached their pinnacle of importance in Judaism in Europe during the Middle Ages. Consequently they also had a huge influence on Western magical tradition, which drew heavily on Jewish esoteric lore, and as a source for the inner gnosis of orthodox Christian thought." Barry, 1999, p.185. In the best case scenario, Jewish mysticism cannot claim roots earlier than the Second Temple and in general the impact of Hellenism (Hermetism and Philonic thought) on Judaism has been largely underestimated by orthodox Jews. Rabbinical Judaism as a whole may well be the product of a Hellenistic interpretation of the available scriptural sources (by themselves posing considerable historical problems regarding authenticity).

"Of the large number of Hebrew sacred writings, the canon of books that were eventually selected for the Hebrew Bible, or 'Old Testament', as the Christians later called it, was only established after the fall of Jerusalem to the Romans in 70 CE, by surviving rabbis at Jamnia who were anxious to preserve their religion from the catastrophe of the failed Jewish revolt." Barry, 1999, p.175. ► the first translation of the Corpus Hermeticumn "The thirteenth century saw a renaissance of pyramids and sphinxes. (...) the first western representation of the pyramids appeared in San Marco in Venice, but they were believed to be the granaries of Joseph, and thus not part of an esoteric tradition."nHornung, 2001, p.83. In Florence, a new Platonic Academy had been founded in 1459. It tried to resume the traditions of the Athenian Academy closed by emperor Justinian in 529. Around 1460 CE, Brother Leonardo of Pistoia brought a Greek manuscript from Macedonia to Florence. Cosimo de' Medici was fascinated and asked his Plato expert Marsilio Ficino (1433 - 1499) to stop translating Plato in order to look into these texts. In 1463, even before finishing his Latin version of the works of Plato, he translated them, which took him only a few months. For Fincino, the CH contained a philosophy older than Plato's. This Latin version of the Corpus Hermeticum was extremely influential, especially its first treatise, the Poimandres, circulating in many copies before it was published in Treviso in 1471 together with the other books as Liber de potestate et sapientia Dei (On the Power and Wisdom of God). Fincino also translated the On the Mysteries of the Egyptians by Iamblichus, and the latter's Opera omnia, published in Basel in 1561. The original Greek version of the CH was published in Paris in 1554.

► A SECOND EASTER ISLAND ALIGNMENT ► A THIRD EASTER ISLAND ALIGNMENT ► A FOURTH EASTER ISLAND ALIGNMENT ► A SECOND GREAT PYRAMID ALIGNMENT ► A THIRD GREAT PYRAMID ALIGNMENT ►A SECOND PERSEOPOLIS ALIGNMENT ► A SECOND ANGKOR ALIGNMENT ► A SECOND NAZCA ALIGNMENT ► A SECOND MACHUPICCHU ALIGNMENT ► A SECOND CHACO CANYON ALIGNMENT ► A SECOND PALENQUE ALIGNMENT ►CONVERGENT ALIGNMENTS ►CONVERGENT ALIGNMENTS - PART II ►THE AVENUE OF THE DEAD ► THE GOLDEN SECTION - PART II ► IN SEARCH OF ATLANTIS - PART II ©

solitude peace @ hungry ghosts festival by Cheryl Chan

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It's the Luner 7th month, which means it's the scariest month in the whole year according to Chinese believes.

As a child I was always warned to be extra cautious: avoid going out at night, never answer when I heard anyone call my name from behind, don't whistle and no mention the word "ghosts" are among the rules during the Ghost Month.

This year I decide to pay a visit to one of the remaining Ghost Month ( which is called "Yu Lan Festival" in the formal term ) to document some of its believes.

So here's the beginning of my first documentation of the Hungry Ghost Festival.

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The Ghost Festival, also known as the Hungry Ghost Festival, or Yu Lan is a traditional Chinese festival and holiday celebrated by Chinese in many countries. In the Chinese calendar (a lunisolar calendar), the Ghost Festival is on the 15th night of the seventh month (14th in southern China).

In Chinese tradition, the fifteenth day of the seventh month in the lunar calendar is called Ghost Day and the seventh month in general is regarded as the Ghost Month (鬼月), in which ghosts and spirits, including those of the deceased ancestors, come out from the lower realm.

Distinct from both the Qingming Festival (in spring) and Chung Yeung Festival (in autumn) in which living descendants pay homage to their deceased ancestors, on Ghost Day, the deceased are believed to visit the living.

On the fifteenth day the realms of Heaven and Hell and the realm of the living are open and both Taoists and Buddhists would perform rituals to transmute and absolve the sufferings of the deceased. Intrinsic to the Ghost Month is ancestor worship, where traditionally the filial piety of descendants extends to their ancestors even after their deaths.

Activities during the month would include preparing ritualistic food offerings, burning incense, and burning joss paper, a papier-mâché form of material items such as clothes, gold and other fine goods for the visiting spirits of the ancestors

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More images of the Hungry Ghosts "Yu Lan" Festival here:

The Representative of Humanity…Rudolf Steiner… Edith Maryon…The Soul's Awakening…Organic Nature…exercises for spiritual development, reveals the extent to which a person has achieved control over his or her inner life by Hughes Songe

More Chinese Temples images here:

Caves & Temples " Festival

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The Representative of Humanity (1922), a nine-meter high wood sculpture executed as a joint project with the sculptor Edith Maryon. This was intended to be placed in the first Goetheanum. It shows a central human figure, the "Representative of Humanity," holding a balance between opposing tendencies of expansion and contraction personified as the beings of Lucifer and Ahriman. It was intended to show, in conscious contrast to Michelangelo's Last Judgment, Christ as mute and impersonal such that the beings that approach him must judge themselves. The sculpture is now on permanent display at the Goetheanum.

Rudolf Joseph Lorenz Steiner (27 or 25 February 1861– 30 March 1925) was an Austrian occultist, social reformer, architect, esotericist,and claimed clairvoyant. Steiner gained initial recognition at the end of the nineteenth century as a literary critic and published works including The Philosophy of Freedom. At the beginning of the twentieth century he founded an esoteric spiritual movement, anthroposophy, with roots in German idealist philosophy and theosophy. His ideas are largely pseudoscientific. He was also prone to pseudohistory.

In the first, more philosophically oriented phase of this movement, Steiner attempted to find a synthesis between science and spirituality. His philosophical work of these years, which he termed "spiritual science", sought to apply what he saw as the clarity of thinking characteristic of Western philosophy to spiritual questions, differentiating this approach from what he considered to be vaguer approaches to mysticism. In a second phase, beginning around 1907, he began working collaboratively in a variety of artistic media, including drama, dance and architecture, culminating in the building of the Goetheanum, a cultural centre to house all the arts. In the third phase of his work, beginning after World War I, Steiner worked on various ostensibly applied projects, including Waldorf education,biodynamic agriculture, and anthroposophical medicine.

Steiner advocated a form of ethical individualism, to which he later brought a more explicitly spiritual approach. He based his epistemology on Johann Wolfgang Goethe's world view, in which "thinking…is no more and no less an organ of perception than the eye or ear. Just as the eye perceives colours and the ear sounds, so thinking perceives ideas." A consistent thread that runs through his work is the goal of demonstrating that there are no limits to human knowledge.

Steiner first began speaking publicly about spiritual experiences and phenomena in his 1899 lectures to the Theosophical Society. By 1901 he had begun to write about spiritual topics, initially in the form of discussions of historical figures such as the mystics of the Middle Ages. By 1904 he was expressing his own understanding of these themes in his essays and books, while continuing to refer to a wide variety of historical sources.

A world of spiritual perception is discussed in a number of writings which I have published since this book appeared. The Philosophy of Freedom forms the philosophical basis for these later writings. For it tries to show that the experience of thinking, rightly understood, is in fact an experience of spirit.

(Steiner, Philosophy of Freedom, Consequences of Monism)

Steiner aimed to apply his training in mathematics, science, and philosophy to produce rigorous, verifiable presentations of those experiences. He believed that through freely chosen ethical disciplines and meditative training, anyone could develop the ability to experience the spiritual world, including the higher nature of oneself and others. Steiner believed that such discipline and training would help a person to become a more moral, creative and free individual – free in the sense of being capable of actions motivated solely by love. His philosophical ideas were affected by Franz Brentano, with whom he had studied, as well as by Fichte, Hegel, Schelling, and Goethe's phenomenological approach to science.

