View allAll Photos Tagged aware
for Monday Photo Challenge and Thursday Retread Group.
this week's challenge....."shoot something commemorating, honoring or promoting Breast Cancer Awareness Month", in other words "Think Pink"!
to view other photos in the group:
October 15th is the International Pregnancy and Infant Loss Awareness Day, a global expression of sympathy, remembrance and support for those too many families who are affected by the loss of a baby in pregnancy or beyond.
Across the world, at 7pm local time, candles will be lit for those babies who have died. At this time we will remember them all; either our own children or babies of others who have nonetheless touched our lives in such a brief time.
In the UK, Babyloss is a collaborative awareness effort involving charities and voluntary organisations which support those affected, and lobby for research and action to understand more about and, where possible, prevent pregnancy loss.
You don't have to have been affected by loss yourself to help; though sadly the numbers of families affected makes it unlikely that there in no-one in your circle that has not suffered in this way.
You can help in so many ways:
* If you know someone grieving for their child - drop them a line today. Give them a hug. Show them you remember their loss and that you are there to share their memories and sadness. Too many families feel locked in silence, afraid to start a conversation, afraid to upset others, and alone in their grief.
* Click on the site www.babyloss.com, and find out more about the organisations who support those in need. Could you volunteer? Could you raise money or awareness for these causes?
* Even quietly finding out more and being able to pay that understanding and support forward if you encounter a person in need in the future is invaluable. Sometimes the biggest change is in thought, not just in deed.
With this shot I am marking the day, and I welcome you to share in marking it.
This is the last of the three self portraits from the abandoned Nike Missile Base. This is an underground bunker where Kilroy tells me they kept the tactical missiles. They're no longer here, of course.
Luckily the hatch was open, allowing me to explore all the odd and crusty artifacts. If you view this shot large, you can see a typewriter just over my left shoulder. A few minutes earlier, I had moved it in an attempt to do a portrait focusing on that typewriter. I felt much less comfortable with that plan when moving the typewriter, a field mouse nonchalantly crawled out of the keys, stared at me, and sauntered off.
Ho! Everything - appearance and existance, samsara and nirvana - has a single Ground, yet two paths and two fruition's, and magically displays as Awareness or Unawareness.
Excerpt from the Prayer of Kuntuzangpo
Dedicated to my good Dharma Friend Louis Mangual
Arthritis Awareness is a cause very close to my heart, as I have Rheumatoid Arthritis. For many years, I believed that arthritis mainly affected older people, and was the odd twinge in the joint. That was until my auntie had it at the age of 20- it's her hand on the right hand side. I started to understand then more about how a condition such as arthritis can have a profound impact upon your life.
Then it happened to me, aged 28 and I felt like my whole world as I knew it had ended, probably because it had. My life now is utterly different from my life before, and I have swung from being housebound, to being back at work, and now I am housebound once more and using a wheelchair.
You see, there is no cure all for arthritis, and it doesn't discriminate, young, old, tall, short, slim, fat, it's an equal opportunities destroyer. The great thing is that as we progress, we learn more about this condition and how best to treat it.
If you would like to understand more about arthritis and the effect that it can have, please read this post, it's a good starting point:
batsgirl.blogspot.co.uk/2008/04/gorilla-in-your-house.html
Arthritis can't kill you, but it can take your life.
World Arthritis Day has been celebrated 1996 by ARI (Arthritis Rheumatism International) first. It is being celebrated each year on October 12th.
Now, people with arthritis from around the world join together to make their voices heard on this day. You can join in and raise this voice also!
The aims of World Arthritis Day are:
To raise awareness of arthritis in all its forms among the medical community, people with arthritis and the general public
To influence public policy by making decision-makers aware of the burden of arthritis and the steps which can be taken to ease it
To ensure all people with arthritis and their caregivers are aware of the vast support network available to them.
More info here
“There is no secret in the mystery of life stronger and more beautiful than that attachment which converts the silence of a virgin's spirit into a perpetual awareness that makes a person forget the past, for it kindles fiercely in the heart the sweet and overwhelming hope of the coming future.” - Kahlil Gibran
Note:
Roney is one among 15.000 lost children still roaming the streets of São Paulo.
It is in deepest regret and sadness that I inform you of Roney's cold-blooded murder on the early morning hours of January 16th. May he find peace wherever his journey has taken him.......
We need your Change more than ever now, to bring about justice so that Roney's death will not have been in vain.
I want to finish 2010 in posting a shot of my favorite animal:
African Wild Dog
I think, this may be the best shot of that endangered animal, I ever took (and I took a lot).
Even though it´s a close-up it still has some dynamics and it shows for what these creatures are legend:
restlessness
Who ever was able to follow Wild Dogs on their hunting attitude will know what I mean.
African Wild Dogs (Lycaon Pictus) are highly endangered.
Only about 4500 are living in the wild.
Although they are not as cute as Polar Bears or Cheetah, not as human as Gorilla or Chimpanzee, they deserve our protection.
They are excellent hunters, much more successfull than any of the big cats.
They chase their prey for miles and can reach a speed up to 25kmh.
Despite that, they do have a great sense of family. The offspring gets food first. We often witnessed, that the adult dogs didn´t get any food, when the prey was only enough for the pups.
Photographing African Wild Dogs is always a bit of a challenge. Besides the greatest challenge of finding them, it´s tricky to get contrast in their face because it´s mostly totally black. You have to find a compromise as you don´t want to burn out the bright parts.
You also don´t want to shoot them just sitting or lying, because their interactive behaviour is what makes them so attractive. As they always appear in packs, you will likely concentrate on the "wrong" animals. The interesting interaction may happen between other dogs than you´re focussed on in that particular moment. So don´t just look through your view finder. My wife always helps me and points out if something interesting is happening while I´m focussed on a different spot.
You also have to position yourself a bit further away to capture all the interaction. The animals may likely come close to you, and if they are too close, you will look down to them, which results in an unattractive angle in photos. The eye level is the most important thing in animal photography IMHO. Sitting in a Safari vehicle mostly means you´re having a bad angle, but you can´t do much against it.
Veiw this large on white to see the details: View On White
Also checkout my collage on Canon EOS Prime Lenses:
www.flickr.com/photos/billy_wilson/4196098808/
Checkout my Nikkor Prime Lens Collage!:
www.flickr.com/photos/billy_wilson/4197689174/?addedcomme...
Checkout my D-SLR Market Collage!:
www.flickr.com/photos/billy_wilson/4030503232/
This collage follows the same template as my Canon EOS Prime Lens collage so comparing lenses between the two should be easy. I am not as familiar with these lenses as I am with Canon's lenses and there is a fair chance I might have left one or two out, if I did I would like to know. Like the Canon lense collage, I divided the lense market into: budget lenses, mid-range lenses, and high-end lenses. It is not as easy to differentiate between high-end lenses as with Canon, because Canon designated their high-end lenses with "LSeries". Just like Canon, all of the telephoto primes are high priced, but I divided them up mainly based on lense speed. New Sony owners should be Aware that there are older Minolta lenses out there that they could buy for their new cameras.
CN 8357, CN's SD75IACC painted in a scheme bringing to light suicide awareness and prevention, leads CN M33891-02 through Bloomingdale, IL on a chilly evening.
To quote the Trains Magazine article when it was released: "The 988 Lifeline logo and “You Are Not Alone” message are displayed on the long hood of SD75IACC No. 8357. In a LinkedIn post, Jonathan Quinley, a U.S. Central East regional sales account manager for the railroad, wrote that he had started the project 18 months ago with a sketch of a design for a CN locomotive being rebuilt. “After sharing the design, getting approvals, hours and hours of teamwork, and incredible support from coworkers, family … and friends, I’m proud to share something deeply meaningful: A locomotive dedicated to suicide prevention. “Trains are moving billboards, and engines always draw attention. What better way to spread a message that matters — you are not alone, and there is always someone to support you."
For me personally, with June being men's mental health awareness month and having lost a good friend to suicide when I was 16, this one is a special catch and honors him. Fly high Graham, and all who suffer from mental health struggles and suicidal thoughts, you are NOT alone in this fight!
Shoutout to Dan as well for letting me use his setup for this while he used mine :)
Vertical Rush - Today, a group of wonderfully crazy people are going to run up 42 floors – 920 stairs – 600 feet, in order to raise awareness and money for Shelter, a charity for the Homeless.
I'm not fit enough to join them but would like to help in some small way by hopefully raising awareness. Every two minutes someone faces losing their home.
For more information please see england.shelter.org.uk/what_you_can_do/events_and_challen...
Shelter is a fantastic charity and have lots of other events and ways of raising awareness. england.shelter.org.uk/home
Shelter believes everybody should have a home
If you aren’t aware by now, My favourite National Express West Mids vehicle is 4477. Finally, I manage to get a photo of it, having seen it in the past but not had the opportunity to!
I own a model of this: www.flickr.com/photos/199764974@N05/53813402173/in/photol.... To say that I own a model of it and the real thing it is still running in service at 21 years old (and still counting) is not something that you can say everyday!
This photo was probably my favourite from my visit to Bearwood that day!
