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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
=====
Follow my rediscovery of the Hungry Ghosts "Yu Lan" Festival here:
For my past visits to the Hungry Ghosts "Yu Lan" Festival here:
Hungry Ghosts "Yu Lan" Festival
More Chinese Temples images here:
=====
Firestorm is a nuclear-powered super-hero with the ability to transmute elements. The Firestorm Matrix is a composite of multiple people bonded together, originally high school student Ronnie Raymond controlling the body and nuclear physicist Professor Martin Stein giving direction as an additional consciousness. Mikhail Arkadin became a later Firestorm, Stein took control at one point, and Lorraine Reilly was also part of the matrix for a period.
Jason Rusch takes over the identity after the death of Raymond during Identity Crisis, and goes through several partners including Mick Wong and his girlfriend Gehenna.
In an interview Gerry Conway discussed his reasoning and influences while creating the character "I always loved the idea of the hair on fire, I think it goes back to Johnny Storm, The Human Torch, an entire flaming character, of course."
Conway further elaborated, "I’d been playing around with the idea of a teenage superhero for DC, who could sort of fill the hole that had been left in my heart by leaving Spider-Man behind. I’d been thinking about the tropes — one of which was the meek, mild alter ego, the brainy kid who, in wish fulfillment, gets superpowers, is extremely powerful… able to do things that he hadn’t been able to do before. That was, I think, the major motivating force—I wanted to play on that trope.
To do that, I wanted to flip it around: create a guy who wasn’t the brightest guy in the room, the not-terribly-smart guy who became a superpowered character. The way I’d make that work: I’d bring him into contact with the smarter person, who would also share the powers. This led to… the multiple-people-in-one, Professor Stein/ Ronnie Raymond dynamic."
Jack Kirby's 1971 design for Lightray's costume influenced the look of artist Al Milgrom's creation of Firestorm in 1978. In an interview from 2019, Milgrom admitted: "The facemask on Firestorm, the way it comes around the chin, was probably inspired by Lightray more than anything... I liked the [Lightray] head-covering thing; I said, "I'm stealin' it!"
Aliases
Ronnie Raymond / Martin Stein
The original Firestorm was distinguished by his integrated dual identity. High school student Ronnie Raymond and Nobel Prize-winning physicist Martin Stein were caught in an accident that allowed them to fuse into Firestorm the Nuclear Man.
Due to Stein being unconscious during the accident, Raymond was prominently in command of the Firestorm form with Stein a voice of reason inside his mind, able to offer Raymond advice on how to use their powers without actually having any control over their dual form.
Banter between the two was a hallmark of their adventures. Stein was initially completely unaware of their dual identity, leaving him concerned about his unusual disappearances and blackouts, but Ronnie was eventually able to convince him of the truth, allowing them to bond as separate individuals rather than as parts of a whole.
Ronnie Raymond / Martin Stein / Mikhail Arkadin
When Conway left the series in 1986, John Ostrander (with artist Joe Brozowski) began writing the Firestorm stories. His first major story arc pitted Firestorm against the world as the hero, acting on a suggestion from a terminally ill Professor Stein, demanded that the United States and the Soviet Union destroy all of their nuclear weapons.
After confrontations with the Justice League and most of his enemies, Firestorm faced the Russian nuclear superhero Pozhar in the Nevada desert, where an atomic bomb was dropped on them. A new Firestorm resulted, a fusion of the two heroes: this new Firestorm was composed of Ronnie Raymond and the Russian Mikhail Arkadin but controlled by the disembodied amnesiac mind of Martin Stein.
Fire Elemental
The Firestorm with Arkadin proved to be a transitional phase, as in 1989 Ostrander fundamentally changed the character of Firestorm by revealing that Firestorm was a "Fire Elemental".
Firestorm now became something of an environmental crusader, formed from Ronnie Raymond, Mikhail Arkadin, and Svarozhich, a Soviet clone of the previous Firestorm, but with a new mind. Professor Stein, no longer part of the composite at all, continued to play a role, but the focus was on this radically different character.
New artist Tom Mandrake would create a new look to match. It was during this phase that Firestorm met and befriended Sango and the Orishas, the elemental gods of Nigeria. He also met their chief deity and Sango's older brother Obatala, Lord of the White Cloth.
By the series' 100th issue, Stein learned that he was destined to be the true Fire Elemental and would have been being it not for Raymond also being there by circumstance. Raymond and Arkadin were returned to their old lives, and Stein as Firestorm was accidentally exiled to deep space in the process of saving the Earth. He thereafter spent many years traveling through space as a wanderer, returning to Earth only rarely.
After the transition to the elemental Firestorm, all of the main characters from the series vanished from the comics for some time after the cancellation of the Firestorm comic in 1990.
Raymond eventually returned in the pages of Extreme Justice.
Raymond, at the time undergoing treatment for leukemia, regained his original powers after a chemotherapy session. It took the combined might of the Justice League led by Captain Atom, and the returned elemental Firestorm, to restore Ronnie's health. Firestorm began to appear regularly in a number of DC titles, though lacking the guidance and knowledge necessary to use his skills wisely.
Firestorm was drafted by Batman into a "replacement" Justice League that was commissioned in case something befell the original team (in this case, being stranded in the distant past in "The Obsidian Age" storyline).
After the original team returned, Firestorm stayed on as a reserve member and participated in events such as a team-up with the Justice Society of America (in JLA/JSA: Virtue and Vice) and the intercompany crossover JLA/Avengers. He was also briefly a member of the Power Company.
Jason Rusch
In 2004, DC revived the Firestorm comic for the second time, with writer Dan Jolley and artist Chris Cross, but instead of the original Firestorm, Ronnie Raymond, there was a new protagonist; the teenager Jason Rusch.
Jason was a 17-year-old living in Detroit who wanted nothing more than to escape his home city. He lived with his father, who had turned abusive after he lost his hand in an industrial accident. His mother left the family sometime after the accident.
With the loss of a job he needed for college tuition, Jason turned to a local thug for money, accepting a job as a courier. It was on that job that he encountered the Firestorm Matrix, searching for a new host after Ronnie Raymond's death. In the aftermath, Jason struggled to cope with his new identity and powers—a struggle that led to the death of the man who had hired him.
Jason Rusch / Martin Stein
In the 2006 miniseries Infinite Crisis, it was revealed that Martin Stein, alive in space as the "Elemental Firestorm", had sensed the presence of Jason Rusch within the Firestorm Matrix, but was unaware of Ronnie Raymond's death. When Jason, as Firestorm, was gravely wounded in the line of duty, Stein linked with him in a variation of the merge, promising Jason a new Firestorm body to let him return into battle (although Martin had been unable to save Mick) and asking him about Ronnie's fate.