Steiner used the word Geisteswissenschaft (from Geist = mind or spirit, Wissenschaft = science), a term originally coined by Wilhelm Dilthey as a descriptor of the humanities, in a novel way, to describe a systematic ("scientific") approach to spirituality. Steiner used the term Geisteswissenschaft, generally translated into English as "spiritual science," to describe a discipline treating the spirit as something actual and real, starting from the premise that it is possible for human beings to penetrate behind what is sense-perceptible. He proposed that psychology, history, and the humanities generally were based on the direct grasp of an ideal reality, and required close attention to the particular period and culture which provided the distinctive character of religious qualities in the course of the evolution of consciousness. In contrast to William James' pragmatic approach to religious and psychic experience, which emphasized its idiosyncratic character, Steiner focused on ways such experience can be rendered more intelligible and integrated into human life.

Steiner proposed that an understanding of reincarnation and karma was necessary to understand psychology[81] and that the form of external nature would be more comprehensible as a result of insight into the course of karma in the evolution of humanity. Beginning in 1910, he described aspects of karma relating to health, natural phenomena and free will, taking the position that a person is not bound by his or her karma, but can transcend this through actively taking hold of one's own nature and destiny. In an extensive series of lectures from February to September 1924, Steiner presented further research on successive reincarnations of various individuals and described the techniques he used for karma research.

In his earliest works, Steiner already spoke of the "natural and spiritual worlds" as a unity. From 1900 on, he began lecturing about concrete details of the spiritual world(s), culminating in the publication in 1904 of the first of several systematic presentations, his Theosophy: An Introduction to the Spiritual Processes in Human Life and in the Cosmos. As a starting point for the book Steiner took a quotation from Goethe, describing the method of natural scientific observation,[136] while in the Preface he made clear that the line of thought taken in this book led to the same goal as that in his earlier work, The Philosophy of Freedom.

In the years 1903–1908 Steiner maintained the magazine Lucifer-Gnosis and published in it essays on topics such as initiation, reincarnation and karma, and knowledge of the supernatural world. Some of these were later collected and published as books, such as How to Know Higher Worlds (1904–5) and Cosmic Memory. The book An Outline of Esoteric Science was published in 1910. Important themes include:

the human being as body, soul and spirit;

the path of spiritual development;

spiritual influences on world-evolution and history; and

reincarnation and karma.

Steiner emphasized that there is an objective natural and spiritual world that can be known, and that perceptions of the spiritual world and incorporeal beings are, under conditions of training comparable to that required for the natural sciences, including self-discipline, replicable by multiple observers. It is on this basis that spiritual science is possible, with radically different epistemological foundations than those of natural science. He believed that natural science was correct in its methods but one-sided for exclusively focusing on sensory phenomena, while mysticism was vague in its methods, though seeking to explore the inner and spiritual life. Anthroposophy was meant to apply the systematic methods of the former to the content of the latter.

For Steiner, the cosmos is permeated and continually transformed by the creative activity of non-physical processes and spiritual beings. For the human being to become conscious of the objective reality of these processes and beings, it is necessary to creatively enact and reenact, within, their creative activity. Thus objective spiritual knowledge always entails creative inner activity. Steiner articulated three stages of any creative deed:[73]: Pt II, Chapter 1

Moral intuition: the ability to discover or, preferably, develop valid ethical principles;

Moral imagination: the imaginative transformation of such principles into a concrete intention applicable to the particular situation (situational ethics); and

Moral technique: the realization of the intended transformation, depending on a mastery of practical skills.

Steiner termed his work from this period onwards Anthroposophy. He emphasized that the spiritual path he articulated builds upon and supports individual freedom and independent judgment; for the results of spiritual research to be appropriately presented in a modern context they must be in a form accessible to logical understanding, so that those who do not have access to the spiritual experiences underlying anthroposophical research can make independent evaluations of the latter's results. Spiritual training is to support what Steiner considered the overall purpose of human evolution, the development of the mutually interdependent qualities of love and freedom.

Goethean science is not science, but pseudoscience. According to Dan Dugan, Steiner was a champion of the following pseudoscientific claims:

wrong color theory;

obtuse criticism of the theory of relativity;

weird ideas about motions of the planets;

supporting vitalism;

doubting germ theory;

weird approach to physiological systems;

"the heart is not a pump".

In his commentaries on Goethe's scientific works, written between 1884 and 1897, Steiner presented Goethe's approach to science as essentially phenomenological in nature, rather than theory- or model-based. He developed this conception further in several books, The Theory of Knowledge Implicit in Goethe's World-Conception (1886) and Goethe's Conception of the World (1897), particularly emphasizing the transformation in Goethe's approach from the physical sciences, where experiment played the primary role, to plant biology, where both accurate perception and imagination were required to find the biological archetypes (Urpflanze). He postulated that Goethe had sought, but been unable to fully find, the further transformation in scientific thinking necessary to properly interpret and understand the animal kingdom. Steiner emphasized the role of evolutionary thinking in Goethe's discovery of the intermaxillary bone in human beings; Goethe expected human anatomy to be an evolutionary transformation of animal anatomy. Steiner defended Goethe's qualitative description of color as arising synthetically from the polarity of light and darkness, in contrast to Newton's particle-based and analytic conception.

Particular organic forms can be evolved only from universal types, and every organic entity we experience must coincide with some one of these derivative forms of the type. Here the evolutionary method must replace the method of proof. We aim not to show that external conditions act upon one another in a certain way and thereby bring about a definite result, but that a particular form has developed under definite external conditions out of the type. This is the radical difference between inorganic and organic science.

— Rudolf Steiner, The Theory of Knowledge Implicit in Goethe's World Conception, Chapter XVI, "Organic Nature"

en.wikipedia.org/wiki/Rudolf_Steiner

Rudolf Steiner developed exercises aimed at cultivating new cognitive faculties he believed would be appropriate to contemporary individual and cultural development. According to Steiner's view of history, in earlier periods people were capable of direct spiritual perceptions, or clairvoyance, but not yet of rational thought; more recently, rationality has been developed at the cost of spiritual perception, leading to the alienation characteristic of modernity. Steiner proposed that humanity now has the task of synthesizing the rational and contemplative/spiritual components of cognition, whereby spiritual perception would be awakened through intensifying thinking. He considered this relevant not only to personal development, but as a foundation for advanced scientific research

Moral background of spiritual development[edit]

A central principle of Steiner's proposed path to spiritual development is that self-development - inner transformation - is a necessary part of the spiritual path: "for every step in spiritual perception, three steps are to be taken in moral development." According to the spiritual philosophy Steiner founded, anthroposophy, moral development: reveals the extent to which a person has achieved control over his or her inner life;

ensures that he or she lives in harmony with the surrounding natural and social world;

correlates with his or her progress in spiritual development, the fruits of which are given in spiritual perception; and

guarantees the capacity to distinguish between true perceptions and illusions, or to distinguish in any perception between the influence of subjective elements and objective realities.

Meditative path.

Steiner described three stages of meditative progress: imaginative cognition, inspiration and intuition.

In imaginative cognition, the meditant aims to achieve thinking independent of sensory perception through concentration on either visual forms of symbolic significance never encountered in the sensory world (e.g. a black cross with a circle of seven red roses superimposed upon it), metamorphoses (e.g. the growth cycle of a plant from seed to mature flower), or mantric verses spoken aloud or silently (e.g. verses for each week of the year intended to connect the meditant with the rhythms of nature).

In inspiration, the meditant seeks to eliminate all consciously chosen meditative content to open a receptive space in which objective spiritual content (impressions stemming from objective spiritual beings) may be encountered. The meditative activity established in inspirative cognition is set forth without concrete content.

The stage of intuition is achieved through practicing exercises of will (e.g. reviewing the sequence of the day's events in reverse order). At this stage, the meditant seeks unity with the creative forces of the cosmos without any loss of his or her individualized consciousness.

This sequence of meditative stages has the ultimate goal of the meditant experiencing his or her own karma and previous incarnations, as well as the "Akashic record" of historical events.

Preliminary requirements for embarking on a spiritual training[edit]

Steiner believed that in order for a spiritual training to bear "healthy fruits," a person would have to attend to the following:

Striving to develop a healthy body and soul.

Feeling connected with all of existence; to recognize oneself in everything, and everything in oneself; not to judge others without standing in their shoes.