ONE OF THE WAY TO TRAIN THE "THE AWARENESS MUSCLE
is the critical run
and other emergency art format
CRITICAL RUN / Debate Format
Critical Run is an Art Format created by Thierry Geoffroy/Colonel
debate while running .
Debate and Run together,Now,before it is too late.
www.emergencyroomscanvas todo .org/criticalrun.html
The Art Format Critical Run has been activated in 30 differents countries with 120 different burning debates
New York,Cairo,London,Istanbul,Athens,Hanoi,Paris,Munich,Amsterdam Siberia,Copenhagen,Johanesburg,Moskow,Napoli,Sydney,
Wroclaw,Bruxelles,Rotterdam,Barcelona,Venice,Virginia,Stockholm,Århus,Kassel,Lyon,Trondheim, Berlin ,Toronto,Hannover ...
CRITICAL RUN happened on invitation from institution like Moma/PS1, Moderna Muset Stockholm ,Witte de With Rotterdam,ZKM Karlsruhe,Liverpool Biennale;Sprengel Museum etc..or have just happened on the spot because
a debate was necessary here and now.
In 2020 the Energy Room was an installation of 40 Critical Run at Museum Villa Stuck /Munich
part of Colonel solo show : The Awareness Muscle Training Center
----
Interesting publication for researches on running and art
www.emergencyrooms.org/formats.html
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Young, Kevin. Deviance and Social Control in Sport. Champaign, IL: Human Kinetics, 2008. Youngblood, Gene. Expanded Cinema. New York: E.P. Dutton and Co., 1970.
Zelizer, Barbie, ed. Visual Culture and the Holocaust. New Brunswick: Rutgers University Press, 2001.
Zidić, Igor, and Ana Dević, Antonio Gotovac Lauer a.k.a. Tomislav Gotovac. Antonio Gotovac Lauer: Čelična mreža. Zagreb: Moderna Galerija and Studio Josip Račič, 2006.
Zorn, John W., ed. The Essential Delsarte. Metuchen, NJ: The Scarecrow Press, Inc, 1968.
Žižek, Slavoj. The Indivisible Remainder: An Essay on Schelling and Related Matters. London: Verso, 1996.
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------------about Venice Biennale history from wikipedia ---------
curators previous
* 1948 – Rodolfo Pallucchini
* 1966 – Gian Alberto Dell'Acqua
* 1968 – Maurizio Calvesi and Guido Ballo
* 1970 – Umbro Apollonio
* 1972 – Mario Penelope
* 1974 – Vittorio Gregotti
* 1978 – Luigi Scarpa
* 1980 – Luigi Carluccio
* 1982 – Sisto Dalla Palma
* 1984 – Maurizio Calvesi
* 1986 – Maurizio Calvesi
* 1988 – Giovanni Carandente
* 1990 – Giovanni Carandente
* 1993 – Achille Bonito Oliva
* 1995 – Jean Clair
* 1997 – Germano Celant
* 1999 – Harald Szeemann
* 2001 – Harald Szeemann
* 2003 – Francesco Bonami
* 2005 – María de Corral and Rosa Martinez
* 2007 – Robert Storr
* 2009 – Daniel Birnbaum
* 2011 – Bice Curiger
* 2013 – Massimiliano Gioni
* 2015 – Okwui Enwezor
* 2017 – Christine Macel[19]
* 2019 – Ralph Rugoff[20]
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#art #artist #artistic #artists #arte #artwork
Pavilion at the Venice Biennale #artcontemporain contemporary art Giardini arsenal
venice Veneziako VenecijaVenècia Venedig Venetië Veneetsia Venetsia Venise Venecia VenedigΒενετία( Venetía Hungarian Velence Feneyjar Venice Venezia Venēcija Venezja Venezia Wenecja Veneza VenețiaVenetsiya BenátkyBenetke Venecia Fenisוועניס Վենետիկ ভেনি স威尼斯 (wēinísī) 威尼斯 ვენეციისવે નિસवेनिसヴェネツィアವೆನಿಸ್베니스வெனிஸ்వెనిస్เวนิซوینس Venetsiya
art umjetnost umění kunst taide τέχνη művészetList ealaín arte māksla menasarti Kunst sztuka artă umenie umetnost konstcelfקונסטարվեստincəsənətশিল্প艺术(yìshù)藝術 (yìshù)ხელოვნებაकलाkos duabアートಕಲೆសិល្បៈ미술(misul)ສິນລະປະകലकलाအတတ်ပညာकलाකලාවகலைఆర్ట్ศิลปะ آرٹsan'atnghệ thuậtفن (fan)אומנותهنرsanat artist
other Biennale :(Biennials ) :
Venice Biennial , Documenta Havana Biennial,Istanbul Biennial ( Istanbuli),Biennale de Lyon ,Dak'Art Berlin Biennial,Mercosul Visual Arts Biennial ,Bienal do Mercosul Porto Alegre.,Berlin Biennial ,Echigo-Tsumari Triennial .Yokohama Triennial Aichi Triennale,manifesta ,Copenhagen Biennale,Aichi Triennale .Yokohama Triennial,Echigo-Tsumari Triennial.Sharjah Biennial ,Biennale of Sydney, Liverpool , São Paulo Biennial ; Athens Biennale , Bienal do Mercosul ,Göteborg International Biennial for Contemporary Art ,DOCUMENTA KASSEL ATHENS
* Dakar
kritik [edit] kritikaria kritičar crític kritiker criticus kriitik kriitikko critique crítico Kritiker κριτικός(kritikós) kritikus Gagnrýnandi léirmheastóir critico kritiķis kritikas kritiku krytyk crítico critic crítico krytyk beirniad קריטיקער
Basque Veneziako Venecija [edit] Catalan Venècia Venedig Venetië Veneetsia Venetsia Venise Venecia Venedig Βενετία(Venetía) Hungarian Velence Feneyjar Venice Venezia Latvian Venēcija Venezja Venezia Wenecja Portuguese Veneza Veneția Venetsiya Benátky Benetke Venecia Fenis וועניס Վենետիկ ভেনিস 威尼斯 (wēinísī) 威尼斯 Georgian ვენეციის વેનિસ वेनिस ヴェネツィア ವೆನಿಸ್ 베니스 வெனிஸ் వెనిస్ เวนิซ وینس Venetsiya
Thierry Geoffroy / Colonel
#thierrygeoffroy #geoffroycolonel #thierrygeoffroycololonel #lecolonel #biennalist
#artformat #formatart
#emergencyart #urgencyart #urgentart #artofthenow #nowart
emergency art emergency art urgency artist de garde vagt alarm emergency room necessityart artistrole exigencyart predicament prediction pressureart
#InstitutionalCritique
#venicebiennale #venicebiennale2017 #venicebiennale2015
#venicebiennale2019
#venice #biennale #venicebiennale #venezia #italy
#venezia #venice #veniceitaly #venicebiennale
#pastlife #memory #venicebiennale #venice #Venezia #italy #hotelveniceitalia #artexhibit #artshow #internationalart #contemporaryart #themundane #summerday
#biennalevenice
Institutional Critique
Identity Politics Post-War Consumerism, Engagement with Mass Media, Performance Art, The Body, Film/Video, Political, Collage, , Cultural Commentary, Self as Subject, Color Photography, Related to Fashion, Digital Culture, Photography, Human Figure, Technology
Racial and Ethnic Identity, Neo-Conceptualism, Diaristic
Contemporary Re-creations, Popular Culture, Appropriation, Contemporary Sculpture,
Culture, Collective History, Group of Portraits, Photographic Source
, Endurance Art, Film/Video,, Conceptual Art and Contemporary Conceptualism, Color Photography, Human Figure, Cultural Commentary
War and Military, Political Figures, Social Action, Racial and Ethnic Identity, Conflict
Personal Histories, Alter Egos and Avatars
Use of Common Materials, Found Objects, Related to Literature, Installation, Mixed-Media, Engagement with Mass Media, Collage,, Outdoor Art, Work on Paper, Text
Appropriation (art) Art intervention Classificatory disputes about art Conceptual art Environmental sculpture Found object Interactive art Modern art Neo-conceptual art Performance art Sound art Sound installation Street installations Video installation Conceptual art Art movements Postmodern art Contemporary art Art media Aesthetics Conceptualism
Post-conceptualism Anti-anti-art Body art Conceptual architecture Contemporary art Experiments in Art and Technology Found object Happening Fluxus Information art Installation art Intermedia Land art Modern art Neo-conceptual art Net art Postmodern art Generative Art Street installation Systems art Video art Visual arts ART/MEDIA conceptual artis
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CRITICAL RUN is an art format developed by Thierry Geoffroy / COLONEL, It follows the spirit of ULTRACONTEMPORARY and EMERGENCY ART as well as aims to train the AWARENESS MUSCLE.
Critical Run has been activated on invitation from institutions such as Moderna Muset Stockholm, Moma PS1 ,Witte de With Rotterdam, ZKM Karlsruhe, Liverpool Biennale, Manifesta Biennial ,Sprengel Museum,Venice Biennale but have also just happened on the spot because a debate was necessary here and now.