Accepting Martin's proposal, Jason asked Stein to become the permanent second member of the Firestorm Matrix. Sensing his "errors" (including Mick's death) were the result of his youth and lack of experience, he sought the experience and maturity of Stein. Stein refused at first, but later accepted Jason's request, thus ensuring both a new Firestorm body and the reconstruction of human bodies for both Rusch and Stein.
It was revealed in Infinite Crisis that if the Multiverse had survived up to the present, Jason would have been a native of Earth-Eight.
Jason Rusch / Firehawk
As the storyline jumped ahead one year (and the series itself was now re-titled as Firestorm the Nuclear Man from issue #23 on), Professor Stein has mysteriously vanished, and Jason Rusch has been merging with Firehawk to become Firestorm, allowing him to use her powers as well.
The two decided to look for Stein together. Stein had been kidnapped and tortured by the Pupil, a former teaching assistant of Stein's. Flanked by the D.O.L.L.I.s, a group of cyborg soldiers of limited cognitive ability, the Pupil (formerly known as Adrian Burroughs) questioned the nearly dead Stein about the secrets of the universe.
Jason and Lorraine, along with the mysterious teleporter Gehenna, freed the captured Stein and restored him to full health. Jason is a college freshman at New York City's Columbus University and seems to have ties with Dani Sharpe, a member of the senior staff at LexCorp.
The Firestorm team of Jason and Firehawk made several appearances across the DC Comics Universe before the search for Martin Stein ended. This included dealing with the latest OMAC and teaming up with Superman in the "Back in Action" story arc in Action Comics.
Firehawk later introduced Jason to Pozhar, a Russian superhero who was once a part of the Firestorm Matrix; together, the trio takes on a newly reborn Tokamak. This series ended with Firestorm the Nuclear Man #35 (April 2007).
Jason Rusch / Ronnie Raymond
In the 2009–2010 Blackest Night miniseries, Ronnie Raymond is called by a black power ring to join the Black Lantern Corps. Like other Black Lanterns, the undead Firestorm mimics the personality of Ronnie Raymond, often wisecracking and exhibiting other stereotypical teenage behavior.
In the 2010–2011 Brightest Day miniseries, Ronnie Raymond arrives at Jason Rusch's apartment with Professor Stein and Ray Palmer to attend Gehenna's funeral.
When Ronnie is actually unable to remember Gehenna's name, Jason angrily lashes out and punches him in the face. This causes the two young men to merge into Firestorm, and they begin arguing inside the Matrix.
Palmer manages to separate Jason and Ronnie, but not before the Firestorm matrix causes a huge explosion. It is revealed that Deathstorm intends to create enough emotional instability between Ronnie and Jason that the Matrix will trigger another Big Bang, thereby destroying all life in the universe. Ronnie and Jason must find a way to contain their Firestorm matrix from the explosion in less than 90 days.
After the events of the 2011 Flashpoint storyline, The New 52 reality altered Firestorm's personal history to the point of it being completely restarted. Ronnie Raymond is now introduced as a high school senior and the captain of the football team. During a terrorist attack on their school, classmate Jason Rusch produces a vial given to him by Professor Stein, which contains the "God Particle", one of Stein's creations.
The God Particle transforms both Jason and Ronnie into Firestorm, and the two teens briefly battle each other before accidentally merging into a hulking creature known as the Fury.
Sharing the identity of Firestorm, with Ronnie being the brawn and Jason being the brains, Firestorm is considered for recruitment into the Justice League along with several other heroes.
DC Rebirth
In the Watchmen sequel Doomsday Clock, Firestorm becomes a subject of controversy after claims arise stating that he was created by the American government. Firestorm profanely denounces the "Superman Theory" and insults his Russian counterpart Pozhar, much to the dismay of Martin Stein.
Firestorm subsequently becomes embroiled in a fight with several Russian superheroes before appearing to inadvertently turn a crowd of civilian protesters into a glass (a feat previously deemed beyond his capabilities). Firestorm flees with the body of an affected child and is found in hiding at the Chernobyl Nuclear Power Plant in Ukraine by Superman.
With Superman's encouragement, Firestorm returns the child to normal. Firestorm and Superman return to the affected crowd and are engaged by the Russian military. The area then becomes engulfed in an explosion of blue light. Subsequent discoveries reveal that the 'Superman Theory' is actually partially correct, as Stein deliberately engineered the creation of Firestorm to make himself a superhuman, even if Raymond genuinely had no idea of this until recently.
Powers and abilities
Firestorm has the ability to rearrange molecular or particle structures of any substance into most anything else, creating different atomic structures of equal mass. He can transmute the basic composition of an object (e.g., transmuting lead into gold) and can also change its shape or form at will. Much like Green Lantern's limitations, Firestorm can only create items whose workings are understood by the "driver" of the Firestorm Matrix, through he can make more complex sentient constructs out of the Matrix's energies. Unlike Green Lantern's creations, Firestorm's alterations are permanent unless he reverses them.
Initially, he could not affect organic matter without painful, even lethal, feedback (i.e., fatal biophysical disruption or even localized particle motion phenomena like extreme changes in the weather). It was later revealed that Firestorm could always change organic matter, but opted not to. As Jason Rusch became Firestorm, however, this weakness appeared to have dissipated. With old and new variations, the organic limitation does not extend to his own person, as its users can molecularly change their driver self at will, allowing them to regenerate lost or damaged bodily tissue, boost immune systems, shape-shift, increase physical capabilities and survive indefinitely without food, sleep, water or air.
Capacities as such produce superhuman levels of strength, durability, stamina and resistance to injury great enough to challenge the New Gods—the likes of Orion, Lashina, or an empowered Kalibak—or surviving the rigors of outer space and sitting near the inner corona above the sun's photosphere without discomfort.
Firestorm's power has been stated by Prof. Stein to be theoretically infinite, harnessing the spark of creation, the Big Bang itself. However, infinite power runs the risk of burning out its host.
While the Firestorm Matrix can be utilized by a singular host driver—as was the case with Ronnie, Stein, and Rusch—it is not recommended. The Matrix functions best with two people, a pilot and secondary, to comprehend and master it. Martin instructed Rusch on how to study current and potential powers available to them within the Matrix and to manually adjust them on the fly at a later date. Its main source of energy stemmed from the ambient stellar energies of native stars and suns but could also use its co-pilot as a power source, though they will burn out over time and genetically disintegrate if not properly adjusted to its power.
