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God created the world out of nothing; this is the teaching of the Semitic theologies, and by it they answer the following difficulty: if God had made the world out of a preexisting substance, that substance must be either itself created, or else Divine. The creation is not God, it cannot therefore emanate from Him; there is an unbridgeable hiatus between God and the world, neither can become the other; the orders of magnitude or of reality, or of perfection, are incommensurable.
The main concern of this reasoning is not a disinterested perception of the nature of things, but the safeguarding of a simple and unalterable notion of God, while making allowance for a mentality that is more active than contemplative. The aim is therefore to provide, not a metaphysical statement that does not engage the will or does not appear to do so, but a key notion calculated to win over souls rooted in willing and acting rather than in knowing and contemplating; the metaphysical limitation is here a consequence of the priority accorded to what is effective for the governing and saving of souls. That being so, one is justified in saying that Semitic religious thought is by force of circumstances a kind of dynamic thought with moral overtones, and not a static thought in the style of the Greek or Hindu wisdom.
From the point of view of the latter, the idea of emanation, in place of creatio ex nihilo, in no way compromises either the transcendence or the immutability of God; between the world and God there is at once discontinuity and continuity, depending on whether our conception of the Universe is based on a scheme of concentric circles or on one of radii extending outward from the center to the periphery: according to the first mode of vision, which proceeds from the created to the Uncreated, there is no common measure between the contingent and the Absolute; according to the second mode of vision, which proceeds from the Principle to its manifestation, there is but one Real, which includes everything and excludes only nothingness, precisely because the latter has no reality whatsoever. The world is either a production drawn from the void and totally other than God, or else it is a manifestation "freely necessary" and "necessarily free" of Divinity or of Its Infinitude, liberty as well as necessity being Divine perfections.
As tor the contention that the creationist concept is superior to the so-called emanationist or pantheistic concepts because it is Biblical and Christ-given, and that the Platonic doctrine cannot be right because Plato cannot be superior either to Christ or the Bible, this has the fault of leaving on one side the real fundamentals of the problem.
First, what is rightly or wrongly called "emanationism" is not an invention of Plato, it can be found in the most diverse sacred texts; second, Christ, while being traditionally at one with the creationist thesis, nevertheless did not teach it explicitly and did not deny the apparently opposed thesis. The message of Christ, like that of the Bible, is not a priori a teaching of metaphysical science; it is above all a message of salvation, but one that necessarily contains, in an indirect way and under cover of an appropriate symbolism, metaphysics in its entirety. The opposition between the Divine Bible and human philosophy, or between Christ and Plato, therefore has no meaning so far as the metaphysical truths in question are concerned; that the Platonic perspective should go farther than the Biblical perspective brings no discredit on the Bible, which teaches what is useful or indispensable from the point of view of the moral or spiritual good of a particular humanity, nor does it confer any human superiority on the Platonists, who may be mere thinkers just as they may be saints, according to how much they assimilate of the Truth they proclaim.
For the Platonists it is perfectly logical that the world should be the necessary manifestation of God and that it should be without origin; if the monotheistic Semites believe in a creation out of nothing and in time, it is evidently not, as some have suggested, because they think that they have the right or the privilege of accepting a "supralogical" thesis that is humanly absurd; for the idea of creation appears to them on the contrary as being the only one that is reasonable and therefore the only one that is capable oflogical demonstration, as is proved precisely by tlfe method of argumentation used in theology.
Starting from the axiom that God created the worldout of nothing, the Semites reason thus, grosso modo: since God alone has Being, the world could not share it with Him; there had there fore to be a time when the world did not exist; it is God alone who could give it existence. On the religious plane, which so far as cosmology is concerned demands no more than the minimum necessary or useful for salvation, this idea of creation is fully sufficient, and the logical considerations which support it are perfectly plausible within the framework of their limitation; for they at least convey a key truth that allows a fuller understanding of the nature of God, as it is pleased to reveal itself in the monotheistic religions.