Recognizing that one's thoughts and feelings have as significant an influence as one's deeds, and that work on one's inner life is as important as work on one's outer life.

Recognizing that the true essence of a human being does not lie in the person's outer appearance, but rather in the inner nature, in the soul and spiritual existence of this person.

Finding the genuine balance between having an open heart for the demands of the outer world and maintaining inner strength and "unshakeable endurance."

The ability to be true to a decision once made, even in the face of daunting adversity, until one comes to the conclusion that it was or is made in error.

Developing thankfulness for everything that meets us, and that universal love which allows the world to reveal itself fully to oneself.

Supplementary exercises

Steiner suggested that certain exercises should accompany all meditational practices as a measure of protection against possible negative influences caused by the meditation in the life of the individual. These six exercises, meant to foster positive soul qualities, are:

Practice self-control over one's thinking. For example: for a period of time -at least five minutes- contemplate any object and concentrate one's thoughts exclusively on this object. (A pencil or a paper clip might do.)

Exercise willpower by choosing any free deed, i.e. one that nothing is influencing you to do, and choose a regular time of day or day of the week to practice this. (E.g. water plants at the same time each day.)

Practice equanimity: foster calm emotional responses.

Try to see positive aspects in everything and to make the best out of every situation.

Practice being open to new experiences and ideas, never letting expectations based upon the past close your mind to the lessons of the moment.

Find a harmonious, balanced relationship between the above five qualities, practicing each regularly and becoming able to move dynamically between them.

The initial three exercises are intended to enable a person to attain self-discipline in thinking, willing and feeling.[1] The second group of three involve cultivating attitudes toward the world.

Individual exercises

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Exercises developed in anthroposophy include:

Review of the day. Each evening, going backwards through the day recalling its events, its sequential unfolding (experienced here reversed in time), the people one has met, etc.

Experiencing the year's unfolding. Exercises Steiner suggested here include:[citation needed]

Drawing the same plant or tree or landscape over the course of a year.

Meditating the sequence of 52 mantric verses that Steiner wrote to deepen one's experience of the course of the seasons and the year and to bring the inner life of the soul into dialogue with nature, the Soul Calendar.

en.wikipedia.org/wiki/Rudolf_Steiner%27s_exercises_for_sp...

Franz Joseph I of Austria...Austro-Hungarian Compromise of 1867...audience with Emperor and offered him the most momentous discovery of all time...arrangement between the two governments and parliaments. by Hughes Songe

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During the summer of 1867 three clever Romualdo Roccatani, a Roman archpriestDo1 José Maroto Conde de Fresno y Landres, a Spanish grandee, and Colonel Don Antonio Jimenez de la Rosa, a Neapolitan chevalier. The possessors of these sonorous names had a secret process for turning silver into gold. They were shrewd enough to realize that Emperor Francis Joseph of Austria was, by dynastic tradition at least, keenly interested in alchemy. ues met in Paris: Arriving in Vienna they cleverly obtained an audience with the monarch and offered him the most momentous discovery of all time. In Mariposa, California, they told His Majesty, were natural deposits of white nuggets which contained gold formed from silver by the action of mercury and the heat of the sun. They continued: “This same process of transmutation may be brought about much more quickly by artificial methods, through giving the amalgam a specific gravity of 15.47. Thereby a process of nature is imitated when the silver amalgam is exposed to a greatly increased temperature." Francis Joseph made an initial payment of $10,000 for the secret, and assigned Professor Schrötter, discoverer of red phosphorus, to supervise a small-scale experiment in the laboratory of the Polytechnic. On October 17, 1867, two iron pots and two glass retorts were filled with silver amalgam and heated for four months. The vessels then cracked. No gold was found. Then, opportunely, the adventurers disappeared, thus cheating the gibbet of three distinguished victims. In the New World, too, soon after the founding of the Republic, alchemy had its adepts. “Father" George Rapp, a Pietist priest, in 1804 brought over five hundred of his followers from Württemberg, Germany, in search of religious freedom. They first settled in western Pennsylvania and later in the village of Harmonie, called Economy, which they founded on the Ohio River, 18 miles from Pittsburgh, Pennsylvania. They shared their work and possessions and at first the sect prospered. When Rapp died in 1847 the Utopian Society weakened and finally dissolved in 1905. Rapp conducted a secret school of alchemy consisting of a few disciples including three women. They worked in a well-equipped alchemical laboratory which even included a fume hood. Rapp was searching not for gold even though he used large quantities of cinnabar, the chief ore of mercury. Influenced by the writings of Paracelsus and Jacob Boehme, an alchemical mystic, Rapp invoked the aid of God in his religious quest for an elixir that would bring its adepts ultimate purity of mind. Old Economy is now a Pennsylvania State Museum. About the time that the Harmony Society was dissolved, a more venturesome alchemical enterprise was started by a Dr. Stephen H. Emmens. This English poet, novelist, logician, chemist, and metallurgist claimed to have discovered "argentaurum," a modern philosopher's stone which could augment the amount of gold in an alloy of gold and silver. Many fanciful stories about this undertaking appeared in the press, even though Dr. Emmens tried earnestly to surround his experiments with strictest secrecy. Much of what appeared in print was deceptive, but this we know the syndicate formed by the English adventurer sold to the United States Assay Office six ingots of an alloy weighing ten pounds which upon analysis showed the presence of gold and silver. The government paid him the sum of $954 for the metals, and Dr. Emmens straightway advanced this payment as proof of his astonishing success. For a moment the affair seemed to promise a recrudescence of alchemy.

The first dividends were paid, and Emmens even promised a public demonstration at the World Fair in 1900, which, however, never materialized. The whole scheme was a fraud and before long the name of Dr. Emmens was added to that long list of men and women who have gone down in the limbo of the past among the spectacular failures of history. Emperor Franz need after his political break a lot of money and go to The Austro-Hungarian Compromise of 1867 (German: Ausgleich, Hungarian: Kiegyezés) established the dual monarchy of Austria-Hungary. The compromise put an end to the 18-year-long military dictatorship and absolutist rule over Hungary, which was introduced by Francis Joseph after the Hungarian Revolution of 1848. The Compromise partially re-established[1] the former sovereignty of the Kingdom of Hungary, however being separate from, but no longer subject to the Austrian Empire. The agreement also restored the old historic constitution of the Kingdom of Hungary.

The Hungarian political leaders had two main goals during the negotiations. One was to regain the traditional status (both legal and political) of the Hungarian state, which was lost after the Hungarian Revolution of 1848. The other was to restore the series of reform laws of the revolutionary parliament of 1848, which were based on the 12 points that established modern civil and political rights, economic and societal reforms in Hungary. Even the April Laws of the Hungarian revolutionary parliament (with the exception of the laws based on the 9th and 10th points) were restored by Francis Joseph. Under the Compromise, the lands of the House of Habsburg were reorganized as a real union between the Austrian Empire and the Kingdom of Hungary, headed by a single monarch who reigned as Emperor of Austria in the Austrian half of the empire, and as King of Hungary in Kingdom of Hungary. The Cisleithanian (Austrian) and Transleithanian (Hungarian) states were governed by separate parliaments and prime ministers. The two countries conducted unified foreign diplomatic and defense policies. For these purposes, "common" ministries of foreign affairs and defence were maintained under the monarch's direct authority, as was a third ministry responsible only for financing the two "common" portfolios. The compromise remained bitterly unpopular among the ethnic Hungarian voters, because ethnic Hungarians did not vote for the ruling pro-compromise parties in the Hungarian parliamentary elections. Therefore the political maintenance of the Austro-Hungarian Compromise (thus Austria-Hungary itself) was mostly a result of the popularity of pro-compromise ruling Liberal Party among the ethnic minority voters in Kingdom of Hungary.

According to Emperor Franz Joseph I of Austria, "There were three of us who made the agreement: Deák, Andrássy and myself."

In the failed Hungarian Revolution of 1848, the Magyars came close to regaining independence and were defeated by the Austrian Empire only by the military intervention of the Russian Empire. After the restoration of Habsburg power, Hungary was placed under martial law.[ A military dictatorship was created in Hungary. Every aspect of Hungarian life was put under close scrutiny and governmental control. Prime Minister Prince Felix of Schwarzenberg and his government, operating from November 1848, pursued a radically new imperial policy. It wanted to develop a uniform empire in the spirit of the imperial constitution issued by Franz Joseph I in Olmütz on 4 March 1849, and as a result, Hungary's constitution and territorial integrity were abolished. The centralist March Constitution of Austria introduced the neo-absolutism in Habsburg ruled territories, and it provided absolute power for the monarch. The Austrian constitution was accepted by the Imperial Diet of Austria, in which Hungary had no representation and traditionally had no legislative power in the territory of Kingdom of Hungary; still, it also tried to abolish the Diet of Hungary, which existed as the legislative power in Hungary since the late 12th century. The new Austrian constitution also went against the historical constitution of Hungary and tried to nullify it.