The merging aspect of the Matrix can enable outside fusions which assimilate any inherent abilities these others might possess. However, this can diminish its effectiveness and stability. Rusch has shown he can spontaneously warp himself and others he had previously merged with to his specific location, triggering the neural pathway connection and allowing the gestalt to access each other's knowledge and memories to better utilize Firestorm's capabilities.
Users of the Firestorm Matrix can access a type of ancestral memory from the continuum of past Matrix users, allowing them to access the latest knowledge of the atoms comprising it. This also translates into a form of time-space sight in which the Matrix user can glimpse the past, present, future, and alternate lives of every other Firestorm throughout reality using a collective of subatomic wormholes which exist as a part of the Matrix. This power is too complex to properly control; thus, it has been highly unreliable as an ability.
The driver can fly at supersonic speeds in an atmosphere and reach escape velocities. The driver can also adjust the driver's body's size or pull and enlarge others from the subatomic universe at will, Rusch having once dragged Ray Palmer from his microscopic size to the natural world while on Apokolips. Manipulation of the self at the subatomic level allows the driver to become intangible and pass through solid objects. This allowed Rusch to communicate with John Stewart and sift through his mind telepathically after he had been taken over by the void beast. Firestorm is also adept at absorbing and redistributing radiation or energy both harmlessly and productively (such as in Green Lantern: Circle of Fire #7, having both absorbed Zeta Radiation from Adam Strange's body and repurposed it to turn a universe-destroying quasar back onto itself and absorb the fallout from a massive nuclear detonation).) He can generate destructive or concussive blasts of nuclear energy, through which he can also channel his transmogrification powers.
While the Matrix grants the fusers unique powers, it can also accidentally bestow them on individuals caught in the Matrix by mistake. One example is Nanette Phaedon, wife of the late Allen Phaedon, who gained the ability to change her quantum state for size-shifting and flight by her own will. Following Raymond's resurrection during Brightest Day, Firestorm gained the ability to switch "drivers" between Ronnie and Jason at will; before that, only the active driver was in control, with the dormant consciousness only able to advise the other on what action to take. One of the faults of a Firestorm fusion is that the stronger psyche will have dominance of the Matrix's power, such as when Jason fused with Luis Salvador who overpowered him from the passenger seat of the Matrix.
During The New 52, the Firestorm Matrix could be shared through multiple users at a time. Users could fuse and become stronger, but more unstable. The entity formed between Ronnie and Jason when using the Matrix in tandem created a nuclear being called "the Fury". It was also shown that The Matrix shares a kinship to the Quantum Field in some way, enabling Firestorm users to derive its power for subatomic transmutation and manipulation. Some believe it is key to the fabled God particle theory. Its merging properties can place a large burden on the user; Firestorm runs the risk of reaching critical mass and detonating. At worst, the fusion of too many users in the Matrix could trigger a second Big Bang.
⚡ Happy 🎯 Heroclix 💫 Friday! 👽
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A year of the shows and performers of the Bijou Planks Theater.
Secret Identities:
Ronald Roy "Ronnie" Raymond
Dr. Martin Stein
Dr. Mikhail Denisovitch Arkadin
Jason Thomas Rusch
Publisher: DC
First appearance: Firestorm the Nuclear Man #1 (March 1978)
Created by: Gerry Conway (Writer)
Al Milgrom (Artist)
Explore Jun 9, 2009 #19
Here is an unusual glimpse into a great beauty usually unseen. Most people never notice this delicate, subtle stage of the Coral Vine... as the edges of its 3D hearts begin to open and turn to a translucent pink.
Coral Vine grows in long sprays on hedges and fences here in South Florida. Each spray of dangling hearts ends in curly green tendrils that grab hold and wrap around the next place to grow.
Coral Vine, Antigonon leptopus
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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
=====
Follow my rediscovery of the Hungry Ghosts "Yu Lan" Festival here:
For my past visits to the Hungry Ghosts "Yu Lan" Festival here:
Hungry Ghosts "Yu Lan" Festival
More Chinese Temples images here:
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It is believed that the offerings are being received by the spirits thru inhalation of the smoke that comes out of the burning pile.
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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
=====
Follow my rediscovery of the Hungry Ghosts "Yu Lan" Festival here:
For my past visits to the Hungry Ghosts "Yu Lan" Festival here:
Hungry Ghosts "Yu Lan" Festival
More Chinese Temples images here:
=====
A Haiku Note:
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Photo of Buddha
an expression of calmness
having mindfulness
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"There is no more worldly existence for the wise one who, like the earth, resents nothing, who is firm as a high pillar and as pure as a deep pool free from mud. Calm is his thought, calm his speech, and calm his deed, who, truly knowing, is wholly freed, perfectly tranquil and wise." [Verses 95 and 96; Acharya Buddharakkhita translation.]
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................. 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.
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
The tree is here, still, in pure stone,
in deep evidence, in solid beauty,
layered, through a hundred million years.
Agate, cornelian, gemstone
transmuted the timber and sap
until damp corruptions
fissured the giant's trunk
fusing a parallel being:
the living leaves
unmade themselves
and when the pillar was overthrown
fire in the forest, blaze of the dust-cloud,
celestial ashes mantled it round,
until time, and the lava, created
this gift, of translucent stone.
Neruda
,,, awarded .. www.flickr.com/groups/la_vida_es_un_viaje/discuss/7215765...
How goes the formula of humanity?
Little else but water, thought, and memory.
And as ice transmutes to liquid, then to steam,
We may choose and change states within this shared dream.
Our moods may be storm clouds and vapor our thought,
From nature we descend, with nature we’ve fought.
~Nick Parkison
Diamond Beach, Iceland
Photo collaboration with my husband Nick.
Less commonly known is Hermes' connection to alchemy.
Apollo's gift of the golden caduceus is an important symbol of Mercury's potential for transformation. Hermes is associated with the element mercury, or quicksilver, and its alchemical transmutation from liquid metal into gold is a metaphor of the soul's journey toward psychological and spiritual transformation and wholeness.
(Judith Enovich Zweiman)
七姐暗動凡心，偷到人間與董永結緣。玉帝獲悉此事，強遣已懷身孕的七姐返回天宮。後永勤奮讀書，高中狀元，七姐重臨人間，把孩子交永撫養，從此仙凡永隔。
祭典期間，神公戲演員會扮演“天姬送子”一幕，把人偶送給理事，喻為”添丁帶福“。而扮演”董永“的演員則把官帽送上，喻為”陞官發財“。
During the hungry ghost prayers ritual, there is a section where the Chinese Opera actors will hand over a puppet and a governor's hat to the committee members, giving the symbolic meaning of prosperity and fortune.