It has been activated in Beijing, Cairo, London, Istanbul, Athens, Kassel, Sao Paolo, Hanoi, Istanbul, Paris, Copenhagen, Moskow, Napoli, Sydney, Wroclaw, Bruxelles, Rotterdam, Siberia, Karlsruhe, Barcelona, Aalborg, Venice, Virginia, Stockholm, Aarhus, Rio de Janeiro, Budapest, Washington, Lyon, Caracas, Trondheim, Berlin, Toronto, Hannover, Haage, Newtown, Cartagena, Tallinn, Herning, Roskilde;Mannheim ;Munich etc...
The run debates are about emergency topics like Climate Change , Xenophobia , Wars , Hyppocrisie , Apathy ,etc ...
Participants have been very various from Sweddish art critics , German police , American climate activist , Chinese Gallerists , Brasilian students , etc ...
Critical Run is an art format , like Emergency Room or Biennalist and is part of Emergency Art ULTRACONTEMPORARY and AWARENESS MUSCLE .
www.emergencyrooms.org/criticalrun.html
www.emergencyrooms.org/formats.html
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In 2020 a large exhibition will show 40 of the Critical Run at the Museum Villa Stuck in Munich / part of the Awareness Muscle Training Center
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for activating the format or for inviting the installation
please contact 1@colonel.dk
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critical,run,art,format,debate ,artformat,formatart,moment,clarity,emergency,kunst,
Sport,effort,curator,artist,urgency,urgence,criticalrun,emergencies,ultracontemporary
,rundebate,sport,art,activism, critic,laufen,Thierry Geoffroy , Colonel,kunstformat
,now art,copenhagen,denmark
OrigamiUSA has partnered with pages.96elephants.org/origami/ to try and fold at least 35,000 origami elephants by September 16th in an effort to bring awareness to the alarming number of elephants killed every year for their tusks.
Last weekend my origami group dedicated our meeting to folding elephants for this cause and we will do so again at our September meeting. This picture just shows some of the elephants we folded last weekend.
I built this for the Jaeger vs. Kaiju building challenge over on Brick Mecha Division. Here's the lore writeup I made for it there:
The next generation of technology in the fight against the Kaiju, EUXO was designed to mirror a human's anatomy without using any organic material. The result is an incredibly complex synthetic organism that - by linking with the pilot's brain - functions as their surrogate body. This allows for reaction times and awareness unheard of in previous generation Jaegers.
For standard armaments, EUXO carries a medium-range AP rifle for piercing Kajiu hide and an "Ahlspiess" Anti-Kaiju spear. The Ahlspiess is designed to be stabbed into the enemy beast, whereupon its two prongs forcefully open and it emits a large energy blast to the Kaiju's internals.
The EUXO can also utilize optional Type-B equipment. This functions as extra armor and includes a number of stabilizers for extra maneuverability during air drops.
So yeah, obvious Evangelion inspiration here. I originally just wanted to add some optional shoulder parts containing ammo/missiles but that eventually grew into a full armor set. Note that the waist armor also includes extra braces for the hip joints so the whole thing doesn't topple under the added weight.
FOLSOM STREET FAIR RE-MIX! (The re-edited & re-cropped photos from the various FOLSOM STREET FAIRS)
THANK YOU to all the adult men who let ADDA take their photos! (Everyone was properly asked & everyone consented.)
(These photos carry copyright protection. Do NOT post them elsewhere! )
NOTE: MY photos are NOT to be used or reproduced, COPIED, BLOGGED, USED in any way shape or form.
© All rights reserved. Use without permission is illegal
*************************************** ***********
NOTE:
Viewers should be aware that these photos are viewed by a wide variety of folks and inappropriate X & R rated & RUDE or STUPID comments shall be removed forthwith, AND you will be BLOCKED!
Do NOT put NOTES on my photos. They will be deleted and you will be BLOCKED. NOTES ruin the viewing pleasure of others.
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Check out ADDA DADA's other FOLSOM STREET FAIR sets !
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here's the FOLSOM STREET FAIR schedules...
september 29, 2013
september 21, 2014
september 27, 2015
Singapore National Day Parade
The Singapore National Day Parade (NDP) is an annual parade held in the city-state of Singapore. Held annually on 9 August, it is the main public celebration of National Day, and was first held on 9 August 1966 to mark the one-year anniversary of the Proclamation of Singapore.
In recent years, the parade has usually been held at either The Padang, or The Float at Marina Bay. In the past, it was held at the former National Stadium.
History
A scene from the National Day Parade, 1968, with a contingent from the People's Association in front.
The flag of Singapore set up alongside pavements across the country
Singapore celebrated its first National Day as an independent nation in 1966, one year after Singapore's separation from Malaysia on 9 August 1965.
The inaugural National Day Parade was started in the morning at 9:00 a.m. that day. However, people came as early as 7:00 a.m. in order to get good vantage points. Singapore's first President, Yusof bin Ishak and Singapore's first Prime Minister, Lee Kuan Yew, were seated with members of the government at the grandstand on the steps of City Hall. When the parade began, six military contingents (including the Singapore Infantry Regiment, Singapore People's Defense Force, the Volunteer Naval Reserve and PDF-Sea and the then Republic of Singapore Police), a mobile column from the SIR, and various schools and civil contingents marched past City Hall and then into the city streets. Three military bands accompanied the parade inspection and later the march past with military music. The Singapore Fire Brigade also took part in this first parade with its firetrucks included in the mobile column. Rounding it all was a massed lion and dragon dance performance from drum and dragon troupes nationwide.
In 1967, the contingents increased to 76, including those of the then established Singapore Armed Forces, the RSP and more cultural groups, with the addition of more civil marching groups.[ The reason is partly due to the introduction of the National Service program in the military and police forces, and later extended to the Fire Brigade (Renamed to Singapore Fire Services in the 1980s). Street performances by various groups and choirs also debuted in that year's parade. The 1968 parade, although held on a rainy morning that surprised even the marching contingents and the dignitaries, saw the first ground performances on the Padang as the weather improved - a prelude to today's show performances. 1969's parade, the one where the Mobile Column made its first drivepast, commemorated the 150th year of the city's founding and had Princess Alexandra of the UK as principal guest.
The fifth NDP edition in 1970 introduced the Flypast of the State Flag and the Republic of Singapore Air Force Flypast, as well as the combat simulation performance by Singapore Army personnel was one of the new highlights for that year.
The 1971 NDP included iconic mobile parade floats from various organizations, 1973 was the first parade to be held from late-afternoon to early-evening time in order to promote the parade with better attendance and marked the official debut of the 1st Commando Battalion. Parade of 1974 was broadcast for the first time in full colour, after such television broadcasts was introduced for the first time a month prior on 7 July.
In 1975, to commemorate the Decennial anniversary of independence, the Parade was, for the first time, decentralized into 13 parade venues for more public participation. Almost all of the venues lasted for an hour and all of them even had route marches on the streets to the participating venues.
By the time the NDP was held at the National Stadium (for the first time) in 1976, the NDP Guard of Honour, composed of officers and personnel of the SAF and the Singapore Police Force made its first appearance, followed after the parade proper by the very first evening presentations by various groups, a prelude to future evening NDPs in 1980 and from 1984 onward. The 1975 parade dance performers were mostly female students from the country's schools, since that year marked the start of the United Nations Decade for Women. 1977's parade was a decentralized event like two years before (and like 1968's was affected by wet weather) while 1978 returned to Padang. 1979's parade saw another decentralized site, this time being held in many high schools and sports stadiums nationwide. The decentralized format would later be used until 1983, which was the final time NDP was held in multiple venues until 2020.
The 15th installment in 1980 was the first parade to introduce the feu de joie of the Guard-of-Honour contingents. The following year, SPF Civil Defense Command, presently the Singapore Civil Defense Force, later combined with the SFS in 1989, made its inaugural appearance, followed by the SCDF in 1982. The 1981 parade was held in both Jurong and Queenstown Sports Stadiums for further increase public attendance and participation in the celebrations. In 1982, the parade returned at Padang, marking the first time the mobile column drove past after the marchpast had concluded, thus making it a predecessor to the parades at the Padang from 1995 onward, once every five years.
The 1984 installment featured many firsts in commemoration with the Singapore's Silver Jubilee of self-governance, which for the first time, introduced a theme song "Stand Up for Singapore", and included a bigger Mobile Column, the first appearance of the popular Silent Precision Drill Squad from the Singapore Armed Forces Military Police Command and the first evening fireworks display.
The 1986 edition was the first parade held in the late evening, and the first to use flashlights for audience use. Other introductions were featured over the years such as the first appearance of the massed military bands of the SAF (1987), the card stunt (1988), and the Red Lions parachute team and the daylight fireworks (1989). In 1989, the parade was held in the afternoon but the 1991 edition returned to the evening format used since 1986.
In 1993, interactive participation by the public debuted in that year's edition to increase public participation and awareness of the parade as an important part of Singaporean life and as a symbol of national unity and identity. In 1997, a National Education Show was also introduced where Primary Five students from a selected number of schools attended in one of the rehearsals.
In 2003, due to overcrowding of tickets, the electronic voting ticketing system was introduced as a countermeasure, and a ballot was conducted where citizens stand a chance at winning the tickets by registering their e-mail addresses or mobile numbers such as the NDP websites or phone lines.