More than once we have had occasion to mention the following erroneous argument: if God creates the world in response to an inward necessity, as is affirmed by the Platonists, this must mean that He is obliged to create it, and that therefore He is not free; since this is impossible, the creation can only be a gratuitous act. One might as well say that if God is One, or if He is a Trinity, or if He is all-powerful, or if He is good, He must be obliged to be so, and His nature is thus the result of a constraint, quod absit.
It is always a case of the same incapacity to conceive of antinomic realities, and to understand that if liberty, the absence of constraint, is a perfection, necessity, the absence of arbitrariness, is another.
If, in opposition to the Pythagorean-Platonic perspective, the concept is put forward of an Absolute which is threefold in its very essence, therefore devoid of the degrees of reality that alone can explain the hypostatic polarizations - an Absolute which creates without metaphysical necessity and which in addition acts without cause or motive - and if at the same time the right is claimed to a sacred illogicality in the name of an exclusive "Christian supernaturalism'', then an explanation is due of what logic is and what human reason is; for if our intelligence, in its very structure, is foreign or even opposed to Divine Truth, what then is it, and why did God give it to
us? Or to put it the other way round, what sort of Divine message is it that is opposed to the laws of an intelligence to which it is essentially addressed, and what does it signify that man was created "in the image of God"?
[According to Genesis "God created man in his own image" and "male and female created He them." Now according to one Father of the Church, the sexes are not made in the image of God; only the features that are identical in the two sexes resemble God, for the simple reason that God is neither man nor woman. This reasoning is fallacious because, although it is evident that God is not in Himself a duality, He necessarily comprises the principia! Duality in His Unity, exactly as He comprises the Trinity or the Quaternity; and how can one refuse to admit that the Holy Virgin has a prototype in God not only as regards her humanity but also as regards her femininity?]
And what motive could induce us to accept a message that was contrary, not to our earthly materialism or to our passion, but to the very substance of our spirit? For the "wisdom according to the flesh" of Saint Paul does not embrace every form of metaphysics that does not know the Gospels, nor is it logic as such, for the Apostle was logical; what it denotes is the reasonings whereby worldly men seek to prop up their passions and their pride, such as Sophism and Epicureanism and, in our days, the current philosophy of the world. "Wisdom according to the flesh" is also the gratuitous philosophy that does not lead us inwards and which contains no door opening on to spiritual realization; it is philosophy of the type of"art for art's sake” which commits one to nothing and is vain and pernicious for that very reason.
The incomprehension by theologians of Platonic and Oriental emanationism arises from the fact that monotheism puts in parenthesis the notion, essential metaphysically, of Divine Relativity or Maya; 3 it is this parenthesis, or in practice this ignorance, which inhibits an understanding of the fact that there is no incompatability whatever between the "absolute Absolute", Beyond-Being, and the "relative Absolute", creative Being, and that this distinction is even crucial.
The Divine Maya, Relativity, is the necessary consequence of the very Infinitude of the Principle: it is because God is infinite that He comprises the dimension of relativity, and it is because He comprises that dimension that He manifests the world. To which it should be added: it is because the world is manifestation and not Principle that relativity, which at first was only determination, limitation and manifestation, gives rise to that particular modality constituting "evil". It is neither in the existence of evil things that evil lies nor in their existential properties nor in their faculties of sensation and of action, if it be a question of animate beings, nor even in the act insofar as it is the manifestation of a power; evil resides only in whatever is privative or negative with respect to good, and its function is to manifest in the world its aspect of separation from the Principle, and to play its part in an equilibrium and a rhythm necessitated by the economy of the created Universe.
In this way evil, wholly evil though it be when looked at in isolation, attaches itself to a good and is dissolved qua evil when one looks at it in its cosmic context and in its universal function.
Platonists feel no need whatever to try to fill the gap which might seem to exist between the pure Absolute and the determination and creative Absolute; it is precisely because they are aware of relativity in divinis and of the Divine cause of that relativity that they are emanationists.
In other words, the Hellenists, if they did not have a word to express it, nevertheless possessed in their own way the concept of Maya, and it is their doctrine of emanation that proves it ...