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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
=====
Follow my rediscovery of the Hungry Ghosts "Yu Lan" Festival here:
For my past visits to the Hungry Ghosts "Yu Lan" Festival here:
Hungry Ghosts "Yu Lan" Festival
More Chinese Temples images here:
=====
Όλα τελειώνουνε εδώ μέσα στον ήχο μιας χορδής.
Όλα αρχίζουν και πάλι εδώ μέσα στον παλμό της ίδιας μελωδίας.
Κλείνουν τα αυτιά στο κάλεσμα της καρδιάς και θόρυβος καταντάει ακόμη και το γέλιο.
Τρέμουν τα χείλια στο τραγούδι που αρχίζει το ατέλειωτο.
Tα δάχτυλα με μανία τα πλήκτρα ενός πιάνου χτυπούν, να ματώσουν.
Το μαύρο και το άσπρο να γίνουν κόκκινο αίμα, να ανακατευτούν.
Everything ends here in the sound of a string.
Everything begins again, here in the pulse of the same melody.
Ears are closed to the call of the heart, and even laughter sounds like uproar
Lips shudder, singing a neverending song
Fingers the ivories of a piano they hammer, until they bleed
Until black and white transmute into red blood...
Ολόκληρο το κείμενο στο:https://www.wattpad.com/myworks/105735476/write/397490244
神壇前的三支巨香, "請神"儀式後會由當屆總理及長老燃點作為頭注香。
Located in front of the main altar, these giant joss incense will be lighted as the "First Joss Incense" after the Gods are brought to the event.
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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
=====
Follow my rediscovery of the Hungry Ghosts "Yu Lan" Festival here:
For my past visits to the Hungry Ghosts "Yu Lan" Festival here:
Hungry Ghosts "Yu Lan" Festival
More Chinese Temples images here:
=====
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)
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 :)
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
=====
Follow my rediscovery of the Hungry Ghosts "Yu Lan" Festival here:
For my past visits to the Hungry Ghosts "Yu Lan" Festival here:
Hungry Ghosts "Yu Lan" Festival
More Chinese Temples images here:
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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.
Pierre Jean Louis Germain Soulages (French: [sulaʒ]; Occitan: Pèire Solatges; 24 December 1919 – 25 October 2022) was a French painter, printmaker, and sculptor. In 2014, President François Hollande of France described him as "the world's greatest living artist."[1] His works are held by leading museums of the world, and there is a museum dedicated to his art in his hometown of Rodez. Soulages produced 104 stained-glass windows for the Romanesque architecture of the Abbey Church of Sainte-Foy in Conques from 1987 to 1994. He received international awards, and the Louvre in Paris held a retrospective of his works on the occasion of his centenary. Soulages said, "My instrument is not black but the light reflected from the black."[18] Naming his own practice Outrenoir (Beyond Black), the paintings he produces are known for their endless black depth, created by playing with the light reflected off of the texture of the paint. Knowing that he needed a new term to define the way that he worked, Soulages invented 'Outrenoir' to define his practice. Not having a translation into English, the closest meaning is 'beyond black'; in a 2014 interview he explained the definition of the term, "Outrenoir doesn't exist in English; the closest is "beyond black." In French, you say "outre-Manche," "beyond the Channel," to mean England or "outre-Rhin," "beyond the Rhine," to mean Germany. In other words, "beyond black" is a different country from black."[19]
The infatuation Soulages had with black began long before his investigations with 'Outrenoir' at the age of 60.[20] Initially inspired by his interest in the prehistoric [19] and his want of retreating to something more pure, primal and deliberately stripped of any other connotations, he says of his fascination with the colour, "during thousands of years, men went underground, in the absolute black of grottoes, to paint with black."[20] "I made these because I found that the light reflected by the black surface elicits certain emotions in me. These aren't monochromes. The fact that light can come from the colour which is supposedly the absence of light is already quite moving, and it is interesting to see how this happens."[19]
Applying the paint in thick layers, Soulages' painting technique includes using objects such as spoons, tiny rakes and bits of rubber to work away at the painting, often making scraping, digging or etching movements depending on whether he wants to evoke a smooth or rough surface. The texture that is then produced either absorbs or rejects light, breaking up the surface of the painting by disrupting the uniformity of the black.[21][22] He often used bold cuts in vertical and horizontal lines, the crevasses and forms created by using angles and contours. In his recent work from 2013 to 2014, Soulages began to explicitly vary the pigment used in the paint, mixing matte and glossy types of black as well as hardened densities of black pigment.[23] Preferring to suspend the paintings like walls, he uses wires to hang them in the middle of the room, "I always liked paintings to be walls rather than windows. When we see a painting on a wall, it's a window, so I often put my paintings in the middle of the space to make a wall. A window looks outside, but a painting should do the opposite—it should look inside of us".[19]
Instead of having titles, Soulages paintings are uniformly named as "Peinture" (transl.: Painting), followed by size and date of production.[7] 17 December 1966 from 1966, in the collection of the Honolulu Museum of Art demonstrates the artist's boldly brushed black on white canvases.[24] His works had to be hung without frames in exhibitions. en.wikipedia.org/wiki/Pierre_Soulages. an insistent dichotomy. Nothing happens in Soulages' painting, while it does in Marfaing's. I want to tell you: Just look! I would go so far as to dare to say that here, Soulages doesn't push himself. We can't say anything about that. On the other hand, once again, in Marfaing's painting, it's a different tune. We feel that something is happening (or in the plural). In 1985, but this is a hypothesis (I do not have all of Soulages' work at my disposal), Soulages began to dig into the painting, that is to say to sculpt it, which, very soon, would give rise to real furrows of paint, increasingly thick, deep, earthy; in which, oh miracle of the unexpected!, the light would come to vibrate with an infinity of values and tones, transmuting the initial black material into something else, which, until then, had never been seen or envisaged; and there the true Soulages "begins", that is to say, his genius - and I am speaking here of the genius of invention; for that is also what genius is. art-icle.fr/andre-marfaing-etait-il-meilleur-peintre-que-.... The Strange Mystery of the Dripping Soulages
Paint that becomes liquid again... This is the bizarre, still unexplained phenomenon affecting several Pierre Soulages paintings dating from the late 1950s. A team of CNRS researchers has investigated. You can share an article by clicking on the share icons in the top right corner.