On 16 October 2005, it was announced that due to the planned closure and replacement of the National Stadium as part of the Singapore Sports Hub project, that the 2007 NDP would move to The Float at Marina Bay—a temporary 27,000-seat grandstand and 130 m × 100 m (330 ft) (430 ft × 330 ft) floating platform in Marina Bay. Despite offering a seating capacity almost less than half the capacity of the National Stadium, there was a vast area for approximately 150,000 additional spectators along the Marina Bay waterfront.
The 2006 installment marked the final time the National Stadium in Kallang was held before the stadium went for retrofitting works and thus relocating the parade to the new venue to The Float @ Marina Bay and held its inaugural parade the following year. Starting in 2008, the NDP is also aired all over the Asia-Pacific region through CNA, and since 2012, it was simulcast to other internet web-streaming websites such as Toggle (now meWATCH), xinmsn (defunct since 2015), and YouTube (along with the parade's official channel, NDPeeps). 2009 featured, for the first time, an integrated show including the parade segment, known as the Pre-parade show (usually not broadcast on television). 2009 was currently the last time to feature multiple theme songs (English and Chinese versions, or originals)
The 2013 installment featured a spin-off reality competition aired on Channel 5, titled Sing a Nation, which featured ten different groups who performed various songs for a chance at a lead performance for the 2013's parade. The 2013's theme song, "One Singapore", was also sung by the cast of Sing a Nation, and the song featured its largest ensemble, with 68 members.
The 2014 installment also featured its first female Red Lion parachutist to jump at the NDP, Third Warrant Officer Shirley Ng, after their initial performance in 2013 was cancelled due to weather conditions. The 2014 parade was notable as it was the last parade with the attendance for the first prime minister Lee Kuan Yew, who was the only member to have attended in every installment of NDP since 1966, as he died on 23 March the following year.
2015's parade was the first parade to be held at both the Padang and at The Float @ Marina Bay, breaking a parade tradition in the process as it became the first parade since 1983 to be held in multiple venues.
In 2016, the NDP was held for the first time at the new National Stadium, in an event that required modifications to the event's format due to the limitations of the venue. In 2017, it was announced that The Float would remain the "preferred" venue for the event, and that it would be redeveloped as a permanent venue known as NS Square.
Due to criticisms relating to budget and logistics,[22] the following parade in 2017 (and later in 2018) returned to The Float @ Marina Bay to celebrate the golden jubilee for National Service. 2017 also saw the first time YouTube live-streamed the parade in a 360-degree format and on Facebook Live.
In October 2017, it was announced that The Float would be redeveloped as a permanent venue known as NS Square (extended to March 2023 due to the pandemic), and serve as the primary venue for the NDP when not held at the Padang every five years. The decision raised questions over whether the costs of renting the National Stadium would diminish the legacy that the former National Stadium had as a site for community events. Contrarily, it was argued that not hosting the NDP at the new National Stadium would free up its schedule for major international sporting events, especially during the summer months.
The 2019 installment, which was held at the Padang again and breaking a trend of holding every five years to commemorate the bicentennial anniversary of modern foundation of Singapore in 1819, also marked the first time the parade was screened in 4K ultra-high definition on Toggle.
Due to the ongoing COVID-19 pandemic in Singapore, the 2020 parade was not held in its traditional form; the event was given the theme "Together, A Stronger Singapore", and a goal was set to bring the NDP "across the island into every Singaporean's home". The public events were replaced by broadcast-only festivities, including a morning segment consisting of the Prime Minister's National Day Message and a downsized parade at the Padang. Appearances by the Mobile Column, Red Lions, and flyovers by F-15SG fighters were scheduled across Singapore, while the traditional Funpacks given at the parade were shipped to each resident. Online programming, home activity ideas, and social media campaigns were also organized. A cultural segment took place at the Star Performing Arts Centre in the evening, reduced to only around 100 performers with social distancing enforced.
It was announced that the 2021 parade would return to a "centralised" event at The Float in a downsized form, with tickets distributed to nominated essential workers who are fully-vaccinated for COVID-19 and undergo testing.[29] On 22 July 2021, the main public parade would be postponed to 21 August instead, so that it can be held after the conclusion of the present Phase 2 "Heightened Alert" restrictions (then scheduled for 18 August). A closed "ceremonial" parade was still held on 9 August at The Float, which was stated to be similar in format to the previous year's parade. The venue was capped at 30% capacity.
In 2022, plans were made to have the parade held at The Float with full capacity subject to COVID rules.
★★ MΣN - SL FRATERNITY KIDNEY AWARENESS CAMPAIGN ★★
According the 2010 Global Burden of Disease study, chronic kidney disease was ranked 27th in the list of causes of total number of deaths worldwide in 1990, but rose to 18th in 2010. In 2018, CDK was the 9th leading cause of death in the United States. This degree of movement up the list was second only to that for HIV and AIDs. 10% of the population worldwide is affected by chronic kidney disease (CKD), and millions die each year because they do not have access to affordable treatment. LETS DO OUR PART TO LEND A HAND.
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PRICE LIST FOR PHOTOS:
Single - $L350
Couples - $L500
Groups up to 4 - $L750
Large Groups - Please contact Gregorian Lytton
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AVAILABILITY TIMES:
March 1st - 31st 12:00 NOON SLT - 8:00PM SLT, unless by appointment.
If an appointment is scheduled, please be on time and ready.
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GUIDELINES:
Please remember that this is a photo campaign for charitable endeavors. Please dress accordingly. NO BLING (I know it's 2008-ish, but you'd be surprised lol), NO EXCESS CLEAVAGE, NO GRAPHIC TEES WITH OBSCENE IMAGES OR MESSAGES, NO PROPS, LADIES PLEASE LIMIT THE FRIZZINESS OF YOUR HAIR.
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All donations will be cashed out via Paypal at the conclusion of the campaign and donated to the American Kidney Fund. At that time, a complete paper trail and donation receipt will be provided for viewing via the MU SIGMA NU - SL FRATERNITY facebook fan page ( www.facebook.com/MuSigmaNuSL ). For more information about this foundation, please visit www.kidneyfund.org . MU SIGMA NU is a non-profit organization.
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SPONSORS:
Mu Sigm Nu - SL Fraternity - www.facebook.com/MuSigmaNuSL
Zeta Nu Chi SL Sorority - www.facebook.com/ZetaNuChi
[GQueue Motors] - www.facebook.com/GQueue-Motors-699442340105116
Having spent a day running to both Uckfield and East Grinstead, Southern's Electro-Diesel 73 202 'Graham Stenning' heads northbound between Riddlesdown and Sanderstead on it's way back to Stewarts Lane Depot. I'm guessing this was a route learning trip for train crew.
I'm guessing that this locomotive, plus other members of class 73s operated by GBRf that haven't been rebuilt, are the only type of traction left on the railway network that have two red roller blinds as a form of tail light indication. That said, preserved 'Hastings Diesel' unit 1001 also uses two red blinds, but as far as I'm aware everything else has red marker lights or flashing tail lamps.
HINDU GODDESS KALI
Kālī, also known as Kālikā (Sanskrit: कालिका), is the Hindu goddess associated with empowerment, shakti. She is the fierce aspect of the goddess Durga (Parvati). The name Kali comes from kāla, which means black, time, death, lord of death: Shiva. Since Shiva is called Kāla— the eternal time — the name of Kālī, his consort, also means "Time" or "Death" (as in "time has come"). Hence, Kāli is the Goddess of Time and Change. Although sometimes presented as dark and violent, her earliest incarnation as a figure of annihilation of evil forces still has some influence. Various Shakta Hindu cosmologies, as well as Shākta Tantric beliefs, worship her as the ultimate reality or Brahman. Comparatively recent devotional movements largely conceive Kāli as a benevolent mother goddess. Kālī is represented as the consort of Lord Shiva, on whose body she is often seen standing. Shiva lies in the path of Kali, whose foot on Shiva subdues her anger.
ETYMOLOGY
Kālī is the feminine form of kālam ("black, dark coloured"). Kāla primarily means "time" but also means "black" in honor of being the first creation before light itself. Kālī means "the black one" and refers to her being the entity of "time" or "beyond time." Kāli is strongly associated with Shiva, and Shaivas derive the masculine Kāla (an epithet of Shiva) to come from her feminine name. A nineteenth-century Sanskrit dictionary, the Shabdakalpadrum, states: कालः शिवः। तस्य पत्नीति - काली। kālaḥ śivaḥ। tasya patnīti kālī - "Shiva is Kāla, thus, his consort is Kāli" referring to Devi Parvathi being a manifestation of Devi MahaKali.
Other names include Kālarātri ("black night"), as described above, and Kālikā ("relating to time"). Coburn notes that the name Kālī can be used as a proper name, or as a description of color.
Kāli's association with darkness stands in contrast to her consort, Shiva, who manifested after her in creation, and who symbolises the rest of creation after Time is created. In his supreme awareness of Maya, his body is covered by the white ashes of the cremation ground (Sanskrit: śmaśāna) where he meditates, and with which Kāli is also associated, as śmaśāna-kālī.