----
Frithjof Schuon: Evidence and Mystery (from Logic and Transcendence)
A full interview with the Israeli painter Raphael Perez (in Hebrew Rafi Peretz) about the ideas behind the naive painting, resume, personal biography and CV
Question: Raphael Perez Tell us about your work process as a naive painter?
Answer: I choose the most iconic and famous buildings in every city and town that are architecturally interesting and have a special shape and place the iconic buildings on boulevards full of trees, bushes, vegetation, flowers.
Question: How do you give depth in your naive paintings?
Answer: To give depth to the painting, I build the painting with layers of vegetation, after those low famous buildings, followed by a tall avenue of trees, and behind them towers and skyscrapers, in the sky I sometimes put innocent signs of balloons, kites.
A recurring motif in some of my paintings is the figure of the painter who is in the center of the boulevard and paints the entire scene unfolding in front of him, also there are two kindergarten teachers who are walking with the kindergarten children with the state flags that I paint, and loving couples hugging and kissing and family paintings of mother, father and child walking in harmony on the boulevard.
Question: Raphael Perez What characterizes your naive painting?
Answer: Most naive paintings have the same characteristics
(Definition as it appears in Wikipedia)
• Tells a simple story to absorb from everyday life, usually with humans.
• The representation of the painter's idealization to reality - the mapping of reality.
• Failure to maintain perspective - especially details even in distant details.
• Extensive use of repeating patterns - many details.
• Warm and bright colors.
• Sometimes the emphasis is on outlines.
• Most of the characters are flat, lack volume
• No interest in texture, expression, correct proportions
• No interest in anatomy.
• There is not much use of light and shadow, the colors create a three-dimensional effect.
I find these definitions to be valid for all my naive paintings
Question: Raphael Perez Why do you mainly choose the city of Tel Aviv?
Answer: I was born in Jerusalem, the capital city which I love very much and also paint,
I love the special Bauhaus buildings in Tel Aviv, the ornamental buildings that were built a century ago in the 1920s and 1930s, the beautiful boulevards, towers and modern skyscrapers give you the feeling of the hustle and bustle of a large metropolis and there are quite a few low and tall buildings that are architecturally fascinating in their form the special one
Also, the move to Tel Aviv, which is the capital of culture, freedom, and secularism, allowed me to live my life as I chose, to live in a relationship with a man, Jerusalem, which is a traditional city, it is more complicated to live a homosexual life, also, the art world takes place mainly in the city of Tel Aviv, and it is possible that from a professional point of view, this allows I can support myself better in Tel Aviv than in any other city in Israel.
Question: raphael perez are the paintings of the city of Tel Aviv different from the paintings of the city of Jerusalem
Answer: Most of the paintings of Jerusalem have an emphasis on the color yellow, gold, the color of the old city walls, the subjects I painted in Jerusalem are mainly a type of idealization of a peaceful life between Jews and Arabs and paintings that deal with the Jewish religious world, a number of paintings depict all shades of the currents of Judaism of today
In contrast, the Tel Aviv paintings are more colorful, with skyscrapers, the sea, balloons and more secular motifs
Question: Raphael Perez Tell us about which buildings and their architects you usually choose in your city paintings
Answer: My favorite buildings are those that have a special shape that anyone can recognize and are the symbols of the city and you will give several examples:
In the city of Tel Aviv, my favorite buildings are: the opera building with its unusual geometric shape, the Yisrotel tower with its special head, the Hail Bo Shalom tower that for years was the symbol of the tallest building in Tel Aviv, the Levin house that looks like a Japanese pagoda, the burgundy-colored Nordeau hotel with the special dome at the end of the building, A pair of Alon towers with the special structure of the sea, Bauhaus buildings typical of Tel Aviv with the special balconies and the special staircase, the Yaakov Agam fountain in Dizengoff square appears in a large part of the paintings, many towers that are in the stock exchange complex, the Aviv towers and other tall buildings on Ayalon, in some of the paintings I took plans An outline of future buildings that need to be built in the city and I drew them even before they were built in reality,
In the paintings of Jerusalem, I mainly chose the area of the Old City and East Jerusalem, a painting of the walls of the Old City, the Western Wall, the Church of the Holy Sepulcher, the El Akchea Mosque, the Tower of David, most of the famous churches in the city, the right hand of Moses, in most of the paintings the Jew is wearing a blue shirt with a red male cord I was in the youth movement and the Arab with a galabia, and in the paintings of the religious public then, Jews with black suits and white shirts, tallitas, kippahs, special hats, synagogues and more
I also created three paintings of the city of Haifa and one painting of Safed
In the Haifa paintings I drew the university, the Technion, the famous Egged Tower, the Sail Tower, well-known hotels, of course the Baha'i Gardens and the Baha'i Temple, Haifa Port and the boats and other famous buildings in the city
Question: Have you created series of other cities from around the world?