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Pierre Soulages' paintings flow. They melt. This phenomenon affects the canvases of the very late 1950s, inspired by American painting, the most beautiful, gestural, and subtly colored, and not the black and repetitive monochromes of the last forty years, mostly painted in acrylic. In reality, this sudden fantasy of the medium, unprecedented in the history of art, also affects paintings by other artists painted during the same period. Those of the Americans Willem de Kooning and Joan Mitchell, the Dutchman Karel Appel, the Canadian Jean Paul Riopelle, or the Frenchmen Georges Mathieu and André Marfaing. All have in common the fact that they lived in Paris at the same time, purchased from the same color dealers, and saw their works exhibited as soon as they were finished. In order to elucidate this mystery, a scientific team from the CNRS has therefore examined the works of Pierre Soulages, preserved at the Musée des Abattoirs in Toulouse. www.telerama.fr/sortir/l-etrange-mystere-des-soulages-qui...
My first entry for RogueTitan's contest.
The mysterious Vapourlock was a successful thief who was saved from the police by Captain Cold, who recognized her potential. Ever since, she has felt a deep loyalty to Cold, and has joined the Rogues to show her gratitude.
Her powers allow her to transmute gases, turning the air toxic, or purifying it. She can also use this to create pockets of denser gases under herself and others, mimicking flight.
Let me know what you think of her in the comments!
Shadow Work in the Gospels
Father Richard describes Jung’s concept of the shadow and how it is present in Jesus’ teachings.
The ego wants to eliminate all humiliating or negative information in order to “look good” at all costs. Jesus calls this self an “actor,” a word he uses fifteen times in Matthew’s Gospel, though it is usually translated from the Greek as “hypocrite.” The ego wants to keep us tied to easy and acceptable levels of knowledge. It does not want us going down into the “personal unconscious” or, in Jung’s term, our “shadow self.” The shadow includes all those things about ourselves that we don’t want to see, are not yet ready to see, and don’t want others to see. We try to hide or deny this shadow, most especially from ourselves.
Jung asks: “How can I be substantial if I fail to cast a shadow?” [1] He makes clear that the unconscious is not bad or evil; it is just hidden from us. Jung describes shadow also as “the source of the highest good: not only dark, but also light; not only bestial, semi-human and demonic, but superhuman, spiritual” [2] and, in Jung’s word, “divine.” That is why we dare not avoid the deep self. Wild beasts and angels reside in the same wilderness, and it takes the Spirit to “drive” us there (see Mark 1:12–13).
The more we are attached to any persona, bad or good, any chosen and preferred self-image, the more shadow self we will have. We absolutely need conflicts, moral failures, defeats to our grandiosity, even seeming enemies. These are necessary mirrors, or we will have no way to ever spot our shadow self. Even if we only catch a glimpse of such shadows, that may offer graced insight and a moment of inner freedom.
Jesus seems to precede Jung and modern depth psychology by two thousand years when he says, “Why do you observe the splinter in your brother’s eye and never notice the plank in your own? How dare you say to your sister or brother, ‘Let me take the splinter out of your eye’ when all the time there is a log in your own? Take the log out of your own eye first, and then you will see clearly enough to take the splinter out of your brother or sister’s eye” (Matthew 7:4–5).
Note that Jesus does not just praise good moral behavior and criticize immoral behavior, as a lesser teacher might. Instead, he talks about something caught in the eye. He knows that if we see rightly, our actions and behaviors will eventually take care of themselves. God wastes nothing and includes everything. The God of the Bible is best known for transmuting and transforming our shadow selves into our own more perfect good. God brings us—often through failure—from unconsciousness to ever-deeper consciousness and conscience. I doubt if there is any other way. All the rest is mere self-validation.
-[1] C. G. Jung, Modern Man in Search of a Soul (Harcourt, Brace and Company: 1933), 40.
[2] C. G. Jung, The Practice of Psychotherapy: Essays on the Psychology of the Transference, and Other Subjects, trans. by R. F. C. Hull, 2nd ed. (Princeton University Press: 1976), 192.
Adapted from Richard Rohr, Things Hidden: Scripture as Spirituality (St. Anthony Messenger Press: 2008), 75–76; and
Richard Rohr, Breathing Under Water: Spirituality and the Twelve Steps (Franciscan Media: 2001, 2021), 31–33.
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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
=====
Follow my rediscovery of the Hungry Ghosts "Yu Lan" Festival here:
For my past visits to the Hungry Ghosts "Yu Lan" Festival here:
Hungry Ghosts "Yu Lan" Festival
More Chinese Temples images here:
Winter ineffably attunes the senses. Cold culls bright colors of previous seasons, leaving the hungry eye to find pleasure in sublimely nuanced red and green complements. All the while 11 bald eagles chatter to one another as they disperse this year's salmon nutrients back to the soil, transmuting red to green.
léasung æt þæs ceorlfolc.
Per cognitionem rerum gestarum rationalizing,
Synthese dramatisch speziell Scharlatanerie Gleichgültigkeit Unmoral Lügen,
vêtements abusent flottant leçons révélées,
επιστημονικών συνεργατών παράλογη αισθήσεις επιφάνεια,
deacrachtaí gaolmhara cialla seicheamhú amhrasach cinn,
爽快な知性臨時イデオロギーレポート,
cyfnodau cymhlethdod hanfodol cyfeirio labeli wedi'u plicio,
logiske henvendelser veltalende formuleringer fullført,
măsuri discutabile Instituționalizarea sistematic de renume,
culturele principes vegen principes rottend,
miltiplikasyon déployer sosyete enkyetid endefinisabl rasin gwo twou san fon,
στοχαστές ανησυχίες εκδηλώνεται υπέστη ισχυρισμούς λείπει,
analoog taalkundige absoluten dualistische vorsten verklaren,
nedbrutte forestillinger moderne impresjonistiske irreducible detaljer flyttet,
sensibilmente meccanica determinismo sostenuto enumerazioni cambiato,
formulations collectives perpétuant immenses contes offerts,
transmuted consciousness modern leaders enchained all.
Steve.D.Hammond.
Mercury was known to the ancient Chinese and Hindus, and was found in Egyptian tombs that date from 1500 BC.[citation needed] In China, India and Tibet, mercury use was thought to prolong life, heal fractures, and maintain generally good health. China's first emperor, Qin Shi Huang Di — said to have been buried in a tomb that contained rivers of flowing mercury, representative of the rivers of China — was driven insane and killed by mercury pills intended to give him eternal life. The ancient Greeks used mercury in ointments and the Romans used it in cosmetics. By 500 BC mercury was used to make amalgams with other metals. The Indian word for alchemy is Rasavātam which means ‘the way of mercury’. Alchemists often thought of mercury as the First Matter from which all metals were formed. Different metals could be produced by varying the quality and quantity of sulfur contained within the mercury. An ability to transform mercury into any metal resulted from the essentially mercurial quality of all metals. The purest of these was gold, and mercury was required for the transmutation of base (or impure) metals into gold as was the goal of many alchemists.