German became the official language of public administration. An edict issued on 9 October 1849 placed education under state control, the curriculum was prescribed and controlled by the state, the teaching of national history was restricted and history was taught from a Habsburg viewpoint. Even the bastion of Hungarian culture, the Academy, was kept under control: the institution was staffed with foreigners, mostly Germans, and the institution was practically defunct until[clarification needed] the end of 1858.Hungarians responded with passive resistance. Anti-Habsburg and anti-German sentiments were strong. In the following years, the empire instituted several reforms but failed to resolve problems.

After the Hungarian revolution of 1848–49, the independent customs system of Hungary was abolished, and Hungary became part of the unified imperial customs system on 1 October 1851.

In 1866, Austria was completely defeated in the Austro-Prussian War. Its position as the leading state of Germany ended, and the remaining German minor states were soon absorbed into the German Empire, created by Prussia. Austria also lost much of its remaining claims and influence in Italy, which had been its chief foreign policy interest.

After a period of Greater German ambitions, when Austria tried to establish itself as the leading German power, Austria again needed to redefine itself to maintain unity in the face of nationalism.

As a consequence of the Second Italian War of Independence and the Austro-Prussian War, the Habsburg Empire was on the verge of collapse in 1866, as these wars caused monumental state debt and a financial crisis.The Habsburgs were forced to reconcile with Hungary, to save their empire and dynasty. The Habsburgs and part of the Hungarian political elite arranged the Austro-Hungarian Compromise of 1867. The Compromise was arranged and legitimated by a very small part of the Hungarian society (suffrage was very limited: less than 8% of the population had voting rights), and was seen by a very large part of the population as betrayal of the Hungarian cause and the heritage of the 1848–49 War of Independence. This caused deep and lasting cracks in Hungarian society.

Hungarian statesman Ferenc Deák is considered the intellectual force behind the Compromise. Deák initially wanted independence for Hungary and supported the 1848 Revolution, but he broke with hardline nationalists and advocated a modified union under the Habsburgs. Deák believed that while Hungary had the right to full internal independence, the terms of the Pragmatic Sanction of 1723 made questions of defence and foreign affairs "common" to both Austria and Hungary. He also felt that Hungary benefited from continued union with wealthier, more industrialized Austria and that the Compromise would end the continual pressures on Austria to choose between the Magyars and the Slavs of the Kingdom of Hungary.[34] Imperial Chancellor Beust quickly negotiated the Compromise with the Hungarian leaders. Beust was particularly eager to renew the conflict with Prussia and thought a quick settlement with Hungary would make that possible. Franz Joseph and Deák signed the Compromise, and it was ratified by the restored Diet of Hungary on 29 May 1867. Beust's revenge against Prussia did not materialize. When, in 1870, Beust wanted Austria–Hungary to support France against Prussia, Hungarian Prime Minister Gyula Andrássy was "vigorously opposed" and effectively vetoed Austrian intervention.

The settlement with Hungary consisted then of three parts: the political settlement, which was to be permanent and would remain part of the fundamental constitution of the monarchy; the periodical financial settlement, determining the partition of the common expenses as arranged by the Quota-Deputations and ratified by the parliaments; and the Customs Union and the agreement on currency, a voluntary, reversible arrangement between the two governments and parliaments.

en.wikipedia.org/wiki/Austro-Hungarian_Compromise_of_1867

Following the accession of Franz Joseph to the throne in 1848, the political representatives of the Kingdom of Bohemia hoped and insisted that account should be taken of their historical state rights in the upcoming constitution. They felt the position of Bohemia within the Habsburg Monarchy should have been highlighted by a coronation of the new ruler to the king of Bohemia in Prague (the last coronation took place in 1836). However before the 19th century the Habsburgs had ruled Bohemia by hereditary right and a separate coronation was not deemed necessary.

His new government installed the system of neoabsolutism in Austrian internal affairs to make the Austrian Empire a unitary, centralised and bureaucratically administered state. When Franz Joseph returned to constitutional rule after the debacles in Italy at Magenta and Solferino and summoned the diets of his lands, the question of his coronation as king of Bohemia again returned to the agenda, as it had not since 1848. On 14 April 1861, Emperor Franz Joseph received a delegation from the Bohemian Diet with his words (in Czech):

"I will have myself crowned King of Bohemia in Prague, and I am convinced that a new, indissoluble bond of trust and loyalty between My throne and My Bohemian Kingdom will be strengthened by this holy rite.

The main foreign policy goal of Franz Joseph had been the unification of Germany under the House of Habsburg.] This was justified on grounds of precedence; from 1452 to the end of the Holy Roman Empire in 1806, with only one period of interruption under the Wittelsbachs, the Habsburgs had generally held the German crown.However, Franz Joseph's desire to retain the non-German territories of the Habsburg Austrian Empire in the event of German unification proved problematic.If Greater Germany were to prevail, the crown would necessarily have to go to Franz Joseph, who had no desire to cede it in the first place to anyone else.On the other hand, if the idea of a smaller Germany won out, the German crown could of course not possibly go to the Emperor of Austria, but would naturally be offered to the head of the largest and most powerful German state outside of Austria—the King of Prussia. The contest between the two ideas, quickly developed into a contest between Austria and Prussia. After Prussia decisively won the Seven Weeks War, this question was solved; Austria lost no territories to Prussia as long as they remained out of German affairs.Franz Joseph's German identity was made explicitly clear during a meeting in August 1908 between himself and Edward VII when the latter tried to persuade him to abandon Austria-Hungary's alliance with Germany for co-operation with England; Franz Joseph replied that he was a "loyal ally" and said "I am a German prince.

During the mid-1870s a series of violent rebellions against Ottoman rule broke out in the Balkans, and the Turks responded with equally violent and oppressive reprisals. Tsar Alexander II of Russia, wanting to intervene against the Ottomans, sought and obtained an agreement with Austria-Hungary.

In 1908, the Russian foreign minister, Alexander Izvolsky, offered Russian support, for the third time, for the annexation of Bosnia and Herzegovina by Austria-Hungary, in exchange for Austrian support for the opening of the Bosporus Strait and the Dardanelles to Russian warships. Austria's foreign minister, Alois von Aehrenthal, pursued this offer vigorously, resulting in the quid pro quo understanding with Izvolsky, reached on 16 September 1908 at the Buchlau Conference. However, Izvolsky made this agreement with Aehrenthal without the knowledge of Tsar Nicholas II or his government in St. Petersburg, or any of the other foreign powers including Britain, France and Serbia. Based upon the assurances of the Buchlau Conference and the treaties that preceded it, Franz Joseph signed the proclamation announcing the annexation of Bosnia-Herzegovina into the Empire on 6 October 1908. However a diplomatic crisis erupted, as both the Serbs and the Italians demanded compensation for the annexation, which the Austro-Hungarian government refused to entertain. The incident was not resolved until the revision of the Treaty of Berlin in April 1909, exacerbating tensions between Austria-Hungary and the Serbs.

On 28 June 1914 Franz Joseph's nephew and heir Archduke Franz Ferdinand, and his morganatic wife Sophie, Duchess of Hohenberg, were assassinated by Gavrilo Princip, a Yugoslav nationalist of Serbian ethnicity, during a visit to Sarajevo. When he heard the news of the assassination, Franz Joseph said that "one has not to defy the Almighty. In this manner a superior power has restored that order which I unfortunately was unable to maintain.",While the emperor was shaken, and interrupted his holiday to return to Vienna, he soon resumed his vacation at his imperial villa at Bad Ischl. Initial decision-making during the "July Crisis" fell to Count Leopold Berchtold, the Austrian foreign minister; Count Franz Conrad von Hötzendorf, the chief of staff for the Austro-Hungarian army and the other ministers.The ultimate resolution of deliberations by the Austrian government during the weeks following the assassination of the Archduke was to give Serbia an ultimatum of itemized demands with which it was virtually certain Serbia would be unable or unwilling to comply, thus serving as a "legal basis for war." However, the general movement toward war with Serbia was already in motion prior to assassination of the Archduke as evidenced by a 14 June memo of Berchtold recommending the "elimination of Serbia" as a state, which Franz Joseph expressed agreement with in a letter delivered to Kaiser Wilhelm II in Berlin on 5 July. In that letter, Franz Joseph "...explicitly stated that the decision for war against Serbia had been made before the assassination of the Archduke, and that the events of Sarajevo only confirmed the already pre-existing need for a war.",A week after delivery of the Austrian ultimatum to Serbia, on 28 July, Austria-Hungary declared war on Serbia. Within weeks, the Germans, Russians, French and British had all entered the fray which eventually became known as World War I. On 6 August, Franz Joseph signed the declaration of war against Russia.