Answer: I created series of New York City with all the iconic and famous buildings such as: the Guggenheim Museum, the famous skyscrapers - the Chrysler Building, the Empire State Building, Lincoln Center, the famous synagogue in the city, the Statue of Liberty, the flags of the United States and other famous buildings
Two paintings of London and all its famous sites, Big Ben, famous monuments, the Ferris wheel, Queen Elizabeth and her family, the double bus, the famous public telephone, palaces, famous churches, well-known monuments
I created 4 naive paintings of cities in China, a painting of Shanghai, two paintings of the city of Suzhou and a painting of the World Park in the city of Beijing... I chose the famous skyline of Shanghai with all the famous towers, the famous promenade, temples and old buildings, two Paintings of the city of Suzhou with the famous canals, bridges, special gardens, towers and skyscrapers of the city
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The Answer to Life, the Universe, and Everything
The Ultimate AnswerThe Answer to Life, the Universe, and Everything is a concept taken from Douglas Adams' science fiction series The Hitchhiker's Guide to the Galaxy. In the story, the answer to the Ultimate Question of Life, the Universe, and Everything is sought from the supercomputer Deep Thought. The answer given by Deep Thought leads the protagonists on a quest to discover the question which provides this answer.
Spoiler warning: Plot or ending details follow.
Story lines
According to the Hitchhiker's Guide, researchers taking the form of mice, which are actually 3-dimensional profiles of a pan-dimensional, hyper-intelligent race of beings, construct Deep Thought, the second greatest computer of all time and space, to calculate the answer to the Ultimate Question. After seven and a half million years of pondering the question, Deep Thought provides the answer: "forty-two".
"Forty-two!" yelled Loonquawl. "Is that all you've got to show for seven and a half million years' work?"
"I checked it very thoroughly," said the computer, "and that quite definitely is the answer. I think the problem, to be quite honest with you, is that you've never actually known what the question is."
Deep Thought informs the researchers that it will design a second and greater computer, incorporating living beings as part of its computational matrix, to tell them what the question is. That computer was called Earth and was so big that it was often mistaken for a planet. The question was lost five minutes before it was due to be produced, due to the Vogons' demolition of the Earth, supposedly to build a hyperspace bypass. (Later in the series, it is revealed that the Vogons had been hired to destroy the Earth by a consortium of philosophers and psychiatrists who feared for the loss of their jobs when the meaning of life became common knowledge.) Lacking a real question, the mice proposed to use "How many roads must a man walk down?" (the first line of Bob Dylan's famous civil rights song Blowin' In The Wind) as the question for talk shows, after considering and rejecting the question, "What's yellow and dangerous?"—actually a riddle whose answer, not given by Adams, is "Shark-infested custard". However, this may also refer to the Vogon Constructor Fleet that demolished Earth, in that they were yellow and most certainly dangerous.
In one of the books, Marvin mentions that he can read the Question in Arthur's brainwaves. This does nothing to cheer him up.
At the end of the first radio series, the television series, and the book The Restaurant at the End of the Universe (the second book of the five-book 'trilogy'), Arthur Dent (as the last human to have left the Earth before its destruction, and therefore the portion of the computer matrix most likely to hold the question) attempts to discover the Question by extracting it from his unconscious mind, through pulling Scrabble letters at random out of a sack. The result is the sentence "WHAT DO YOU GET IF YOU MULTIPLY SIX BY NINE".