ORIGINS
Hugh Urban notes that although the word Kālī appears as early as the Atharva Veda, the first use of it as a proper name is in the Kathaka Grhya Sutra (19.7). Kali is the name of one of the seven tongues of Agni, the [Rigvedic] God of Fire, in the Mundaka Upanishad (2:4), but it is unlikely that this refers to the goddess. The first appearance of Kāli in her present form is in the Sauptika Parvan of the Mahabharata (10.8.64). She is called Kālarātri (literally, "black night") and appears to the Pandava soldiers in dreams, until finally she appears amidst the fighting during an attack by Drona's son Ashwatthama. She most famously appears in the sixth century Devi Mahatmyam as one of the shaktis of Mahadevi, and defeats the demon Raktabija ("Bloodseed"). The tenth-century Kalika Purana venerates Kāli as the ultimate reality.
According to David Kinsley, Kāli is first mentioned in Hinduism as a distinct goddess around 600 CE, and these texts "usually place her on the periphery of Hindu society or on the battlefield." She is often regarded as the Shakti of Shiva, and is closely associated with him in various Puranas. The Kalika Purana depicts her as the "Adi Shakti" (Fundamental Power) and "Para Prakriti" or beyond nature.
WORSHIP & MANTRA
Kali could be considered a general concept, like Durga, and is mostly worshiped in the Kali Kula sect of worship. The closest way of direct worship is Maha Kali or Bhadra Kali (Bhadra in Sanskrit means 'gentle'). Kali is worshiped as one of the 10 Mahavidya forms of Adi Parashakti (Goddess Durga) or Bhagavathy according to the region. The mantra for worship is called Devi Argala Stotram.
Sanskrit: सर्वमङ्गलमाङ्गल्ये शिवे सर्वार्थसाधिके । शरण्ये त्र्यम्बके गौरि नारायणि नमोऽस्तु ते ॥
ॐ जयंती मंगल काली भद्रकाली कपालिनी । दुर्गा क्षमा शिवा धात्री स्वाहा स्वधा नमोऽस्तुते ॥
(Sarvamaṅgalamāṅgalyē śivē sarvārthasādhikē . śaraṇyē tryambakē gauri nārāyaṇi namō'stu tē.
Oṃ jayantī mangala kālī bhadrakālī kapālinī . durgā kṣamā śivā dhātrī svāhā svadhā namō'stutē.)
TANTRA
Goddesses play an important role in the study and practice of Tantra Yoga, and are affirmed to be as central to discerning the nature of reality as are the male deities. Although Parvati is often said to be the recipient and student of Shiva's wisdom in the form of Tantras, it is Kāli who seems to dominate much of the Tantric iconography, texts, and rituals. In many sources Kāli is praised as the highest reality or greatest of all deities. The Nirvana-tantra says the gods Brahma, Vishnu, and Shiva all arise from her like bubbles in the sea, ceaselessly arising and passing away, leaving their original source unchanged. The Niruttara-tantra and the Picchila-tantra declare all of Kāli's mantras to be the greatest and the Yogini-tantra, Kamakhya-tantra and the Niruttara-tantra all proclaim Kāli vidyas (manifestations of Mahadevi, or "divinity itself"). They declare her to be an essence of her own form (svarupa) of the Mahadevi.
In the Mahanirvana-tantra, Kāli is one of the epithets for the primordial sakti, and in one passage Shiva praises her:
At the dissolution of things, it is Kāla [Time] Who will devour all, and by reason of this He is called Mahākāla [an epithet of Lord Shiva], and since Thou devourest Mahākāla Himself, it is Thou who art the Supreme Primordial Kālika. Because Thou devourest Kāla, Thou art Kāli, the original form of all things, and because Thou art the Origin of and devourest all things Thou art called the Adya [the Primordial One]. Re-assuming after Dissolution Thine own form, dark and formless, Thou alone remainest as One ineffable and inconceivable. Though having a form, yet art Thou formless; though Thyself without beginning, multiform by the power of Maya, Thou art the Beginning of all, Creatrix, Protectress, and Destructress that Thou art.
The figure of Kāli conveys death, destruction, and the consuming aspects of reality. As such, she is also a "forbidden thing", or even death itself. In the Pancatattva ritual, the sadhaka boldly seeks to confront Kali, and thereby assimilates and transforms her into a vehicle of salvation. This is clear in the work of the Karpuradi-stotra, a short praise of Kāli describing the Pancatattva ritual unto her, performed on cremation grounds. (Samahana-sadhana)
He, O Mahākāli who in the cremation-ground, naked, and with dishevelled hair, intently meditates upon Thee and recites Thy mantra, and with each recitation makes offering to Thee of a thousand Akanda flowers with seed, becomes without any effort a Lord of the earth. Oh Kāli, whoever on Tuesday at midnight, having uttered Thy mantra, makes offering even but once with devotion to Thee of a hair of his Shakti [his energy/female companion] in the cremation-ground, becomes a great poet, a Lord of the earth, and ever goes mounted upon an elephant.
The Karpuradi-stotra clearly indicates that Kāli is more than a terrible, vicious, slayer of demons who serves Durga or Shiva. Here, she is identified as the supreme mistress of the universe, associated with the five elements. In union with Lord Shiva, she creates and destroys worlds. Her appearance also takes a different turn, befitting her role as ruler of the world and object of meditation. In contrast to her terrible aspects, she takes on hints of a more benign dimension. She is described as young and beautiful, has a gentle smile, and makes gestures with her two right hands to dispel any fear and offer boons. The more positive features exposed offer the distillation of divine wrath into a goddess of salvation, who rids the sadhaka of fear. Here, Kali appears as a symbol of triumph over death.
BENGALI TRADITION
Kali is also a central figure in late medieval Bengali devotional literature, with such devotees as Ramprasad Sen (1718–75). With the exception of being associated with Parvati as Shiva's consort, Kāli is rarely pictured in Hindu legends and iconography as a motherly figure until Bengali devotions beginning in the early eighteenth century. Even in Bengāli tradition her appearance and habits change little, if at all.
The Tantric approach to Kāli is to display courage by confronting her on cremation grounds in the dead of night, despite her terrible appearance. In contrast, the Bengali devotee appropriates Kāli's teachings adopting the attitude of a child, coming to love her unreservedly. In both cases, the goal of the devotee is to become reconciled with death and to learn acceptance of the way that things are. These themes are well addressed in Rāmprasād's work. Rāmprasād comments in many of his other songs that Kāli is indifferent to his wellbeing, causes him to suffer, brings his worldly desires to nothing and his worldly goods to ruin.
To be a child of Kāli, Rāmprasād asserts, is to be denied of earthly delights and pleasures. Kāli is said to refrain from giving that which is expected. To the devotee, it is perhaps her very refusal to do so that enables her devotees to reflect on dimensions of themselves and of reality that go beyond the material world.
A significant portion of Bengali devotional music features Kāli as its central theme and is known as Shyama Sangeet ("Music of the Night"). Mostly sung by male vocalists, today even women have taken to this form of music. One of the finest singers of Shyāma Sāngeet is Pannalal Bhattacharya.
In Bengal, Kāli is venerated in the festival Kali Puja, the new moon day of Ashwin month which coincides with Diwali festival.
In a unique form of Kāli worship, Shantipur worships Kāli in the form of a hand painted image of the deity known as Poteshwari (meaning the deity drawn on a piece of cloth).
LEGENDS
SLAYER OF RAKTABIJA
In Kāli's most famous legend, Devi Durga (Adi Parashakti) and her assistants, the Matrikas, wound the demon Raktabija, in various ways and with a variety of weapons in an attempt to destroy him. They soon find that they have worsened the situation for with every drop of blood that is dripped from Raktabija he reproduces a clone of himself. The battlefield becomes increasingly filled with his duplicates. Durga, in need of help, summons Kāli to combat the demons. It is said, in some versions, that Goddess Durga actually assumes the form of Goddess Kāli at this time. The Devi Mahatmyam describes:
Out of the surface of her (Durga's) forehead, fierce with frown, issued suddenly Kali of terrible countenance, armed with a sword and noose. Bearing the strange khatvanga (skull-topped staff ), decorated with a garland of skulls, clad in a tiger's skin, very appalling owing to her emaciated flesh, with gaping mouth, fearful with her tongue lolling out, having deep reddish eyes, filling the regions of the sky with her roars, falling upon impetuously and slaughtering the great asuras in that army, she devoured those hordes of the foes of the devas.
Kali destroys Raktabija by sucking the blood from his body and putting the many Raktabija duplicates in her gaping mouth. Pleased with her victory, Kali then dances on the field of battle, stepping on the corpses of the slain. In the Devi Mahatmya version of this story, Kali is also described as a Matrika and as a Shakti or power of Devi. She is given the epithet Cāṃuṇḍā (Chamunda), i.e. the slayer of the demons Chanda and Munda. Chamunda is very often identified with Kali and is very much like her in appearance and habit.
DAKSHINA KALI
In her most famous pose as Daksinakali, popular legends say that Kali, becoming drunk on the blood of her victims on the battlefield, dances with destructive frenzy. She is about to destroy the whole universe when, urged by all the gods, Shiva lies in her way to stop her. In her fury, she fails to see the body of Shiva lying amongst the corpses on the battlefield and steps upon his chest. Realizing Shiva lies beneath her feet, her anger is pacified and she calms her fury. Though not included in any of the puranas, popular legends state that Kali was ashamed at the prospect of keeping her husband beneath her feet and thus stuck her tongue out in shame. The Devi-Bhagavata Purana, which goes into great depths about the goddess Kali, reveals the tongue's actual symbolism.