Franz Joseph died in the Schönbrunn Palace on the evening of 21 November 1916, at the age of 86. His death was a result of developing pneumonia of the right lung several days after catching a cold while walking in Schönbrunn Park with the King of Bavaria. He was succeeded by his grandnephew Charles I, who reigned until the collapse of the Empire following its defeat in 1918.

He is buried in the Imperial Crypt in Vienna, where flowers are still left by monarchists

en.wikipedia.org/wiki/Franz_Joseph_I_of_Austria

_MG_2828 by suetownson

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Transmutation outfit

Aether KD doll in Transmutation by crazydolls

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enjoying the sunshine by Vivienne Strauss

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spotted when searching for walnuts in the yard (the shells are toxic to the dogs)

Rebirth, wisdom, fluidity, wholeness, transmutations, sexuality, look for transitions, changes and new opportunities. Creative forces are awakening with heightened intuition. Snake can teach about shedding what is not needed; perceptions, attitudes, ideals. Snake shows how to access vitality, ambitions and dreams along with intellect and personal power. What things are surfacing that you need to strike out and take advantage of? Perhaps a time to rest and reflect? Listen to your intuition and visions at this time. Contemplate the colors, striking ability and activity of the snake type to further understand what snake is saying.

送我一陣涼風 give me some breeze by Cheryl Chan

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經師棚相對大士台，掛滿佛、菩薩和護法的潮州刺繡，中央是釋迦牟尼佛、東方藥師佛及阿彌陀佛。經師誦經念佛，消除眾生孽障。勝會最後一日，經師舉行「放焰口」法事，讓孤魂「聞經享食」。

盂蘭勝會的經棚是其中重要的部份。經棚是面對著附薦棚，大師們在經棚裡日夜誦經，超度幽靈，以脫離苦困。

One of the five pavilions at the Hungry Ghosts Festival event, the Praying Pavilion is where priests will chant prayers day and night, to relieve the spirits from sufferings.

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The Ghost Festival, also known as the Hungry Ghost Festival, or Yu Lan is a traditional Chinese festival and holiday celebrated by Chinese in many countries. In the Chinese calendar (a lunisolar calendar), the Ghost Festival is on the 15th night of the seventh month (14th in southern China).

In Chinese tradition, the fifteenth day of the seventh month in the lunar calendar is called Ghost Day and the seventh month in general is regarded as the Ghost Month (鬼月), in which ghosts and spirits, including those of the deceased ancestors, come out from the lower realm.

Distinct from both the Qingming Festival (in spring) and Chung Yeung Festival (in autumn) in which living descendants pay homage to their deceased ancestors, on Ghost Day, the deceased are believed to visit the living.

On the fifteenth day the realms of Heaven and Hell and the realm of the living are open and both Taoists and Buddhists would perform rituals to transmute and absolve the sufferings of the deceased. Intrinsic to the Ghost Month is ancestor worship, where traditionally the filial piety of descendants extends to their ancestors even after their deaths.

Activities during the month would include preparing ritualistic food offerings, burning incense, and burning joss paper, a papier-mâché form of material items such as clothes, gold and other fine goods for the visiting spirits of the ancestors

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Follow my rediscovery of the Hungry Ghosts "Yu Lan" Festival here:

七月盂蘭 Mid Summer Ghost Story

For my past visits to the Hungry Ghosts "Yu Lan" Festival here:

More Chinese Temples images here:

Caves & Temples

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I am Nojoom, Age 10 and Divorced .... by Qi Bo (Ezio Famà)

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---- Angels & Demons (devil tries to tempt Saint Lucia, August 2018, Savoca - Sicily) ----

---- Angeli & Demoni (il demonio tenta Santa Lucia, agosto 2018, Savoca - Sicilia) ----

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the slideshow

Qi Bo's photos on FlickeFlu

Qi Bo's photos on PICSSR

Qi Bo's photos on Flickr Hive Mind

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www.fotografidigitali.it/gallery/2726/opere-italiane-segn...

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this is a photographic narration that speaks of the eternal struggle that takes place between good and evil, which speaks of a dark period of history, speaks of the violence suffered by women but also by those who belonged to the poorest social classes, historical facts that have been handed down to us in the form of a story and associated-transmuted in the martyrdom of Saint Lucia, this is what happens in the town of Savoca (Sicily). This is a short and long report, I did in Savoca on August 2018 about the living representation of the martyrdom of Saint Lucia (patron saint of the city of Savoca); the cult of the young Saint of Syracuse seems to date back to the fifteenth century, under the influence of Spanish traditions. The commemoration of the history of St. Lucia occurs in two consecutive days, Saturday and Sunday: here I try to tell some times of the day on Sunday, a day during which the festival is held at the height of her beauty. And 'This is a historical event which speaks of Demons and Angels: Saint Lucy refused to marry a rich and powerful suitor (Lucy declared She was married in Christ), which reported the Christian faith of Lucia to prefect Pascasio that ordered his Praetorian Guard to drag Lucia with a rope to a place of prostitution; legend has it that the Holy became heavy, they then tried to drag it with the help of oxen, but it was impossible to move it from where he stood; failing in this, it was then given the order to cavarle eyes, but the young martyr (native of Syracuse) her eyes reappeared.

In the village of Savoca a young girl, affectionately called the "Lucy" is carried on the shoulder of a porter along the streets of the country (sitting on a pillow tied on the shoulder of a man, but in fact men are two); the young Saint remains impassive in the face of demonic temptations: the Devil, called in Sicilian dialect "u Diavulazzu, shake, shakes, turns his pitchfork in an attempt to "distract" the Saint.

The first day of this representation, on Saturday, in an old church in Savoca, the two girls who impersonate the Lucia, of the current year and the previous year, meet with the delivery of palm; the traditional event which we witness on Saturday, has all the appearance of an important rehearsal for the next day, on Sunday when the traditional festival will take place in all its beauty.

Sunday: on top of the procession there are the "Jews" (the emissaries of the prefect Pascasio) along with some Angels, is located immediately after the wagon drawn by two cows from which branches off a rope that will arrive to Saint Lucia (a girl of six years); between her and the cows there are Roman soldiers, who make their way through the crowd squirming like crazy; to hold the rope there are also male figures; the job of Devil (his mask is made of wood, whose invoice is dated, it seems, of the 400') is to distract the little Saint with the help of a long stick equipped of curved points, called "u 'croccu": Lucia hardly is deceived by the promises of the evil one, she will not abandon the state of her property concentration, aided in this by staring, almost in a trance, a small palm branch in silver , she brings devoutly in her hands.It's very important to mention the Baron Baldassarre (nicknamed Baron Altadonna), who applied without any hesitation the practice of Jus de seigneur: using this law the Baron obliged the young brides to spend the wedding night in his alcove. It 'very possible that in the representation of Saint Lucia of Savoca the character of the Devil tempting young Santa with his pitchfork, in reality is nothing but himself, Baron Altadonna, so allegorically described in this traditional Sicilian feast: the figure of the Devil if one takes into account what historians relate, does not belong more to the legend, but sadly to actual event happened. Post scriptum: the photographs, realized both on Saturday and Sunday, were organized and posted without taking into account the temporal chronology of what happened during the two days of the event; two photos of the mummy of Baron Altadonna have been included, which is located in the crypt of the Capuchin Fathers of Savoca; the portraits of two "Lucie" from previous editions, grandfather and great-grandfather of the "DIAVOLI" dynasty were included; the "silver palm" was delivered by Lucia of 2016 (Valentina), to the current Lucia (Miriana), in 2017 the event was not performed.

Ezio Famà.