Hg is the modern chemical symbol for mercury. It comes from hydrargyrum, a Latinized form of the Greek word `Υδραργυρος (hydrargyros), which is a compound word meaning 'water' and 'silver' — since it is liquid, like water, and yet has a silvery metallic sheen. The element was named after the Roman god Mercury, known for speed and mobility. It is associated with the planet Mercury. The astrological symbol for the planet is also one of the alchemical symbols for the metal (above left). Mercury is the only metal for which the alchemical planetary name became the common name.
Source : Wikipedia
Instead of statues, these temporary event that lasts for about 3 - 5 days, carried the copper incense burners from the temples as a symbolic representation of the Gods respectively:
- 天地父母 Gods of Heaven and Earth
- 南辰北斗 Gods of Spiritual Realm
- 諸位福神 Gods of Blessings
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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
=====
Follow my rediscovery of the Hungry Ghosts "Yu Lan" Festival here:
For my past visits to the Hungry Ghosts "Yu Lan" Festival here:
Hungry Ghosts "Yu Lan" Festival
More Chinese Temples images here:
=====
=====
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
=====
Follow my rediscovery of the Hungry Ghosts "Yu Lan" Festival here:
For my past visits to the Hungry Ghosts "Yu Lan" Festival here:
Hungry Ghosts "Yu Lan" Festival
More Chinese Temples images here:
The Guild (only name it has been addressed) is a cabal originating from Japan. It has existed since the Edo period, consisting of assassins who have served the group for more than a thousand years.
About two hundred years before the rise of superhumans in the 23rd century, the decision by the cabal’s sole leader abolished the council table, seeking to rule as one, as well as to spread the Guild throughout the rest of Asia exclusively, which was a success.
40 years prior to the events of today, Igarashi, a high ranking member, was elected to take the Guild. Unbeknownst and unfortunately to most, he sought power greedily, trying to take over the Guild and reshape it in his own image, with the belief of a red katana, a legendary weapon that would unite the group as a whole. He enforced his rules that was akin to dictatorship, which gained him a lot of followers. He managed to recruit top lieutenants throughout his career, including Dusksmoke, whom he raised as a young protege.
But when the battle between Paladin and the Spectres broke out, the Guild got indirectly involved in the fight. Due to their independent status, Igarashi forbid contact with any agency, which could result in permanent exile as punishment. After creating a ploy to wipe out those who opposed him and his endless search for the red katana, those actions would lead to his downfall, and eventually gain the re-election of one of Igarashi’s former right hand men, Oddcrow.
As of concurrently, Oddcrow leads the Guild, also keeping allied ties with Paladin, much due to him and Dusksmoke’s relationship after his defection from the former. Despite this, the Guild still keeps a neutral stance and is rebuilding the lost guild. The red katana is kept in safe storage, protected by the likes of many.
Members:
Igarashi (former leader, currently exiled to an island.) Japanese. In his 70s. No powers, but gained brief energy generation and absorption after attempting to draw the red katana’s powers. Known to be cold and cruel, manipulative.
Oddcrow (current leader.) Mexican-American, in his early to mid 40s. Powers include levitation, allowing him to float but unable to fly. Able to control wood, but rarely uses that power. Also a master engineer and talented mentor. He is known to be a guiding leader, hardworking, supportive and sometimes strict.
White Ninja/Nakamura (former agent and enforcer, removed from ranks due to misconduct and reckless behaviour.) Japanese. Age unknown, but is an adept fighter in swords and has cybernetic implants. Deadly killer. Has a calm demeanour, studies his surroundings well.
Rattlesnake (high ranking assassin, close right hand man of Igarashi.) American. Age unknown, presumably 30s, brutal killer. Possesses hooks and guns, along with a toxic gas that can poison or corrode things. Known to be very aggressive, arrogant under the mask. Tendency to insult others/being insulted and easily provoked.
Jumpdeath (high ranking assassin, left hand woman and protector of the guild leader.) Korean. Age unknown. Has a bow and arrow and three pairs of handguns. Can transmute into a solid, silver form which grants her super strength and can stretch into weapons. Loyal, eccentric.
Diremorph (top tier sniper and gang manager.) Native American. In her 20s, known for teleporting in and out, along with her preferred choice of UZIs. Very sarcastic, demanding, deceitful in negotiations or tricking others to her own demands.
Bronze Butcher (former enforcer and squad general). Belgian. In his 40s, possesses high cybernetic weapons, including armed blades, shoulder cannons and taser sticks. Fearless, dashing, somewhat scornful.
Spinebreaker (former brute, executioner.) Nationality and age unknown, possesses deadly claws, strong armour and a scary presence, also a pilot. Quiet killer without many words, beastly.
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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.
The story of Zircon Crystals and Earth's age in a Nutshell.
How tiny Zircon Crystals - Zirconium silicate (ZrSiO4) helped determine the age of the Earth (at approximately 4.5 Billion years old since the crust cooled), with Radiometric U-Pb (Uranium-Lead) dating.
Zircon Crystals trap Uranium Atoms in its crystal structure and naturally repel Lead Atoms when the crystal forms. Once the crystal structure is formed, nothing is able to escape. Over time the isotopes of Uranium start to transmutate into other elements in a process that is referred to as a decay chain.
An Uranium Atom first transmutates into a Thorium Atom (which takes a few billion years). Thorium is far more unstable, and in less than a month it turns into Protactinium. Within a minute Protactinium Atoms transmute again, and so the transmutation continues down the decay chain. At the end of the radioactive decay chain, the initial trapped Uranium Atoms finally decays into stable Lead (Pb) Atoms, which will remain Lead forever. The decay rate and time associated with each transmutation is constant in the Universe, which makes it possible to calculate the age of the crystal with Radiometric dating.
As Zircon Crystals are tough, it is the oldest geological time-capsules that survived in Earth's dynamic and ever-changing crust since it cooled. As nothing can get in or out of the Zircon Crystal structure, it is the most accurate way of geological dating.
By comparing the Uranium to Lead ratio in Zirconium silicate crystals on Earth, from Moon samples and from visiting Meteorites, Scientists were able to calculate that the Earth is 4.54 billion years old. The error margin is 50 million years, which is small considering the time-scale.
The background history of Radiometric dating:
In 1896 Henri Becquerel and Marie Curie discovered that certain isotopes undergo spontaneous radioactive decay, transforming into new isotopes. Atoms of a parent radioactive isotope randomly decay into a daughter isotope. Marie Curie won a Nobel Prize in Physics and Chemistry for her work.
About Lead:
The spin-off from trying to date the Earth by finding the Uranium to Lead ratio in Zircon crystals, was that the Scientist Clair Patterson discovered the unusually high amount of toxic Lead in the environment when he tried to analyse the Zircon in a Mass Spectrometer. This was due to the widespread use of Lead-based fuel, Lead-based paint, etc.
Our bodies require metals like Iron in the blood to transfer Oxygen through the body. The body is fooled and assumes that Lead is a good metal, but Lead not only destroys cells, but also blocks the signals of Neuroreceptors in the Brain.
After a lifetime of persistence and mounting evidence, Clair Patterson eventually won the case against the large Oil Companies that tried to discredit his findings. Since then the widespread use of Lead in everyday products were banned (which is why we now use unleaded fuel to power our vehicles).
Interesting reading:
More about isotopes and the Radiometric dating process.
en.wikipedia.org/wiki/Uranium_lead_dating
earthsky.org/earth/this-zircon-crystal-is-the-oldest-piec...
en.wikipedia.org/wiki/Nuclear_transmutation
en.wikipedia.org/wiki/Radiometric_dating
en.wikipedia.org/wiki/Decay_chain
Thank you to Sumarie for letting photograph her beautiful Zircon Crystal specimen.
Photo usage and Copyright:
Medium-resolution photograph licensed under Creative Commons Attribution-NonCommercial-NoDerivatives 4.0 International Terms (CC BY-NC-ND 4.0). For High-resolution Royalty Free (RF) licensing, contact me via my site: Contact.
Martin
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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
=====
Follow my rediscovery of the Hungry Ghosts "Yu Lan" Festival here:
For my past visits to the Hungry Ghosts "Yu Lan" Festival here:
Hungry Ghosts "Yu Lan" Festival
More Chinese Temples images here:
=====
白米被喻為五穀之首， 賦有天地靈氣之物。所以在盂蘭祭典中扮演重要腳色。
這頭紅色的馬可以在很多祭典中見得到， 牠肩負著向天庭報告的責任。當儀式圓滿結束後” 神馬” 會被火化，帶這經文與願望報告上天。
White rice is deemed as a "spiritual element" and is widely used in the Yu Lan Festival.
This red horse is often seen at many Chinese prayer ceremony, it carries the duty of a messenger, to report to the Heavenly Gods regarding the ceremony, including the prayers and well wishers from the worshipers.
The grass by the legs of this paper horse will be brought back by the committee members, it is believed to bring upon good luck.
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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
=====
Follow my rediscovery of the Hungry Ghosts "Yu Lan" Festival here:
For my past visits to the Hungry Ghosts "Yu Lan" Festival here:
Hungry Ghosts "Yu Lan" Festival
More Chinese Temples images here:
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慈航普度，佛教用語，指的是佛祖慈愛，普度眾生。
盂蘭節的本意，就是普渡眾生，行善者通過誦經，行善施食。
The fundamental purpose of the Hungry Ghost Festival is to provide salvation to those who has passed, relieving them from suffer through prayers.
Seen here, the words "慈航普度" means providing salvation through acts of kindness.
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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
=====
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:
Hungry Ghosts "Yu Lan" Festival
More Chinese Temples images here:
Caves & Temples
=====
Without a doubt, we’re returning to the fort after a lengthy battle. It actually took me less than half an hour to get the bombs disabled, phew. And I guess the city went on lockdown for it, thanks to Jesse and Gary helping citizens to evacuate. It's just Tokyo thankfully, and just parts of the suburbs. Must be tough as well to do something like that.
I can’t tell if I’m a crazy old man or not, but a guy literally chasing after a sword like that seems too much. It's like a weird story that was so nonsensical yet it also made sense. After we get our duties done, we quickly assemble as a united team, with each other at the fort the old bastard has made, and some of the cops already started to shoot the guild ninjas. I decide to provide assistance by manipulating the metal, causing their swords to extrude, wrapping them up.
Kurt: “So Avalon Squad, you ready to break in?”
Harry: “Yeah, sure. I’ll get everyone invisible. Erin, you do your thing.”
Erin: “Alright. Let me use the execute program to take down the sentries first. Here goes nothing, shadowgirl...”
Thanks to some of our tech geniuses, we manage to take down the shields and the defences. It was actually pretty quick. Then a couple more stairs up. (no elevators, that’s interesting for a high tech dojo). By the time we reach the main office, I see Igarashi fighting Oddcrow, who are locked with swords with each other.
Connor: “No!”
Oddcrow: “I told you not to come....I realised I had to finish this beast of a man....he will be executed.”
Connor: “But this isn’t your fight.”
Oddcrow: “It might be....I’m sorry.”
Connor: “I can’t afford to lose another friend.”
As Dusksmoke whips his staff, a surge of energy blows everyone back. It is seemingly Igarashi, his eyes now a flare of dark black, even worse than Erin’s shadow powers. He looks corrupted.
Igarashi: “You are too late, Connor Arden. You cannot save your friends. Say sayonara while it lasts....”
Connor: “What do you mean?”
Igarashi: “You think I still need the katana? No. It is useless now. I now have the highest form of power, and all of you are unmatched for my power.”
Rattlesnake: “Not until I get my rematch first, sensei.”
Jumpdeath: “I’ll end these scum for you as well.”
More assassins surround us, because it’s obviously a trap this son of a gun laid on us. Rattlesnake is the first to try spraying toxic gas with his powers, while Jumpdeath transmutes into a solid silver form. All for sure with these enemies, we’ll likely die from poisoning in a matter of minutes.
Harry attempts to go invisible, but he is caught by Jumpdeath’s fists, punching him out. Sam and Riley start clashing with a now mad Igarashi, so he’s on a 1v3 mode. Ty, Jesse and Gary create a field together, trying to block the gas out. It’s starting to work, but I didn’t know that slithery bastard had acid powers, goddamnit. Erin launches her axe as a tomahawk, chopping off the heads of two incoming ninjas who’s coming at my back.
Kurt: “Thanks. I love your new powerset, very cool indeed. This old man's gotta learn the younger ones."
Erin: “Naw, don’t thank me yet. Still gotta diffuse the gas, remember? We’re living bombs.”
Kurt: “Oh right. Earthnerve, absorb the floor! We need you going up against that crazy lady!”
Lyra: “Oui! Here we go!”
Lyra absorbs the wall, causing her increased resistance. She punches headfirst into Jumpdeath, who tries to launch her arrows at us. They start engaging in CQC, both locked in.
With everyone occupied, I use the dropped katana and hook it to my back. I shout to Jesse for an electric boost, which he does so while at bay. I concentrate, trying to morph the sword into a liquid form, but it doesn’t work. Nevertheless, they still try....guess it’s all heated up now.
Kurt: “Gentlemen, what if we charged up the sword? It can’t lose power like that!”
Ty: “Yeah sure, not when I’m busy!”
Gary: “My chi’s too focused against Rattlesnake. He’s gonna breach our shield!”
Kurt: “I have two absorption bombs. Exosage, I need a bigger hole than that!”
Erin: “Sure....on a count of three, follow my lead....”( she struggles to open a bigger one, given the mass proportion and short distance, I shoot the blast through the portal, while it comes on the other side, hitting Rattlesnake.)
He is enraged from the sudden attack, having his eyes focused on me now. I give a quick smirk, then throwing my absorption bomb through the portal. It consumes the gas that Rattlesnake generated, causing him to weaken. Gary finally gets his foot steady, knocking him out with a Chi punch.
Meanwhile, Lyra is still busy fighting, but I’m not sure if she can take it further. Her suit is already damaged from the prolonged attacks. I decide to get a serum, extracted from the unconscious Rattlesnake, and load it into my pistol. Firing quickly, the acid needle hits Jumpdeath in back of her left shoulder, as her “skin” starts corroding. She screams in agony and pain, now trying to blindly attack Lyra, but she fails to do so—-eventually jumping out the building due to the corrosion. Phew, I guess that’s two left....huh?
Igarashi: “You maybe done with my army, but I alone—-am more powerful than any of you here! Now, taste this, filths!”
And the sounds of metal clanking goes into a quick flash of white light.
Still working on her as part of my Fleetwood Mac Inspired angels.
Love and Peace are a state of mind.
This one is based on "Rhiannon". This outlet of art (well, maybe it's just the paint fumes he he) and music heal me.
💟
18x24 Oil on Panel Board
"Love's a State of Mind"
Inspired by:
Fleetwood Mac's Rhiannon
Rock-n-Soul Angel
￦A￦
My recent lesson involving my own soul's journey and cancer crisis obverted, in part, over the past year:
Numbing toxins of any sort halts the soul's progression. Soul progression can be excruciating. Feel it to get past it instead of repeats of the lesson crashing harder--speed progression if the soul wants the inevitable--the liberation of fears that will transmute to heaven (not everyone's journey, but if it is yours--you know it). None the less--May love always find it's way to your heart, mind, body, and soul in any capacity that is for the greater good of you. This I will pray, and hold in my heart.
Today marks 57 days without Prince. 💟
Love's a State of Mind.
I watch you suffer a dull aching pain. No swift exits could make me feel bitter--at least after I calm down my ego and put it in check.
A woman taken by the wind
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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.
Name: Nina Stetson
Alias: Graffiti Girl
Abilities: Can control paint and create constructs out of paint, as well as bring graffiti to life
Origin: Nina was a somewhat well known graffiti artist called “No-Man” who would constantly paint anti-hero propaganda, as she believed that these so called heroes were merely people who thought they were above the law and above normal citizens. Nina’s life would change one night when she was almost caught by the law, and she ran into the hero Isotope. Isotope used her abilities to explode Nina’s spray paint cans, but due to Isotope’s transmutation, the paint affected by the explosion was melded with Nina’s genealogy. While in prison, she used graffiti within the prison to escape, painting an explosion on the wall which she brought to life, blowing the wall apart, releasing Graffiti Girl onto the city.
I dated a woman (who was several years into a PhD in philosophy) recently who was adamant in her belief that photography, the very art itself, was a mortifying act.
I was adamant in my disagreement...but it's taken me months to fully realize Why.
Lauren and I hung out yesterday for the first time in years, took pictures of each other, reminisced, caught each other up on the goings-on of old internet friends...and it hit me.
Photography doesn't freeze a moment "to death". It transmutes a moment into art.
It makes of a moment in time a trigger for memory, for emotion. A photograph is a catalyst for experience.
I look at the pictures I took of Lauren ten years ago, when we first met, and a flood of memories follow. The excitement I felt when I first met her, the feeling of comfort after hanging out with her for a few weeks, that sense I'd bumped into someone who saw photography's relationship with the internet the same way I did.
Those moments are no more mortified by the photos than they are by the fact that those moments no longer exist, have been swept away by the relentless motion of time itself.
A photograph is also a visual dialogue. This image is in conversation with those pictures from ten years ago. What has changed about Lauren? In her face, in her bearing, in what she shows a camera.
(There is, of course, the challenge of capturing those changes, that growth, but that's really a topic better left for another photo)
Looking at photos from back then next to the ones I took yesterday, volumes are spoken.
All that aside, the most important thing I can impart: never get into a disagreement with someone getting a PhD in philosophy. Like wrestling a bag of snakes...from inside the bag.
A Turaga of Plantlife, as twisted in spirit as in body. After a mishap with a Mask of Elemental Transmutation that resulted in much of Kensigh's body becoming wood and bark, he was forced to retire as a Toa and take up residence in a small Bo-Matoran trading settlement as their Turaga. Time has only added to his bitterness. He now wears a noble Mask of Paralysis that has been mostly fused with his plant-like body.
Turaga Onewa was cool and all (he actually passed Onuku as the third most popular MOC in my gallery), but I wanted to do something a bit more original with Rey's cloth, and I just really, really like Umarak's mask. I'm just having so much fun with all these new 2016 parts.
猶如燈塔，這燈籠可以說是普渡燈，用意在於指引好兄弟方向，讓鬼魂能夠靠著燈篙找到方位，來到祭典會場。據說法會規模越大，供品越多，燈籠就掛得越高。
This lantern is called the Light of Summon, day and night, sending invitation to the spiritual "good brothers" from far to join this salvation ceremony, the higher it hangs on the bamboo, the further it will summon and relatively, more oblation materials are to be prepared.
Therefore, the scale of the ceremony can be seen through the height of this lantern.
=====
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
=====
Follow my rediscovery of the Hungry Ghosts "Yu Lan" Festival here:
For my past visits to the Hungry Ghosts "Yu Lan" Festival here:
Hungry Ghosts "Yu Lan" Festival
More Chinese Temples images here:
=====