"Six by nine. Forty-two."
"That's it. That's all there is."
Since 6 × 9 = 54, this being the question would imply that the universe is bizarre and irrational; on the other hand, there is no proof that this was the actual question. After all, Arthur Dent composed only a minuscule fragment of the vast and complex computer matrix that was the Earth, and besides, it was stated that the computer's run had not finished when it was destroyed. In addition, Arthur and Ford realized that the original ape-like inhabitants of Earth were displaced by the Golgafrinchams, which could account for the irrational nature of the question in Arthur's mind (as he himself is a descendant of the Golgafrinchans). On discovering the question in the original radio series, Arthur Dent remarks: "I always said there was something fundamentally wrong with the universe."
Another thought as to the false equation in the Hitchhiker's Guide was that the program (Earth) would have run correctly if not for the crash landing of the Golgafrinchams. This race introduced error into the program and thus turned what would have been the equation 7 times 6 = 42 into 9 times 6 = 42.
It is also possible, given Adams' often bleak view of technology, that the 6 × 9 = 42 answer is meant to indicate that the Earth project was a flawed design to begin with, one that was always going to produce the wrong answer even if the program had been run successfully.
It was later pointed out that 6 × 9 = 42 if the calculations are performed in base 13, not base 10. Douglas Adams was not aware of this at the time, and has since been quoted as saying that "nobody writes jokes in base 13." and also "I may be a pretty sad person, but I don't make jokes in base 13."
Alternately, some have suggested that the question may be, "Pick a number, any number." Although this is not exactly a question, Marvin the Paranoid Android asks Zem the mattress in Life, the Universe, and Everything to pick any number.
"I gave a speech once," he said suddenly and apparently unconnectedly. "You may not instantly see why I bring the subject up, but that is because my mind works so phenomenally fast, and I am at a rough estimate thirty billion times more intelligent than you. Let me give you an example. Think of a number, any number."
"Er, five," said the mattress.
"Wrong," said Marvin. "You see?"
Since he often complains that his brain is "the size of a planet," it is somewhat feasible that he could have discovered what Earth was supposed to find out. Also, Eddie the shipboard computer in one part of the books mentions, "Pick a number, guys!" when Arthur wonders aloud what the Question is, but is ignored by the human inhabitants of the Heart of Gold.
At the end of Life, the Universe and Everything, the third book in the series, Arthur encounters a man named Prak, who through a significant overdose of a remarkably effective truth serum has gained the knowledge of all truth. Prak confirms that 42 is indeed the answer to the ultimate question of life, the universe and everything, but reveals that it is impossible for both the ultimate answer and the ultimate question to be known about the same universe. He states that if such a thing should come to pass, the universe would disappear and be replaced by something even more bizarrely inexplicable. He then speculates that this may have already happened.
Later, in So Long, and Thanks For All the Fish, the fourth book in the series, Arthur wonders if the ultimate answer might be the sudden startling revelation which Fenchurch had shortly before the demolition of the Earth. This theory turns out to be false; Fenchurch instead discovered God's Final Message to His Creation, the location of which was revealed to Arthur by Prak at the end of the previous book.
It should be noted that 'The Restaurant at the End of the Universe opens with the lines: "There is a theory which states that if ever anyone discovers exactly what the Universe is for and why it is here, it will instantly disappear and be replaced by something even more bizarre and inexplicable. There is another theory which states that this has already happened." The book then repeats part of the "prologue" of the first book: "...a girl sitting on her own in a small café in Rickmansworth suddenly realised what it was that had been going wrong all this time, and she finally knew how the world could be made a good and happy place. This time it was right, it would work, and no one would have to get nailed to anything." At that point the story takes off. It is not unreasonable to assume that the universe before then had been 'normal' and that Arthur's life and everything that happened after that point was a direct result of the answer and question both being known (which would, of course, make the answer and question useless as the universe itself had changed).