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questa è una narrazione fotografica che parla dell'eterna lotta che avviene tra il bene ed il male, che parla di un periodo buio della storia, che parla delle violenze subite dalle donne ma anche da coloro che appartenevano alle classi sociali più povere, fatti storici che sono stati tramandati fino a noi in forma di racconto ed associati-trasmutati nel martirio di Santa Lucia, questo è quanto accade nel paese di Savoca (Sicilia). Questo è un report corto e lungo, che ho realizzato in quel di Savoca lo scorso mese di Agosto 2018, su quella che è la rappresentazione vivente del martirio di Santa Lucia (Santa patrona della città di Savoca); il culto della giovane Santa di Siracusa sembra risalire al XV secolo, sotto l'influenza delle tradizioni spagnole. La rievocazione vivente della storia di S.Lucia avviene in due giornate consecutive, il sabato e la domenica: qui tento di raccontare alcuni momenti della giornata della domenica, giorno durante il quale la festa si svolge nel pieno della sua bellezza. E' questa una rievocazione storica che parla di Demoni ed Angeli: la storia rievoca di quando la Santa, si rifiutò di andare in sposa ad un suo ricco e potente pretendente (essendosi dichiarata Cristiana e sposa in Cristo), il quale per vendetta riferì della fede Cristiana di Lucia al prefetto Pascasio; costui diede ordine ai suoi pretoriani di trascinare Lucia con una corda fino ad un lupanare, un luogo di prostituzione; la leggenda narra che la Santa divenne pesantissima, si tentò allora di trascinarla con l'ausilio dei buoi, ma fu impossibile smuoverla da dove si trovava; non riuscendo in ciò, fu allora dato l'ordine di cavarle gli occhi, ma alla giovane martire (nativa di Siracusa) gli occhi le rispuntarono. Nel paese di Savoca una giovane ragazza, chiamata con affetto "la Lucia" viene portata in spalla lungo le vie del paese (seduta su di un cuscino legato sulla spalla di un uomo; in realtà gli uomini portatori sono due, dandosi il cambio l'un l'altro); la giovane Santa rimane impassibile di fronte alle tentazioni demoniache: il Diavolo, chiamato in dialetto siciliano "u Diavulazzu, agita, scuote, fa ruotare il suo forcone nel tentativo di "distrarre" la Santa ma, vani saranno i suoi tentativi. Il primo giorno di questa rappresentazione, il sabato, in una vecchia chiesa di Savoca, le due bambine che impersonano la Lucia, dell'anno in corso e dell'anno precedente, si incontrano con la consegna della palma da una bimba all'altra; l'evento tradizionale al quale si assiste il sabato, ha tutto l'aspetto di una importante prova generale per il giorno dopo, quando la domenica la festa tradizionale avverrà in tutta la sua bellezza.La domenica: in cima alla processione ci sono i "Giudei" (gli emissari del prefetto Pascasio) insieme ad alcuni Angeli, subito dopo si trova il carro tirato da due giumente dalle quali si diparte una corda che giungerà fino a cingere il fianco della bimba che impersona Santa Lucia (una bambina di sei anni); tra lei e le giumente ci sono i soldati Romani, che si fanno largo tra la folla dimenandosi a più non posso; a tenere la corda ci sono anche delle figure maschili che evitano che gli strattonamenti dei soldati romani possano giungere fino alla Santa (ricordiamolo, che è legata a quella corda); davanti alla Santa piroetta il diavolo tentatore, u' Diavulazzu (la maschera è in legno, la cui fattura è datata, sembra, del 400'), il cui compito è quello di distrarre la piccola Santa con l'aiuto di un lungo bastone dotato di punte ricurve, chiamto dialettalmente "u' croccu": Lucia difficilmente si lascerà ingannare dalle promesse del Maligno, non abbandonerà quel suo stato di immobile concentrazione, aiutata in ciò dal fissare, quasi in stato di trance, un piccolo ramo di palma in argento, che lei strige devotamente tra le sue mani. E’ fondamentale menzionare tra i vari personaggi storici della tradizione, il barone Baldassarre, vissuto in Savoca in epoca medioevale, soprannominato barone Altadonna, che applicava senza remora alcuna la pratica della Jus primae noctis: avvalendosi di questa legge il barone obbligava le giovani spose a trascorrere la prima notte di nozze nella sua alcova. E’ fortemente ipotizzabile che nella rappresentazione di Santa Lucia di Savoca il personaggio del Diavolo che tenta la giovane Santa col suo forcone, in realtà non sia altro che egli stesso, il barone Altadonna, così allegoricamente descritto nella festa tradizionale siciliana: la figura del Diavolo, se si tiene conto di quanto narrano gli storici, non apparterrebbe più alla leggenda, ma a questo tristo personaggio realmente vissuto, che usava quotidianamente la moneta della prepotenza. Post scriptum: le fotografie, realizzate sia il sabato che la domenica, sono state organizzate e postate senza tenere conto della cronologia temporale di quanto avvenuto nei due giorni della manifestazione; sono state inserite due foto della mummia del barone Altadonna, che si trova nella cripta dei Padri Cappuccini di Savoca; sono stati inseriti i ritratti di due "Lucie" delle precedenti edizioni, del nonno e del bisnonno della dinastia dei "DIAVOLI"; la "palma d'argento" è stata consegnata dalla Lucia del 2016 (Valentina), alla attuale Lucia (Miriana); nel 2017 la manifestazione non è stata eseguita.

Ezio Famà.

Palden Lhamo, Protectress of Tibet and Mongolia by Dave Smith

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Another one of my all-time favorite exhibits at the Glenbow Museum, this exquisitely detailed statue / sculpture of a Hindu Goddess of Death & Destruction (Kali? Shiva?) is on prominent display in the Many Faces, Many Paths: Art of Asia wing of the museum.

~~This one, I know, is a little more disturbing / explicit / violent than my usual uploads, but it is a striking and amazing piece of sculpture work and I knew you guys would want to see it.~~

Note her necklace of skills, the skin of a slain enemy adorning her steed, the necklace of hands (presumably from another slain foe) around her neck, the fiery head dress (actually, they might be serpents, not flames!), and her two Imp followers, servants in war and destruction.

Ok, a whole new description here, thanks to my good friend annetteleduff's amazingly informative comment that she posted here, being the awesome art expert that she is! Thank you so much, annette!

The real information about this statue:

This sculpture is a traditional Tibetan Buddhist representation. This is not a depiction of an evil goddess and she does not represent destruction.

The goddess depicted is Palden Lhamo, declared the protectress of the first Dalai Llama and later, all of Lhasa (Tibet) and Mongolia.

Palden Lhamo (and the myth surrounding her) evolved from an ancient Indian goddess Shri Devi (Sanskrit name) whose story and iconography is similar (including riding atop a mule). For both goddesses their story begins with marriage to a man who is cruel, cannibalistic and does not respect humanity or Buddhism. Palden Lhamo is queen of Sri Lanka, married to the king. The couple's son was being raised by his father to be the eventual destroyer of Buddhism. When Palden Lhamo's appeals for kindness and change remain unheard, she threatens her husband with the death of their son in a last attempt to stop his cruel ways. The king continues his bloody ways so the mother acts upon her threat, killing their son. She makes a saddle blanket of his skin, placing it on her mule. Palden Lhamo leaves her husband riding the mule and he shoots an arrow at her but misses and instead hits her mule in the hindquarter. (Part of the mark is visible in your image.) Palden Lhamo transforms the arrow wound into an all-seeing eye, expanding her abilities to foresee danger and increasing her abilities to protect Buddhism. She travels from Sri Lanka to Tibet.

She wears a crown decorated with five skulls to represent the transmutation of the five delusions: ignorance, hatred, pride, greed, and envy into discriminating wisdom. The shawl-like snakes warn people of her serpent-like (poisonous) wrath (should they act violently agains Buddhism). It is said there is an ancient association with Kali linked to the severed head necklace, which on this sculpture appears to be carved from Tibetan turquoise, coral and bone.

The two companions are not imps accompanying her, but a god and goddess. Both of the companions wear tiger skins on their backs (you can see the four paws in front) indicating status. The one on the right has a lion's head (displaying fearlessness), and her mane is composed of green fire. Her role is to clear obstacles in the paths of those who seek enlightenment. The other one looks like a makara headed being. A makara is a hybrid being, part animal and fish, or part animal and human. Makara is a Sanskrit word. Makara images are found in India, Nepal, Tibet, Burma, Indonesia, Thailand, Viet Nam, China and the Khmer-Angkor area of Cambodia. Essentially makara symbolize admirable characteristics and qualities of the animal forms represented.