The characteristic icons that depict Kali are the following; unbridled matted hair, open blood shot eyes, open mouth and a drooping tongue; in her hands, she holds a Khadga (bent sword or scimitar) and a human head; she has a girdle of human hands across her waist and an enchanted Shiva lies beneath her feet. Each of these icons represent a deep philosophical epithet. The drooping out-stuck tongue represents her blood-thirst. Lord Shiva beneath her feet represents matter, as Kali is undoubtedly the primeval energy. The depiction of Kali on Shiva shows that without energy, matter lies "dead". This concept has been simplified to a folk-tale depicting a wife placing her foot on her husband and sticking her tongue out in shame. In tantric contexts, the tongue is seen to denote the element (guna) of rajas (energy and action) controlled by sattva.
If Kali steps on Shiva with her right foot and holds the sword in her left hand, she is considered to be Dakshina Kali. The Dakshina Kali Temple has important religious associations with the Jagannath Temple and it is believed that Daksinakali is the guardian of the kitchen of the Lord Jagannath Temple. Puranic tradition says that in Puri, Lord Jagannath is regarded as Daksinakalika. Goddess Dakshinakali plays an important role in the 'Niti' of Saptapuri Amavasya.
One South Indian tradition tells of a dance contest between Shiva and Kali. After defeating the two demons Sumbha and Nisumbha, Kali takes up residence in the forest of Thiruvalankadu or Thiruvalangadu. She terrorizes the surrounding area with her fierce, disruptive nature. One of Shiva's devotees becomes distracted while performing austerities, and asks Shiva to rid the forest of the destructive goddess. When Shiva arrives, Kali threatens him, claiming the territory as her own. Shiva challenges Kali to a dance contest; both of them dance and Kali matches Shiva in every step that he takes until Shiva takes the "Urdhvatandava" step, by vertically raising his right leg. Kali refuses to perform this step, which would not befit her as a woman, and became pacified.
SMASHAN KALI
If the Kali steps out with the left foot and holds the sword in her right hand, she is the terrible form of Mother, the Smashan Kali of the cremation ground. She is worshiped by tantrics, the followers of Tantra, who believe that one's spiritual discipline practiced in a smashan (cremation ground) brings success quickly. Sarda Devi, the consort of Ramakrishna Paramhansa, worshipped Smashan Kali at Dakshineshwar.
MATERNAL KALI
Another legend depicts the infant Shiva calming Kali. In this similar story, Kali has defeated her enemies on the battlefield and begun to dance out of control, drunk on the blood of the slain. To calm her down and to protect the stability of the world, Shiva is sent to the battlefield, as an infant, crying aloud. Seeing the child's distress, Kali ceases dancing to care for the helpless infant. She picks him up, kisses his head, and proceeds to breast feed the infant Shiva. This legend is notable because it shows Kali in her benevolent, maternal aspect, with which she is not usually identified.
MAHAKALI
Mahakali (Sanskrit: Mahākālī, Devanagari: महाकाली), literally translated as Great Kali, is sometimes considered as a greater form of Kali, identified with the Ultimate reality of Brahman. It can also be used as an honorific of the Goddess Kali, signifying her greatness by the prefix "Mahā-". Mahakali, in Sanskrit, is etymologically the feminized variant of Mahakala or Great Time (which is interpreted also as Death), an epithet of the God Shiva in Hinduism. Mahakali is the presiding Goddess of the first episode of the Devi Mahatmya. Here she is depicted as Devi in her universal form as Shakti. Here Devi serves as the agent who allows the cosmic order to be restored.
Kali is depicted in the Mahakali form as having ten heads, ten arms, and ten legs. Each of her ten hands is carrying a various implement which vary in different accounts, but each of these represent the power of one of the Devas or Hindu Gods and are often the identifying weapon or ritual item of a given Deva. The implication is that Mahakali subsumes and is responsible for the powers that these deities possess and this is in line with the interpretation that Mahakali is identical with Brahman. While not displaying ten heads, an "ekamukhi" or one headed image may be displayed with ten arms, signifying the same concept: the powers of the various Gods come only through Her grace.
ICONOGRAPHY
Kali is portrayed mostly in two forms: the popular four-armed form and the ten-armed Mahakali form. In both of her forms, she is described as being black in color but is most often depicted as blue in popular Indian art. Her eyes are described as red with intoxication, and in absolute rage, her hair is shown disheveled, small fangs sometimes protrude out of her mouth, and her tongue is lolling. She is often shown naked or just wearing a skirt made of human arms and a garland of human heads. She is also accompanied by serpents and a jackal while standing on a seemingly dead Shiva, usually right foot forward to symbolize the more popular Dakshinamarga or right-handed path, as opposed to the more infamous and transgressive Vamamarga or left-handed path.
In the ten-armed form of Mahakali she is depicted as shining like a blue stone. She has ten faces and ten feet and three eyes. She has ornaments decked on all her limbs. There is no association with Shiva.
The Kalika Purana describes Kali as possessing a soothing dark complexion, as perfectly beautiful, riding a lion, four-armed, holding a sword and blue lotuses, her hair unrestrained, body firm and youthful.
In spite of her seemingly terrible form, Kali Ma is often considered the kindest and most loving of all the Hindu goddesses, as she is regarded by her devotees as the Mother of the whole Universe. And because of her terrible form, she is also often seen as a great protector. When the Bengali saint Ramakrishna once asked a devotee why one would prefer to worship Mother over him, this devotee rhetorically replied, "Maharaj, when they are in trouble your devotees come running to you. But, where do you run when you are in trouble?"
According to Ramakrishna, darkness is the Ultimate Mother, or Kali:
My Mother is the principle of consciousness. She is Akhanda Satchidananda; indivisible Reality, Awareness, and Bliss. The night sky between the stars is perfectly black. The waters of the ocean depths are the same; The infinite is always mysteriously dark. This inebriating darkness is my beloved Kali.
SRI RAMAKRISHNA
This is clear in the works of such contemporary artists as Charles Wish, and Tyeb Mehta, who sometimes take great liberties with the traditional, accepted symbolism, but still demonstrate a true reverence for the Shakta sect.
POPULAR FORM
Classic depictions of Kali share several features, as follows:
Kali's most common four armed iconographic image shows each hand carrying variously a sword, a trishul (trident), a severed head and a bowl or skull-cup (kapala) catching the blood of the severed head.
Two of these hands (usually the left) are holding a sword and a severed head. The Sword signifies Divine Knowledge and the Human Head signifies human Ego which must be slain by Divine Knowledge in order to attain Moksha. The other two hands (usually the right) are in the abhaya (fearlessness) and varada (blessing) mudras, which means her initiated devotees (or anyone worshipping her with a true heart) will be saved as she will guide them here and in the hereafter.
She has a garland consisting of human heads, variously enumerated at 108 (an auspicious number in Hinduism and the number of countable beads on a Japa Mala or rosary for repetition of Mantras) or 51, which represents Varnamala or the Garland of letters of the Sanskrit alphabet, Devanagari. Hindus believe Sanskrit is a language of dynamism, and each of these letters represents a form of energy, or a form of Kali. Therefore she is generally seen as the mother of language, and all mantras.
She is often depicted naked which symbolizes her being beyond the covering of Maya since she is pure (nirguna) being-consciousness-bliss and far above prakriti. She is shown as very dark as she is brahman in its supreme unmanifest state. She has no permanent qualities - she will continue to exist even when the universe ends. It is therefore believed that the concepts of color, light, good, bad do not apply to her - she is the pure, un-manifested energy, the Adi-shakti.
SHIVA IN KALI ICONOGRAPHY
In both these images she is shown standing on the prone, inert or dead body of Shiva. There is a legend for the reason behind her standing on what appears to be Shiva's corpse, which translates as follows:
Once Kali had destroyed all the demons in battle, she began a terrific dance out of the sheer joy of victory. All the worlds or lokas began to tremble and sway under the impact of her dance. So, at the request of all the Gods, Shiva himself asked her to desist from this behavior. However, she was too intoxicated to listen. Hence, Shiva lay like a corpse among the slain demons in order to absorb the shock of the dance into himself. When Kali eventually stepped upon Shiva, she realized she was trampling and hurting her husband and bit her tongue in shame.
The story described here is a popular folk tale and not described or hinted in any of the puranas. The puranic interpretation is as follows:
Once, Parvati asks Shiva to chose the one form among her 10 forms which he likes most. To her surprise, Shiva reveals that he is most comfortable with her Kali form, in which she is bereft of her jewellery, her human-form, her clothes, her emotions and where she is only raw, chaotic energy, where she is as terrible as time itself and even greater than time. As Parvati takes the form of Kali, Shiva lies at her feet and requests her to place her foot on his chest, upon his heart. Once in this form, Shiva requests her to have this place, below her feet in her iconic image which would be worshiped throughout.
This idea has been explored in the Devi-Bhagavata Purana and is most popular in the Shyama Sangeet, devotional songs to Kali from the 12th to 15th centuries.