Douglas Adams' view
On November 2, 1993 Douglas Adams gave an answer (http://groups-beta.google.com/group/alt.fan.douglas-adams/msg/d1064f7b27808692?dmode=source&hl=en) on alt.fan.douglas-adams:
The answer to this is very simple. It was a joke. It had to be a number, an ordinary, smallish number, and I chose that one. Binary representations, base thirteen, Tibetan monks are all complete nonsense. I sat at my desk, stared into the garden and thought '42 will do'. I typed it out. End of story.
Miscellany
The true reason 42 was used in The Hitchhiker's Guide to the Galaxy (as revealed in "The Salmon of Doubt") is that Douglas Adams thought it was the funniest two-digit number.
According to the production notes of the DVD for The Hitchhiker's Guide to the Galaxy 1981 TV series, the scenes with Deep Thought were shot during week 42 of the BBC's calendar.
Google has a calculator function in its search engine, which knows the supposed answer to life the universe and everything (http://www.google.com/search?q=answer+to+life+the+universe+and+everything+=).
MSN Search also calculates this query correctly in a similar fashion (http://beta.search.msn.com/results.aspx?q=the%20answer%20to%20life%20the%20universe%20and%20everything).
Computer programmers' joke
There is a joke amongst computer programmers that Deep Thought may have had some order of operations issues. The following code in the C programming language defines the macros SIX as "1 + 5" and NINE as "8 + 1", and then performs the computation "SIX * NINE". It returns the answer "42", because "SIX * NINE" is expanded by the computer to "1 + 5 * 8 + 1", and the multiplication takes precedence over the additions. (This occurs because the macro expansion is textual, not logical.)
#include
#define SIX 1 + 5
#define NINE 8 + 1
int main(void)
{
printf( "What do you get if you multiply %d by %d: %d\n", SIX, NINE, SIX * NINE );
return 0;
}
Falsely assuming that the answer is indeed correct, that means that the meaning of life, the universe and everything would be 42.
.....36!
On a day at 15 degrees and blowing northerly 30 knots the answer is 36! Cynthia Samsung and I headed for some lunch!
Annie move over - I am coming south! Well once I have had some lunch! Just a wee bit of fun!
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Finding your own roots is like coming home every time.
A lot of things are changing over a year. Good to know where one's roots are, especially when a lot of action is in your life. I hope the new year will hold answers to some of the questions inside you. Have a nice and happy 2015!
YAVORIV, Ukraine -- Ukrainian Army Maj. Gen. Vyacheslav Nazarkin, the Exercise Director for Rapid Trident 2013, speaks to Ukrainian reporters July 8, after the opening ceremony here. Rapid Trident 2013 is a U.S. Army Europe-led, multinational field training and command post exercise occurring at the International Peacekeeping and Security Center in Yavoriv, Ukraine July 8-19 that involves approximately 1,300 troops from 17 nations. The exercise is designed to enhance interoperability between forces and promote regional stability and security. (Photo by Romanian Army Capt. Claudiu Gherman)
More pics from my first year as a photo journalist for a local paper. I picked a good time to start. A presidential election year was full of interesting moments to capture including this stumping of Bill Clinton for his wife Hillary's Presidential campaign. Sadly, I did not get any assignments to catch Hillary in action. Mostly because her campaigning in New York was limited and mostly announced and planned at the last minute. A result most likely because she was already expected to win New York but I felt most of her campaign was run in that manner which eventually cost her dearly as far as being out of touch with what was happening at the ground level.
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"37 Cluster"
Thought to do a short video of a still image I posted back on 3rd November, highlighting open cluster "37 Cluster" after a few folks were struggling to see the number 37 formed in this fascinating open cluster.
"Deep Thought" wasn't far off with 42 but I guess it should have spent a few more million years to get the right answer! ("reference to Hitchhikers Guide to the Galaxy for those of you of the younger generation!)
This is an open cluster nesting in the Orion constellation known as the "37 Cluster" (NGC2169). The brightest stars in this cluster align as the number 37 by pure chance...or is it chance?!?
Video done in Adobe Effects, using glow effect to highlight the cluster.