Thanks so much, annette!

flame @ Hungry Ghosts Festival by Cheryl Chan

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It is believed that spirits often feed themselves thru inhaling from joss sticks.

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It's the Luner 7th month, which means it's the scariest month in the whole year according to Chinese believes.

As a child I was always warned to be extra cautious: avoid going out at night, never answer when I heard anyone call my name from behind, don't whistle and no mention the word "ghosts" are among the rules during the Ghost Month.

This year I decide to pay a visit to one of the remaining Ghost Month ( which is called "Yu Lan Festival" in the formal term ) to document some of its believes.

So here's the beginning of my first documentation of the Hungry Ghost Festival.

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The Ghost Festival, also known as the Hungry Ghost Festival, or Yu Lan is a traditional Chinese festival and holiday celebrated by Chinese in many countries. In the Chinese calendar (a lunisolar calendar), the Ghost Festival is on the 15th night of the seventh month (14th in southern China).

In Chinese tradition, the fifteenth day of the seventh month in the lunar calendar is called Ghost Day and the seventh month in general is regarded as the Ghost Month (鬼月), in which ghosts and spirits, including those of the deceased ancestors, come out from the lower realm.

Distinct from both the Qingming Festival (in spring) and Chung Yeung Festival (in autumn) in which living descendants pay homage to their deceased ancestors, on Ghost Day, the deceased are believed to visit the living.

On the fifteenth day the realms of Heaven and Hell and the realm of the living are open and both Taoists and Buddhists would perform rituals to transmute and absolve the sufferings of the deceased. Intrinsic to the Ghost Month is ancestor worship, where traditionally the filial piety of descendants extends to their ancestors even after their deaths.

Activities during the month would include preparing ritualistic food offerings, burning incense, and burning joss paper, a papier-mâché form of material items such as clothes, gold and other fine goods for the visiting spirits of the ancestors

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More images of the Hungry Ghosts "Yu Lan" Festival here:

More Chinese Temples images here:

Caves & Temples " Festival

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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...

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What happened three days ago is a very bad story, a 63-year-old man shot two women in the face, one 48 years old, the other 49 years old, and then took his own life, all of which happened in a town in the province of Catania, one of them allegedly had an extramarital affair with the killer: in 2022 120 women were killed, 97 of them were killed in the family or emotional sphere, of these 57 died for hand of the partner or former partner. This tragic and sad incipit linked to the ever-present drama of feminicides, to introduce the photographic story that I made in the town of Savoca (Messina - Sicily) on 08/13/2022, of a very particular representation that was held last time in August 2018; is a narration that pits Evil (a devil armed with a long grappling hook) against Good (Saint Lucia, who holds a silver palm leaf in her hands), the Evil-Devil tries to seduce-distract Saint Lucia with own grappling hook, instead Saint Lucia remains impassive in front of her flattery: violence against women in this very suggestive representation finds distant and deep roots, Saint Lucia actually represents those women who in medieval times had to suffer the abuses perpetrated by the Baron of Savoca nicknamed "Barone Altadonna", which making use of the law "ius primae noctis" (from the Latin "right of the first night"), referred to the "right" according to which a feudal lord could rape a newly married woman on her wedding night. Therefore, this is a photographic narration that speaks of the eternal struggle that takes place between good and evil, which speaks of a dark period of history, speaks of the violence suffered by women but also by those who belonged to the poorest social classes, historical facts that have been handed down to us in the form of a story and associated-transmuted in the martyrdom of Saint Lucia, this is what happens in the town of Savoca (Sicily). This is a report of the living representation of the martyrdom of Saint Lucia (patron saint of the city of Savoca); the cult of the young Saint of Syracuse seems to date back to the fifteenth century, under the influence of Spanish traditions. The living re-enactment of the history of St. Lucia takes place on two consecutive days, Saturday and Sunday: here I try to tell some moments of Saturday, the day during which the celebration does not take place in its full beauty, it is the day during which "the silver palm" is delivered "from the Lucia of the previous edition" to the "Lucia of the current edition", it is the day during which the last details are tested, above all the "impassivity of the little girl who impersonates Saint Lucia", lovingly called "the Lucia".. And 'This is a historical event which speaks of Demons and Angels: Saint Lucy refused to marry a rich and powerful suitor (Lucy declared She was married in Christ), which reported the Christian faith of Lucia to prefect Pascasio that ordered his Praetorian Guard to drag Lucia with a rope to a place of prostitution; legend has it that the Holy became heavy, they then tried to drag it with the help of oxen, but it was impossible to move it from where he stood; failing in this, it was then given the order to cavarle eyes, but the young martyr (native of Syracuse) her eyes reappeared.

In the village of Savoca a young girl, affectionately called the "Lucy" is carried on the shoulder of a porter along the streets of the country (sitting on a pillow tied on the shoulder of a man, but in fact men are two); the young Saint remains impassive in the face of demonic temptations: the Devil, called in Sicilian dialect "u Diavulazzu, shake, shakes, turns his pitchfork in an attempt to "distract" the Saint.

The first day of this representation, on Saturday, in an old church in Savoca, the two girls who impersonate the Lucia, of the current year and the previous year, meet with the delivery of palm; the traditional event which we witness on Saturday, has all the appearance of an important rehearsal for the next day, on Sunday when the traditional festival will take place in all its beauty.

Sunday: on top of the procession there are the "Jews" (the emissaries of the prefect Pascasio) along with some Angels, is located immediately after the wagon drawn by two cows from which branches off a rope that will arrive to Saint Lucia (a girl of six years); between her and the cows there are Roman soldiers, who make their way through the crowd squirming like crazy; to hold the rope there are also male figures; the job of Devil (his mask is made of wood, whose invoice is dated, it seems, of the 400') is to distract the little Saint with the help of a long stick equipped of curved points, called "u 'croccu": Lucia hardly is deceived by the promises of the evil one, she will not abandon the state of her property concentration, aided in this by staring, almost in a trance, a small palm branch in silver , she brings devoutly in her hands.It's very important to mention the Baron Baldassarre (nicknamed Baron Altadonna), who applied without any hesitation the practice of Jus de seigneur: using this law the Baron obliged the young brides to spend the wedding night in his alcove. It 'very possible that in the representation of Saint Lucia of Savoca the character of the Devil tempting young Santa with his pitchfork, in reality is nothing but himself, Baron Altadonna, so allegorically described in this traditional Sicilian feast: the figure of the Devil if one takes into account what historians relate, does not belong more to the legend, but sadly to actual event happened.