The Tantric interpretation of Kali standing on top of her husband is as follows:
The Shiv tattava (Divine Consciousness as Shiva) is inactive, while the Shakti tattava (Divine Energy as Kali) is active. Shiva and Kali represent Brahman, the Absolute pure consciousness which is beyond all names, forms and activities. Kali, on the other hand, represents the potential (and manifested) energy responsible for all names, forms and activities. She is his Shakti, or creative power, and is seen as the substance behind the entire content of all consciousness. She can never exist apart from Shiva or act independently of him, just as Shiva remains a mere corpse without Kali i.e., Shakti, all the matter/energy of the universe, is not distinct from Shiva, or Brahman, but is rather the dynamic power of Brahman. Hence, Kali is Para Brahman in the feminine and dynamic aspect while Shiva is the male aspect and static. She stands as the absolute basis for all life, energy and beneath her feet lies, Shiva, a metaphor for mass, which cannot retain its form without energy.
While this is an advanced concept in monistic Shaktism, it also agrees with the Nondual Trika philosophy of Kashmir, popularly known as Kashmir Shaivism and associated most famously with Abhinavagupta. There is a colloquial saying that "Shiva without Shakti is Shava" which means that without the power of action (Shakti) that is Mahakali (represented as the short "i" in Devanagari) Shiva (or consciousness itself) is inactive; Shava means corpse in Sanskrit and the play on words is that all Sanskrit consonants are assumed to be followed by a short letter "a" unless otherwise noted. The short letter "i" represents the female power or Shakti that activates Creation. This is often the explanation for why She is standing on Shiva, who is either Her husband and complement in Shaktism or the Supreme Godhead in Shaivism.
To properly understand this complex Tantric symbolism it is important to remember that the meaning behind Shiva and Kali does not stray from the non-dualistic parlance of Shankara or the Upanisads. According to both the Mahanirvana and Kularnava Tantras, there are two distinct ways of perceiving the same absolute reality. The first is a transcendental plane which is often described as static, yet infinite. It is here that there is no matter, there is no universe and only consciousness exists. This form of reality is known as Shiva, the absolute Sat-Chit-Ananda - existence, knowledge and bliss. The second is an active plane, an immanent plane, the plane of matter, of Maya, i.e., where the illusion of space-time and the appearance of an actual universe does exist. This form of reality is known as Kali or Shakti, and (in its entirety) is still specified as the same Absolute Sat-Chit-Ananda. It is here in this second plane that the universe (as we commonly know it) is experienced and is described by the Tantric seer as the play of Shakti, or God as Mother Kali.
From a Tantric perspective, when one meditates on reality at rest, as absolute pure consciousness (without the activities of creation, preservation or dissolution) one refers to this as Shiva or Brahman. When one meditates on reality as dynamic and creative, as the Absolute content of pure consciousness (with all the activities of creation, preservation or dissolution) one refers to it as Kali or Shakti. However, in either case the yogini or yogi is interested in one and the same reality - the only difference being in name and fluctuating aspects of appearance. It is this which is generally accepted as the meaning of Kali standing on the chest of Shiva.
Although there is often controversy surrounding the images of divine copulation, the general consensus is benign and free from any carnal impurities in its substance. In Tantra the human body is a symbol for the microcosm of the universe; therefore sexual process is responsible for the creation of the world. Although theoretically Shiva and Kali (or Shakti) are inseparable, like fire and its power to burn, in the case of creation they are often seen as having separate roles. With Shiva as male and Kali as female it is only by their union that creation may transpire. This reminds us of the prakrti and purusa doctrine of Samkhya wherein prakāśa- vimarśa has no practical value, just as without prakrti, purusa is quite inactive. This (once again) stresses the interdependencies of Shiva and Shakti and the vitality of their union.
Gopi Krishna proposed that Kali standing on the dead Shiva or Shava (Sanskrit for dead body) symbolised the helplessness of a person undergoing the changing process (psychologically and physiologically) in the body conducted by the Kundalini Shakti.
DEVELOPMENT
In the later traditions, Kali has become inextricably linked with Shiva. The unleashed form of Kali often becomes wild and uncontrollable, and only Shiva is able to tame her just as only Kali can tame Shiva. This is both because she is often a transformed version of one of his consorts and because he is able to match her wildness.
The ancient text of Kali Kautuvam describes her competition with Shiva in dance, from which the sacred 108 Karanas appeared. Shiva won the competition by acting the urdva tandava, one of the Karanas, by raising his feet to his head. Other texts describe Shiva appearing as a crying infant and appealing to her maternal instincts. While Shiva is said to be able to tame her, the iconography often presents her dancing on his fallen body, and there are accounts of the two of them dancing together, and driving each other to such wildness that the world comes close to unravelling.
Shiva's involvement with Tantra and Kali's dark nature have led to her becoming an important Tantric figure. To the Tantric worshippers, it was essential to face her Curse, the terror of death, as willingly as they accepted Blessings from her beautiful, nurturing, maternal aspect. For them, wisdom meant learning that no coin has only one side: as death cannot exist without life, so life cannot exist without death. Kali's role sometimes grew beyond that of a chaos - which could be confronted - to that of one who could bring wisdom, and she is given great metaphysical significance by some Tantric texts. The Nirvāna-tantra clearly presents her uncontrolled nature as the Ultimate Reality, claiming that the trimurti of Brahma, Vishnu and Rudra arise and disappear from her like bubbles from the sea. Although this is an extreme case, the Yogini-tantra, Kamakhya-tantra and the Niruttara-tantra declare her the svarupa (own-being) of the Mahadevi (the great Goddess, who is in this case seen as the combination of all devis).
The final stage of development is the worshipping of Kali as the Great Mother, devoid of her usual violence. This practice is a break from the more traditional depictions. The pioneers of this tradition are the 18th century Shakta poets such as Ramprasad Sen, who show an awareness of Kali's ambivalent nature. Ramakrishna, the 19th century Bengali saint, was also a great devotee of Kali; the western popularity of whom may have contributed to the more modern, equivocal interpretations of this Goddess. Rachel McDermott's work, however, suggests that for the common, modern worshipper, Kali is not seen as fearful, and only those educated in old traditions see her as having a wrathful component. Some credit to the development of Devi must also be given to Samkhya. Commonly referred to as the Devi of delusion, Mahamaya or Durga, acting in the confines of (but not being bound by) the nature of the three gunas, takes three forms: Maha-Kali, Maha-Lakshmi and Maha-Saraswati, being her tamas-ika, rajas-ika and sattva-ika forms. In this sense, Kali is simply part of a larger whole.
Like Sir John Woodroffe and Georg Feuerstein, many Tantric scholars (as well as sincere practitioners) agree that, no matter how propitious or appalling you describe them, Shiva and Devi are simply recognizable symbols for everyday, abstract (yet tangible) concepts such as perception, knowledge, space-time, causation and the process of liberating oneself from the confines of such things. Shiva, symbolizing pure, absolute consciousness, and Devi, symbolizing the entire content of that consciousness, are ultimately one and the same - totality incarnate, a micro-macro-cosmic amalgamation of all subjects, all objects and all phenomenal relations between the "two." Like man and woman who both share many common, human traits yet at the same time they are still different and, therefore, may also be seen as complementary.
Worshippers prescribe various benign and horrific qualities to Devi simply out of practicality. They do this so they may have a variety of symbols to choose from, symbols which they can identify and relate with from the perspective of their own, ever-changing time, place and personal level of unfolding. Just like modern chemists or physicists use a variety of molecular and atomic models to describe what is unperceivable through rudimentary, sensory input, the scientists of ontology and epistemology must do the same. One of the underlying distinctions of Tantra, in comparison to other religions, is that it allows the devotee the liberty to choose from a vast array of complementary symbols and rhetoric which suit one's evolving needs and tastes. From an aesthetic standpoint, nothing is interdict and nothing is orthodox. In this sense, the projection of some of Devi's more gentle qualities onto Kali is not sacrilege and the development of Kali really lies in the practitioner, not the murthi.
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HINDU GODDESS DURGA
Durga, meaning "the inaccessible" or "the invincible", is the most popular incarnation of Devi and one of the main forms of the Goddess Shakti in the Hindu pantheon. Durga is the original manifested form of Mother Parvati or Adi-Parashakti. Durga is Adi-Parashakti herself. The Devi Gita, declares her to be the greatest Goddess. Thus, she is considered the supreme goddess and primary deity in Shaktism, occupying a place similar to Lord Krishna in Vaishnavism. According to Skanda Purana, the goddess Parvati accounted the name "Durga" after she killed the demon Durgamaasura. Goddess Parvati is considered to be the complete incarnation of Adi Parashakti or Goddess Durga, with all other goddesses being her incarnations or manifestations. Adi Parashakti or Mahadevi, the supreme power, is called Durga Shakti as per Devi-Mahatmya. Adi Parashakti or Devi Durga is a Hindu concept of the Ultimate Shakti or Mahashakti, the ultimate power inherent in all Creation. This is especially prevalent in the Shakta denomination within Hinduism, which worships the Goddess Devi in all her manifestations. She is Goddess Lakshmi and Goddess Saraswati in her mild form; Goddess Kali and Goddess Chandi in her wrathful form. Durga is also called Padmanabha-Sahodari and Narayani, the sister of Lord Vishnu. According to Shaivism and Shaktism She is supreme, but to bring back lord Shiva in Sansar, she was reborn in human form (Sati and Parvati) to marry Shiva. Durga gave birth to his first child Kartikeya.
ORIGINS & DEVELOPMENT
Ramprasad Chanda writes the following about the development of Durga from primitive goddess to her current form:
"...it is possible to distinguish two different strata – one primitive and the other advanced. The primitive form of Durga is the result of syncretism of a mountain-goddess worshiped by the dwellers of the Himalaya and the Vindhyas, a goddess worshiped by the nomadic Abhira shepherd, the vegetation spirit conceived as a female, and a war-goddess. As her votaries advanced in civilization the primitive war-goddess was transformed into the personification of the all-destroying time (Kali), the vegetation spirit into the primordial energy (Adya Sakti) and the saviouress from “samsara” (cycle of rebirths) , and gradually brought into line with the Brahmanic mythology and philosophy."
It is not possible to date her The delusion of the supreme soul is otherwise called Shakti (power). From this power, generates all forms of knowledge of the world and it is accepted as vital cause of creation, existence and destruction. According to 'Shree Durga Shaptshati- Rahasyam', the original power is Mahalaxmi that created three pairs of Supreme Powers. They are Brahma, Vishnu and Shiva as male and Saraswati, Laxmi and Parvati as female, and they married respectively. Maha Saraswati is well known as Brahmani, Mahalaxmi as Vaishnavi and Mahakali as Maheswari. Durga Shakti is the original cause of all the present or past worldly occurrences. Durga Shakti is called as Adhyashakti, Paramatma Shakti or Ati Prakrutika Shakti. She is creating and controlling other two powers: Natural and General. Natural Power is called as Atma Shakti, Prakrutika Shakti, Pancha Mahabhuta Shakti etc. This Shakti creates and controls the General Energy. General Energies are called Jada Shakti or Tamashakti. By the blessings of Durga Shakti, the mother of the Universe, man is able to get his emancipation or salvation and indulge in enjoyments in performance of his daily activities. So Vyasadev, the eminent poet of "Devi Bhagwat", has aptly described "Rudrahinam Vishnuhinam na vadanti janastatha Shaktihinam Yathasarbe probodhanti Naradhamam". The powerless persons are despised as mean persons. So, by being devoted to the Supreme, we should be strong and powerful by her grace.
STORIES
Shiva Purana gives an account of the origin of Durga. At the beginning of time, Lord Shiva invoked Durga, the primordial energy from his left half to create. Together they created their eternal abode, Shivaloka, also known as Kashi. Thereafter, they created Vishnu and Brahma.
As per Shiva Purana and Devi Mahatmyah, Mahishasura, the son of demon Rambha, unleashed reign of terror on earth. When gods intervened, Mahishasura defeated gods and banished them from heaven. Vanquished gods went to Trideva- Brahma, Vishnu and Shiva. As they narrated their woeful tale, immense mass of light manifested from Lord Vishnu's mouth, which was joined by similar rays that emerged from the enraged faces of gods. This mass of light transformed into a woman. Then all the Gods gave their devine weapon to that supreme power. Adishakti re-manifested as Durga to slay Mahishasura. Armed with celestial weapons of all deities and decked with divine ornaments, Durga rode into the battle field and challenged demons for battle. Mahishasura's entire army, led by demons like Chikshur, Chamar, Asiloma, Vidalaksha, Durdhara, Durmukha, Mahahanu and many more attacked Durga at once. But Durga slew all of them with unparalleled cruelty. An enraged Mahishasura attacked Durga in guise of a buffalo. But Durga bound it with ropes. The buffalo morphed into a lion and lept on Durga, but she beheaded it with her sword. At this, Mahishasura began to fight in form of a swordsman. Durga pinned him down with a torrent of arrows. Mahishasura now assumed form of a giant elephant and tugged at Durga's lion. Durga lopped off its trunk with her sword and freed her lion. The elephent turned into a buffalo and charged at Durga. Sipping from her wine cup, Durga flung her trident and beheaded Mahishasura, finally killing him.
WIKIPEDIA
Inspired by Space Flowers by our Xavier.
From the North Vancouver Recreation & Culture web page: "Bruce Voyce’s Salmon Cycle is an interactive water sculpture that celebrates the extensive salmon habitat restoration work that has rejuvenated nearby Mosquito Creek. Aware that salmon have learned to use fish ladders, the artist playfully envisions what it would be like if they could ride bicycles. Visitors are invited to turn the sculpture's steering wheel and see how its connected to the facility’s sustainable water collection system that directs runoff water to the surrounding garden landscape. By whimsically combining nature with humanity, Salmon Cycle reminds us of the interconnectivity of all living systems."
HELLA SEXY, SMILING CORSET GAL !
~ FOLSOM STREET FAIR 2013 ! ~
photographed by ADDA DADA !
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( It's ADDA DADA's 18th FLICKR YEAR ANNIVERSARY ! )
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THANK YOU for the 606 MILLION VIEWS !
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ADDA DADA's VIEW COUNT is :
SIX HUNDRED-SIX MILLION VIEWS ! ! !
606,000,000+ VIEWS with over 16,000+ followers !!!
(December 17, 2022 )
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( Thanks for the over HALF-A-BILLION views !
ONWARD to ONE BILLION VIEWS ! )
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•🔹•THANK YOU for visiting my virtual art gallery! Enjoy my original 'social documentary' photographs of various events !
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•🔹• ADDA DADA's photography presents a variety of adults (18+ years old) at different public events . These photographs do NOT imply the person's sexual orientation in any way. Everyone was asked and they consented to be photographed and posted
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•.🔹•The photographs are properly marked SAFE or RESTRICTED (18+ only / nudity). There IS NO porn nor stolen photos !
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•🔹•.MY photographs are NOT to be reproduced, COPIED, BLOGGED, USED in any way shape or form. Use of them by anyone is an infringement of copyright ! © All rights reserved. Use without permission is illegal.
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Check out ADDA DADA's other ALBUMS•
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ADDA DADA's photographs are all about the freedom to be LGTBTQ+ & express YOUR LGTBTQ+ freely
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The evolution of awareness is your ability to understand and experience different levels of consciousness. The mind is the software for the hardware of the brain to run on. The mind receives thoughts and with the brain creates your experience of the world. The mind makes you believe that you are living in a world of solid objects even though at the quantum level all form is a fluid flow of particles and energy. This is your stage on which to play out the human experience. Humans have evolved on this plane of experience for millions of years. Each generation learns and grows in awareness of itself.
Evolution is not only the physical changes that all species experience over time, but also awareness of itself. Think about your own awareness as you have grown from a baby to an adult, how much more you know about yourself. Spiritual awareness is similar except consciousness does not end with death. Spiritual awareness is never lost; your path to self awareness is a one way track in that sense. However spiritual growth is not going to come to you without your active seeking. Self awareness, the knowledge and the experience of living in unity with the creative force of the universe, is self generated. There are many spiritual teachings to learn from, but only you can assimilate the knowledge into your life.
What you bring to your world is your interpretation of it, nothing more. You have choice because awareness is always allowing the opportunity to connect with the creative force. As you experience life, you make choices to do this or that, but for the most part choices are made based on your beliefs, Beliefs that have been built over time from family, society and education. In a field of all possibilities, your mind filters the stream of energy from sensory perceptions of sight, hearing and touch. In the same way the mind also filters your consciousness to create thoughts for your decisions and subsequent actions. Young children can easily take on imaginary roles and play act cowboys, Indians, monsters and princesses because their ego self is no so strong yet. Good actors can lose themselves in portraying a character that is totally different from their own true identity.
See your thoughts as they flow in your mind and start focusing on the space between the thoughts. This silence is your portal into the world of awareness. It is the ability to connect with the silence of consciousness and bring it forth into the world. Silence and thoughts go hand in hand to create your life experience. The more you can visit the deep well of silence and bring the presence of that serenity into your daily activity, the more you will bring peace and harmony into your life.
Standing beside the huge mountain on my way to Kach Gali behind the famous lake saif-ul-Maluk was a journey not only in space & time but down to the memory lane too. A perfect place where serenity and tranquility collides with the hustle and bustle of the daily life.
Taken: On the Way to Kach Gali, Naran, Pakistan.
high quality portrait of a young male by annie leibovitz, hd, a remorseless psychopath, intense unsettling look in the eyes, subsurface scattering, beautiful features, highly detailed, photorealistic, photorealistic lighting, (cienamtic)_Seed-5435252_Steps-50_Guidance-10.0
this is not my work...I am just a photographer taking hdr graff pictures.
LEGAL DISCLAIMER: I Do Not Condone Any Acts Of Vandalism Nor Do I Participate In Such Criminal Activity. I Am Simply An Observant and Take Photos Of This Graffiti You Have Come Across. ALSO I Will Not Condone Any Usage Of My Photos To Support Any Legal Matter Involving These Acts Of Vandalism Therefore YOU ARE NOT WELCOME TO VIEW OR TAKE THIS MATERIAL For ANY Purpose...