Music is called "Red Giant" by the awesome Stellardrone from their album Light Years.
stellardrone.bandcamp.com/track/red-giant
Process and Equipment Info:
Light Pollution Bortle grade (1 darkest sky, 9 highest light pollution) : 8-9
Telescope: 80mm Equinox APO refractor with a field flattener
Mount: Nexstar 6/8SE Alt Az on a sturdy table but on rickety floor boards!
Camera: Canon 650D unmodded
No light pollution filters used.
Focussed using a Bhatinov mask and 10X Live View
Capture using Canon EOS Utilities on a Dell XPS 13 Laptop
10.2 minutes worth of exposure made up of 4 Sec Light frames
at ISO 1600
50 Dark frames.
Stacked with DSS (Deep Sky Stacker).
White balance adjusted with Camera Raw
Light pollution reduced via native curves and level components in Photoshop.
Addison, A. (editor). "The Children's Book of Questions & Answers". London: Berkeley Publishers Limited, 1974.
Illustrator unlisted/not given.
A participant at a NASA Social in Washington tweets as he listens to astronaut Joe Acaba answer questions about his time living aboard the International Space Station, Tuesday, Dec. 4, 2012 at NASA Headquarters. NASA astronaut Joe Acaba launched to the ISS on a Russian Soyuz spacecraft May 15, 2012, spending 123 days aboard as a flight engineer of the Expedition 31 and 32 crews. He recently returned to Earth on Sept. 17 after four months in low earth orbit. Photo Credit: (NASA/Carla Cioffi)
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Tagged by Chalice, Vixie, Laya and Saph .....
1) Mr K is my soulmate, just a shame we live so far away.
2) If I am intimated on a train by a large group of youths, I rock back and forth, mutter to myself, so they think Im crazy and leave me alone ( it works )
3) I am obesessed with death and dying. I often lie in bed thinking about friends and family dying, then get all upset.
4) I rarely cry. Crying for me is only induced by alcohol oh and when someone dies.
5) I believe in reincarnation. Am sure my mum has been reincarnated as a little robin redbreast. No matter how many times I move house, the robin will always appear outside my window. This robin also appears when I am over the cemetary and sits on my mums headstone. ( This also makes me cry )
6) I adore musicals and musical theatre and know every line from Les Miserables.
7) Michael Jackson rocks
8) My home phone rarely gets answered. I ignore it most of the time.
9) I have a phobia of milk and egg whites. If either touches my skin then I freak out.
10) I recently raised $25,000 for breast cancer
11) I love children but never want any of my own
12) My party trick is being a munchkin from the Wizard of Oz. I sound like I have inhailed a ton of hellium.
13) If I could have a lunch date with any man it would be Richard Branson. I admire him so much , but do not fancy him.
14) I have been known to use an oxygen mask on a plane, when I had a panic attack due to terrible turbulence coming back from the Domincan Republic.
15) Like many, I am very insecure about the way I look. I spend too many hours stressing about it.
16) I totter around in high heels most of the time. Being 5ft 1 and a half in RL , it is necessary !
What does it feel like to fall in love?
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Remember the "floaters" I shot and posted in winter? I thought they were coneflowers, but I was mistaken. THIS is the flower that becomes the empty floater! Just look at the flower head where the petals aren't covering it and compare it to the winter shot posted below. Looks like the same flower head to me.
Thanks to Laura/rowrlm for the ID!!
Mwajuma was orphaned from a young age and lives with her grandmother and 13 siblings. She knows from experience what it's like to go hungry and is often forced to skip meals.
She's a passionate young campaigner for Save the Children and a journalist – determined to speak up for those who suffer from malnutrition and determined to work hard so that in the future her family doesn’t have to suffer.
Mwajuma came to DFID today to about her experiences on our Twitter and Facebook pages.
Find out more: www.gov.uk/government/news/young-tanzanian-campaigners-ta...
October 7, 2012 - Tokyo, Japan. Young girl answers attends an international festival in Tokyo to celebrate international cooperation. The World Bank partnered in the 2012 Global Festa event in advance of the 2012 Annual Meetings. People answer a World Bank's question that was posted online as part of an international campaign - "What Will It Take?".. to improve live, to create jobs, to end poverty. Photo: Simone D. McCourtie / World Bank