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E' una bruttissima storia quanto accaduto tre giorni fa, un uomo di 63 anni, ha ucciso a colpi di pistola in pieno volto due donne, una di 48 anni, l'altra di 49 anni, per poi togliersi la vita, il tutto accaduto in una cittadina in provincia di Catania, una di loro avrebbe avuto una relazione extraconiugale con l'assassino: nel 2022 sono state 120 le donne uccise, 97 di loro sono state uccise in ambito familiare o affettivo, di queste 57 hanno trovato la morte per mano del partner o ex partner. Questo tragico e triste incipit legato al sempre attuale dramma dei femminicidi, per introdurre il racconto fotografico che ho realizzato nella cittadina di Savoca (Messina - Sicilia) il 13/08/2022, di una particolarissima rappresentazione che si era tenuta l'ultima volta nell'agosto del 2018; è una narrazione che vede contrapposto il Male (un diavolo armato di un lungo rampino), al Bene (Santa Lucia, che stringe tra le mani una foglia di palma d'argento), il Male-Diavolo tenta di sedurre-distrarre Santa Lucia col proprio rampino, invece Santa Lucia resta impassibile davanti le sue lusinghe: la violenza sulle donne in questa rappresentazione molto suggestiva, trova radici lontane e profonde, Santa Lucia in realtà rappresenta quelle donne che in epoca medioevale dovevano subire gli abusi perpetrati dal Barone di Savoca soprannominato "Barone Altadonna", che avvalendosi della legge "ius primae noctis" (dal latino "diritto della prima notte"), si riferiva al “diritto” secondo cui un signore feudale poteva violentare una donna appena sposata durante la sua prima notte di nozze. Quindi questa è una narrazione fotografica che parla dell'eterna lotta che avviene tra il bene ed il male, che parla di un periodo buio della storia, che parla delle violenze subite dalle donne ma anche da tutti coloro che appartenevano alle classi sociali più povere, fatti storici che sono stati tramandati fino a noi in forma di racconto ed associati-trasmutati nel martirio di Santa Lucia, questo è quanto accade nel paese di Savoca (Sicilia). Questo è un report della rappresentazione vivente del martirio di Santa Lucia (Santa patrona della città di Savoca); il culto della giovane Santa di Siracusa sembra risalire al XV secolo, sotto l'influenza delle tradizioni spagnole. La rievocazione vivente della storia di Santa Lucia avviene in due giornate consecutive, il sabato e la domenica: qui tento di raccontare alcuni momenti della giornata del sabato, giorno durante il quale la festa non si svolge nel pieno della sua bellezza, è il giorno durante il quale “la palma d’argento” viene consegnata “dalla Lucia della edizione precedente” alla “Lucia dell’attuale edizione”, è il giorno durante il quale si testano gli ultimi dettagli, soprattutto si mette alla prova “l’impassibilità della bambina che impersona Santa Lucia”, chiamata amorevolmente “la Lucia”. E' questa una rievocazione storica che parla di Demoni ed Angeli: la storia rievoca di quando la Santa, si rifiutò di andare in sposa ad un suo ricco e potente pretendente (essendosi dichiarata Cristiana e sposa in Cristo), il quale per vendetta riferì della fede Cristiana di Lucia al prefetto Pascasio; costui diede ordine ai suoi pretoriani di trascinare Lucia con una corda fino ad un lupanare, un luogo di prostituzione; la leggenda narra che la Santa divenne pesantissima, si tentò allora di trascinarla con l'ausilio dei buoi, ma fu impossibile smuoverla da dove si trovava; non riuscendo in ciò, fu allora dato l'ordine di cavarle gli occhi, ma alla giovane martire (nativa di Siracusa) gli occhi le rispuntarono. Nel paese di Savoca una giovane ragazza, chiamata con affetto "la Lucia" viene portata in spalla lungo le vie del paese (seduta su di un cuscino legato sulla spalla di un uomo; in realtà gli uomini portatori sono due, dandosi il cambio l'un l'altro); la giovane Santa rimane impassibile di fronte alle tentazioni demoniache: il Diavolo, chiamato in dialetto siciliano "u Diavulazzu, agita, scuote, fa ruotare il suo forcone nel tentativo di "distrarre" la Santa ma, vani saranno i suoi tentativi. Il primo giorno di questa rappresentazione, il sabato, in una vecchia chiesa di Savoca, le due bambine che impersonano la Lucia, dell'anno in corso e dell'anno precedente, si incontrano con la consegna della palma da una bimba all'altra; l'evento tradizionale al quale si assiste il sabato, ha tutto l'aspetto di una importante prova generale per il giorno dopo, quando la domenica la festa tradizionale avverrà in tutta la sua bellezza. La domenica: in cima alla processione ci sono i "Giudei" (gli emissari del prefetto Pascasio) insieme ad alcuni Angeli, subito dopo si trova il carro tirato da due giumente dalle quali si diparte una corda che giungerà fino a cingere il fianco della bimba che impersona Santa Lucia (una bambina di sei anni); tra lei e le giumente ci sono i soldati Romani, che si fanno largo tra la folla dimenandosi a più non posso; a tenere la corda ci sono anche delle figure maschili che evitano che gli strattonamenti dei soldati romani possano giungere fino alla Santa (ricordiamolo, che è legata a quella corda); davanti alla Santa piroetta il diavolo tentatore, u' Diavulazzu (la maschera è in legno, la cui fattura è datata, sembra, del 400'), il cui compito è quello di distrarre la piccola Santa con l'aiuto di un lungo bastone dotato di punte ricurve, chiamato dialettalmente "u' croccu": Lucia difficilmente si lascerà ingannare dalle promesse del Maligno, non abbandonerà quel suo stato di immobile concentrazione, aiutata in ciò dal fissare, quasi in stato di trance, un piccolo ramo di palma in argento, che lei stringe devotamente tra le sue mani. E’ fondamentale menzionare tra i vari personaggi storici della tradizione, il barone Baldassarre, vissuto in Savoca in epoca medioevale, soprannominato barone Altadonna, che applicava senza remora alcuna la pratica della Jus primae noctis: avvalendosi di questa legge il barone obbligava le giovani spose a trascorrere la prima notte di nozze nella sua alcova. E’ fortemente ipotizzabile che nella rappresentazione di Santa Lucia di Savoca il personaggio del Diavolo che tenta la giovane Santa col suo forcone, in realtà non sia altro che egli stesso, il barone Altadonna, così allegoricamente descritto nella festa tradizionale siciliana: la figura del Diavolo, se si tiene conto di quanto narrano gli storici, non apparterrebbe più alla leggenda, ma a questo tristo personaggio realmente vissuto, che usava quotidianamente la moneta della prepotenza.

Classic Space: Huge Monster Mutant Crustacean causes panic at the research centre scientists and personell flee for their life (LEGO AFOL Vignette sci-fi MOC) crustecean by Danny Hennesy

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- aaaaargh! every mad scientist for himself we have a mutant beast in the electro-core

-I swear if this is Binkenstein who dropped another of his smelly Crustacean sandwiches in the transmutation tank again, I will personally cut off his family jewels and use them as a necklace, that is if we survive this!

Bionifight - Virse (Back) by 0nuku

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Just in time for Bionifight's closing, I managed to put together a MOC of my (second?) favorite character from the RPG: Virse, Toa of Sand. I've been wanting to MOC her for months, and now that I finally got some (knockoff) tan CCBS, I could finish her. I have to say I'm very proud of how she came out.

Virse hails from an alternate universe where the GSR was never built and the Toa were created to attempt to repair Spherus Magna. However, they only made it worse, and in the great Shattering that followed, the Great Beings were lost. The survivors were forced to war for resources, Glatorian vs. Toa. After thousands of years passed and hundreds of thousands of lives were lost, they reached an unsteady peace. Virse, like many other Toa, used this time to specialize her element, shifting from Stone to Sand, before being taken to fight in the Bionifight Tournament. When the Bionifight Facility crash-landed on Saarella Kirottu, Virse was lost and presumed dead in an attempt to liberate the prisoners of the Cult of War.

Virse wields a Heat Gauntlet, a weak Great Being relic capable of creating great heat, in which she can forge her hardened glass blades. She wears the Mask of Elemental Transmutation, allowing her to change her body into sand.

giving a silent thought (color) @ hungry ghosts festival by Cheryl Chan

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It's the Luner 7th month, which means it's the scariest month in the whole year according to Chinese believes.

As a child I was always warned to be extra cautious: avoid going out at night, never answer when I heard anyone call my name from behind, don't whistle and no mention the word "ghosts" are among the rules during the Ghost Month.

This year I decide to pay a visit to one of the remaining Ghost Month ( which is called "Yu Lan Festival" in the formal term ) to document some of its believes.

So here's the beginning of my first documentation of the Hungry Ghost Festival.

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The Ghost Festival, also known as the Hungry Ghost Festival, or Yu Lan is a traditional Chinese festival and holiday celebrated by Chinese in many countries. In the Chinese calendar (a lunisolar calendar), the Ghost Festival is on the 15th night of the seventh month (14th in southern China).

In Chinese tradition, the fifteenth day of the seventh month in the lunar calendar is called Ghost Day and the seventh month in general is regarded as the Ghost Month (鬼月), in which ghosts and spirits, including those of the deceased ancestors, come out from the lower realm.

Distinct from both the Qingming Festival (in spring) and Chung Yeung Festival (in autumn) in which living descendants pay homage to their deceased ancestors, on Ghost Day, the deceased are believed to visit the living.

On the fifteenth day the realms of Heaven and Hell and the realm of the living are open and both Taoists and Buddhists would perform rituals to transmute and absolve the sufferings of the deceased. Intrinsic to the Ghost Month is ancestor worship, where traditionally the filial piety of descendants extends to their ancestors even after their deaths.

Activities during the month would include preparing ritualistic food offerings, burning incense, and burning joss paper, a papier-mâché form of material items such as clothes, gold and other fine goods for the visiting spirits of the ancestors

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More images of the Hungry Ghosts "Yu Lan" Festival here: