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component of the UNESCO serial property "Arab-noram Palermo and the Cathedral Churches of Cefalú and Monreale": a series of nine religious and civic buildings dating back to the era of the Norman kingdom of Sicily (1130-1194). Collectively, they are an outstanding example of a sociocultural syncretism between Western, Byzantine and Islamic cultures. This interchange gave rise to an architectural and artistic expression based on new concepts of space, structure and decoration that spread widely throughout the Mediterraneam region
PictionID:44808603 - Title:Atlas Payload Component - Catalog:14_014197 - Filename:14_014197.TIF - - - Image from the Convair/General Dynamics Astronautics Atlas Negative Collection. The processing, cataloging and digitization of these images has been made possible by a generous National Historical Publications and Records grant from the National Archives and Records Administration---Please Tag these images so that the information can be permanently stored with the digital file.---Repository: San Diego Air and Space Museum
not so grainy on larger size [all sizes]
constructive components made of paper tubes, rolls of aluminum (offset) rubber and some wire, exceeds of the press of a newspaper
sort of shigeru ban
This is a resonant circuit with a coil and a capacitor. The resonant frequency is:
f=1/(2π√LC). The capacitor is 0.047 microFarad and the coil has a selfinduction of 1 micro Henry so F = 0.7431 MHz
“Cuatro Torres Business Area” (CTBA). Antigua Ciudad Deportiva del Real Madrid. Paseo de la Castellana. Los componentes más recientes de la Skyline de Madrid
El parque empresarial “Cuatro Torres Business Area” (CTBA) se edifica sobre los terrenos de la antigua Ciudad Deportiva del Real Madrid al extremo norte del paseo de la Castellana, conformado por cuatro rascacielos, los edificios más altos de España. El conjunto comprende un anillo de circulación subterráneo que da servicio a aparcamientos y plantas bajo rasante de cada uno de los edificios. Proyectado en 2002-2003, la construcción se inició en 2004 y la urbanización se culmina en 2009 con la inclusión de algunas interesantes esculturas como la Menina de Manolo Valdés entre las torres CajaMadrid y Sacyr Vallehermoso.
En este recinto se situará además el Centro Internacional de Convenciones de Madrid con un auditorio principal con capacidad para 3.500 personas, según proyecto del equipo formado por Emilio Tuñón y Luis Moreno Mansilla ganadores del concurso convocado en 2007. El edificio propuesto se conforma mediante un círculo erigido verticalmente que se presenta como un disco solar delante de las dos torres centrales.
El Conjunto es fruto de la operación urbanística llevada a cabo por el Real Madrid Club de Fútbol, siendo presidente el empresario Florentino Pérez, por lo que algunos han dado a las torres el nombre de cada uno de los jugadores “galácticos” que fichó el citado presidente como consecuencia de la operación: Figo, Ronaldo, Zidane y Beckham.
Torre CajaMadrid (inicialmente Torre Repsol)
Arquitecto: Norman Foster & Partners
Estructura: Halvorson & Partners - Gilsanz Murray Steficek LLP. Instalaciones: Aguilera Ingenieros. Responsables del proyecto de construcción José Ramón Burgos Morcillo y Pedro González Lejarriaga
Es el edificio más alto de España, con 45 plantas y 250 metros de altura. Proyecto: 2003. Edificado entre 2004 y 2009. La estructura está compuesta por un entramado de acero, que permite una planta rectangular de oficinas, soportado por dos grandes núcleos de hormigón, que encierran los elementos de comunicación vertical y de servicio, que se unen en el remate superior mediante un elemento tipo puente. La fachada se cubre de vidrio en la zona de oficinas y de placas de acero inoxidable en los núcleos de hormigón. Las plantas de oficinas se agrupan en tres cuerpos prismáticos intercalados entre los dos núcleos verticales que los sustentan, conformando una geometría que da su característica imagen al edificio.
Una vez iniciada la construcción, Repsol decidió cambiar la ubicación de su futura sede por lo que el edificio en obras fue adquirido por Caja Madrid con el fin de convertirlo en su sede principal en 2009
Torre Sacyr Vallehermoso (Hotel Eurostars Madrid Tower)
Arquitectos: Carlos Rubio Carvajal y Enrique Álvarez-Sala Walter (R&AS).
Estructura: MC2, Julio Martínez Calzón y Miguel Gómez Navarro. Instalaciones: UTE Aguilera-Úrculo.
Proyectada en 2003, promovida por el Grupo SYV, se construye entre 2004 y 2008, con una altura de 236 metros y 52 plantas
Los autores conciben el edificio a partir del análisis de geometrías rigurosas, capaces de albergar diferentes usos aportando la flexibilidad necesaria. Se configura mediante la superposición de un centro de congresos, un hotel de gran lujo, que ocupa los dos tercios inferiores, y unas oficinas en alquiler, sobre las 17 plantas superiores.
Su planta se genera mediante un triángulo equilátero cuyos lados son curvos, tres arcos que envuelven a tres cilindros situados en posición triangular, optimizando la longitud de la fachada en relación con la superficie construida. Tres pliegues verticales dividen el edificio en gajos, haciéndolo más esbelto e introduciendo luz y ventilación en el núcleo central. Las fachadas, compuestas de una doble piel formada por escamas de vidrio y aluminio que ofrecen una resistencia mínima al viento, presentan una imagen singular dentro del Conjunto, con su tonalidad oscura.
Torre de Cristal
Arquitecto: César Pelli.
Colaboradores: Íñigo Ortiz y Enrique León.
Promovido por la compañía aseguradora Mutua Madrileña, es el edificio más alto de España, junto a la Torre Caja Madrid, con una altura de 250 metros distribuidos en 52 plantas. Proyectada por el arquitecto de origen argentino afincado en New York Cesar Pelli en 2003, se edifica entre 2004 y 2009. Las plantas varían a lo largo de la altura, generando cuatro planos con biseles oblicuos, que confieren a las fachadas del edificio, formadas por muros cortina de vidrio, la apariencia de un cristal tallado, rematado por un plano inclinado bajo el que se conforma un jardín cubierto de invierno. Un gran bloque de cristal transparente, cuyas caras captan la luz “como si fuera un diamante tallado”. La variedad de los ángulos que delimitan cada uno de las caras da vida y movimiento a la torre a través de la diferente intensidad de luz que éstas reflejen durante el día. Su destino es el de oficinas de alquiler. Uno de los atractivos del edificio, que finalmente no autorizó el Ayuntamiento, era una especie de faro situado en su parte más alta, destinado a iluminar el invernadero, que haría visible el rascacielos desde varios puntos de la ciudad.
Torre Espacio
Arquitecto Henry N. Cobb de la firma Pei Cobb Freed & Partners, fundada por Ieoh Ming Pei. Colaborador: José Bruguera.
Colaborador en la dirección de las obras: Reid Fenwick Asociados, de Madrid. Estructura: MC2. Instalaciones: R. Úrculo Ingenieros Consultores.
Proyectada en 2003, promovida por la Inmobiliaria Espacio S.L, se construye entre 2004 y 2008, con una altura de 236 metros y 57 plantas sobre el nivel del suelo. La fachada está formada por un muro cortina de vidrio. Las plantas, varían de forma y dimensiones a lo largo de su altura, pasando del cuadrado en la base, hasta alcanzar la forma de un ojo abierto, es decir dos arcos de circunferencia secantes, en su culminación; dando al edificio una fisonomía exterior muy variable, desde un prisma a una botella, dependiendo del punto de vista. Las aristas son curvas y las fachadas no son planas, por lo que hubo que dotar de un especial diseño a los soportes de hormigón. Alberga, entre otras, oficinas de empresas pertenecientes al grupo promotor como la Inmobiliaria Espacio o la constructora OHL, y algunas embajadas. Cuenta con dos áreas de descanso de ocho metros de altura situadas en las plantas 18 y 33. Su sistema de climatización está compuesto por el "Techo Frío" emisor y la “fachada activa” de doble capa con movimiento de aire interior.
Durante su construcción, en septiembre de 2006 se declaró un incendio entre la planta 40 y 42, la última en construcción en ese momento, pero no afectó a su estructura.
Article from the Chicago Tribune
September 18, 1994 | By Richard A. Wright. Special to the Tribune.
The GTO - where The Muscle Car Began
GTO n. (Gran Turismo Omologato, derived from American, Grand Touring Homologated) a car built of components all from the same maker.
`I bought my first GTO in '65 brand new," said Larry Wyzukovicz of Buffalo Grove, a founder and treasurer of the Cruisin' Tigers GTO Club, Chicago's chapter of a 70,000-member national Pontiac GTO association.
"I've also got a '67 GTO," said Wyzukovicz, a consultant to Steel Service Centers. "I guess I never quite grew up. I just keep my toys in the garage now."
Roger Zeivel is president of the Cruisin' Tigers and shares Wyzukovicz's enthusiasm for this General Motors Corp. car, a legend for 30 years that was born against the wishes of GM's top management.
From the beginning, when an unconventional crowd at Pontiac aimed this car at the sons and daughters of the post-World War II hot-rod generation, the bad boy aura has been part of the GTO charm.
The Woodward GTO Tigers, Detroit's chapter of GTO fans, recently held a 30th birthday party at Domino Farms in Ann Arbor, Mich., with the theme: "30 Years of Slammin' Gears."
The Chicago Cruisin' Tigers were well represented, as they should be, because Chicago was the No. 1 sales market for the GTO in every year of its existence, said Jim Wangers, one of the car's creators.
"Everyone thinks of California as GTO country," he said, "but in every year from 1964 to 1974. Chicago was the No. 1 sales market and Detroit was No. 2."
The Goat, as it was affectionately called, and other cars of the 10-year muscle era, which the GTO kicked off in 1964, have graduated from junk on used-car lots to the darlings of the collector market.
"The GTO represented everything we tried to say about Pontiac after the decision was made by Semon `Bunkie' Knudsen in 1957 to change the division's stodgy image," said Wangers, part of the team that created the GTO concept of putting a big engine in a small car for high-performance fun at a low price.
Unlike the other participants in the GTO's birth-Pete Estes, John Z. DeLorean, Bill Collins and Jack Humbert-Wangers did not work directly for GM, but was on the Pontiac advertising account at MacManus, John & Adams.
The GTO concept was born in 1956, when GM President Harlow Curtice surprised the industry by naming Knudsen, an ambitious 40-year-old engineer (and son of the legendary William Knudsen, who helped run Ford Motor Co. and General Motors), to head the ailing Pontiac Division.
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Pontiac had become a stodgy car for conservative old men and old ladies. Knudsen decided the car needed a more exciting image and the best way to do that was to make the car more exciting.
To help him do this, he brought in Elliot "Pete" Estes from Oldsmobile and an even younger engineer with plenty of ideas and ambition to match Knudsen's-John Z. DeLorean. "Bringing in Estes and DeLorean turned out to be a stroke of genius on Knudsen's part," said Wangers.
DeLorean, not even 30, was an engineering boy wonder, first at Chrysler Corp. then at Packard, where he headed research and development. Knudsen offered him a similar post at Pontiac. "Without DeLorean, there would not have been a GTO," Wangers said.
Knudsen, Estes and DeLorean secretly launched a stock-car racing activity-secretly because GM had agreed in 1955 along with the rest of the industry not to engage in factory racing efforts. As part of this secret effort, a buyer or a dealer who knew what to look for in the Pontiac catalog of optional equipment in the early '60s could put together a GTO, a racing car made with components from the same maker, as opposed to hot-rods or racers made up of components from various manufacturers. In other words, a factory hot-rod.
In 1963, Ace Wilson, of Royal Pontiac, Royal Oak, Mich., began marketing-with Wangers' help-a high-performance vehicle based on any Pontiac model made of stock Pontiac options. He called it the Royal Bobcat.
The Bobcat was a sales and aesthetic success and in its Tempest/LeMans form it was the prototype of the GTO, which debuted as a '64 option on the LeMans. "It had to be an option package because it did not qualify to be built as a separate model," Wangers said.
"General Motors had a rule that no model could have more than one cubic inch of engine for 10 pounds of car weight," he said. "It didn't take a genius to figure out that a 389-cubic-inch engine in a 3,400-pound car did not meet that qualification."
So Estes, then general manager, allowed the car to be offered as a LeMans option, Wangers said, and the GTO package included hood scoops, appliques and exterior trim-and the 389-cubic-inch V-8.
"They snuck it out," Wangers said.
Dealers ordered 5,000 before Pontiac went to the corporate level to get approval to build and market the GTO. "This kind of demand forced GM to allow production of the car," said Wangers.
Pontiac sold 31,000 '64 LeMans GTOs and could have sold twice that, Wangers said.
For 1965, GTO was still a LeMans option, but in 1966 Pontiac began to market the GTO as a separate model. It became the car by which all muscle cars would be judged.
Ford and Chrysler rushed to market with their own muscle cars, the most successful of which, Wangers said, was the Plymouth Road Runner, introduced in 1968. "The Road Runner threw a scare into Pontiac, and it brought out the Judge option (a high-performance engine and rear axle) for GTO the following year."
Muscle cars drew heavy fire from the safety establishment, the insurance industry and the newly emerging environmental movement, who said muscle cars were polluters because they burned so much fuel.
The 1974 oil crisis doomed the muscle car. An inexpensive, high-performance car with a small, light body and a big V-8, was politically incorrect. By 1974, the GTO and the Road Runner were history, as were the American Motors Corp. AMX, Chevy Super Sports and big-block Ford Torinos.
Asked what GTOs are the most sought-after by collectors, Wangers said "a few GTO buyers also went for the Royal Bobcat package, and those are the most valuable, followed by the GTO Judges."
A 1964 GTO convertible in excellent condition is worth about $20,000, but a '70 or '71 GTO Judge will fetch $30,000 and up, according to Old Cars Price Guide put out by Krause Publications in Iola, Wis. The first LeMans GTO sold for $2,300 to $3,000, depending on how it was equipped.
According to a spokesman at Kruse International, the Auburn, Ind., auction house, a 1964 GTO fetched $41,160 at the Labor Day auction this year.
"Estes sold GM on backing the GTO with funding for marketing and product development," Wangers said, "but DeLorean was the catalyst who made it all happen. Key roles were also played by Bill Collins, assistant chief engineer in charge of chassis and engine development, and Jack Humbert, head of Pontiac's styling studio."
Wangers said he was the unofficial "GTO sales manager," a role he played because of his close relationship with DeLorean. "We really hit it off," he said.
Wangers worked hard to promote the Goat. He said the division used a "Tiger" theme in aggressive ads from '64 through '66. "We used radio commercials filled with roaring engines and screeching tires," he said, "and television spots filled with flying dust and gravel. These ads made GM management nervous, and we had to quit them."
The problem of trying to sell a car that top management is not sure it wants was solved by tie-in promotions, one with Melville Shoes, maker of Thom McAn shoes, the other with Kellogg's.
"We jointly promoted the GTO with a new Thom McAn shoe called the GTO, portrayed as a `high-performance' shoe," Wangers said. "The shoe had a GTO emblem and a tire tread pattern on the sole. We had a GTO car in front of 1,600 Thom McAn stores, and we gave away 50 black and gold coupes."
The promotion with Kellogg's was based on a fact that a Kellogg's executive told Wangers that every box of Rice Krispies is taken out of the cupboard six times during its life in the home.
"Kellogg was sponsoring the TV show `The Monkees.' We offered to provide a car for the show and had a custom four-door convertible built on a '67 GTO. Then we put on a sweepstakes contest promoted on the back of 42 million boxes of Rice Krispies.
"We gave away 15 GTO convertibles and the top prize winner got to go to Hollywood, meet the Monkees and ride in the Monkee Mobile."
The rear of the saddle doesn't carry the Brooks nameplate and seems a bit flatter than the normal B17.
Piction ID:86235320--Convair component 07/13/1959-Please tag these photos so information can be recorded.---- Digitization of this image made possible by a grant from NEH: NEH and the San Diego Air and Space Museum
Francisco Sá Carneiro Airport. Maia - Portugal
Olympus XA2 + Fujichrome Velvia 50 (Expired April 2004)
Belgian Air Component F-16AM FA-84 from 350Sqn in display markings gets airborne from RWY 09 at RAF Fairford for its display at RIAT 2012.
21,25 pm iso 1600 1/6 f 3,5 Ev - 0.70
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meglio visto su sfondo nero (Clicca sull'immagine)
best seen on black background (click on image)
foto a mano libera.
Freehand picture.
Venerdì 7 febbraio alle 20.30 nella Cattedrale di Santa Maria Assunta, il Duomo di Reggio Emilia, due delle orchestre giovanili e alcuni solisti dell’istituto superiore di studi musicali Peri-Merulo hanno offerto alla città un concerto dedicato al direttore d’orchestra Claudio Abbado, recentemente scomparso, legato a Reggio da una lunga amicizia e attività artistica.
L’evento, reso possibile anche dalla disponibilità della diocesi di Reggio e Guastalla, è carico di valore simbolico per l’attenzione che Abbado ha avuto nel corso della sua carriera ai temi della formazione artistica e dei giovani musicisti, nonché per i legami che ha storicamente intrattenuto con Reggio.
Il Conservatorio reggiano vanta una tradizione nel campo della pedagogia musicale riconosciuta a livello internazionale ed è oggi una delle realtà di punta della formazione musicale italiana. Diversi tra i giovani che si esibiranno sono gli stessi che si sono fatti apprezzare nel recente concerto al teatro Ariosto in occasione delle celebrazioni del Primo Tricolore e nel palazzo del Senato, a Roma, dove hanno suonato davanti ad alcune tra le più alte cariche dello Stato.
Nel concerto del 7 febbraio saranno impegnate le formazioni A e B, composte da più di 100 strumentisti delle fasce di età delle scuole medie inferiori, superiori e dei corsi accademici e sono inserite nel Sistema nazionale delle orchestre e cori giovanili. Diretti da Gabrielangela Spaggiari, i giovani orchestrali si alterneranno con le esecuzioni di altri brani interpretati da alcuni solisti della scuola: Monica Piccinini (soprano), Renato Negri (organo), Davide Gaspari (violino) e Luca Franzetti (violoncello).
Il programma spazierà dal repertorio barocco a quello romantico con brani di Bach, Wagner, Musorgskij, Händel, Charpentier, Rameau e Buxtehude.
IL PROGRAMMA
Johann Sebastian Bach
Sarabanda, dalla Partita in re minore BWV 1004
Davide Gaspari, violino
Preludio in mi minore BWV 548
Renato Negri, organo
Komm, süßer Tod, (Vieni, dolce morte) BWV 478
Monica Piccinini, soprano - Renato Negri organo
Nun komm, der Heiden Heiland, (Vieni, Redentore dei pagani) BWV 659
Renato Negri, organo
Richard Wagner
Coro dei Pellegrini (da Tannhäuser; arr. di M. J. Isaac)
Modest Petrovič Musorgskij
da Quadri di un’esposizione; arr. di D. Stone, A. Carter)
Georg Friedrich Händel
Sarabanda (arr. G. Spaggiari)
Marc-Antoine Charpentier
Te Deum
Jean-Philippe Rameau
Suite (arr. di P. Gordon)
Dietrich Buxtehude
Sarabanda (arr. di P. Gordon)
Orchestre Giovanili dell’Istituto “Achille Peri – Claudio Merulo”
Gabrielangela Spaggiari Direttore
Johann Sebastian Bach
Preludio dalla Suite in Do Maggiore BWV 1009
Sarabanda, con scordatura originale, dalla Suite in do minore BWV 1011
Luca Franzetti, violoncello
I COMPONENTI DELLE ORCHESTRE
Flauti - Gozzi Alessandro, Genta Giulia, Spezzani Chiara, Martina Cordeddu, Ghirri Alessio, Zini Corradini Chiara, D’onofrio Laura, Bizzocchi Francesca, Russo Margherita
Oboi - Pancaldi Marta, Morini Lucia, Manfredi Orfeo, Tarquini Alessandro, Ferretti Elia, Storchi Costanza
Clarinetti - Montruccoli Martina, De Zuani Francesco, Cavalli Sara, Ranellucci Martina, Pignedoli Giovanni, Russo Tommaso
Fagotti - Tubertini Martino, Davoli Francesca, De Rosa Chiara, Chiessi Alice
Corni - Rodomonti Caterina, De Rosa Sabrina, Fantozzi Federico, Righi Marco, Righi Tommaso, Napolitano Daniele
Trombe - Scolari Simone, Ben Hamed Omar, Magnani Marco, Gianolio Gerardo, Corradini Dimitri
Tromboni - Carletti Gianmarco, Bigi Niccolò, Galimberti Samuele, Bisi Raoul
Violini Primi - Bertolini Sofia, Burza Laura, Ferrante Giorgia, Bulgarelli Eleonora, Cavalli Chiara, Del Sante Maria Vittoria, Bertola Laura, Pellegrini Annalia, Bazzani Enrico, Sevardi Alessandro, Zotti Giovanni, Sabet Giulia, Catellani Sara, Perezzani Caterina, Turcano Mihaela, Lamantea Mattia
Violini Secondi - Bertolini Simone, Bort Ida, Ghirri Rebecca, Casanova Sonia, Reverberi Vittoria, Curti Carlotta, Giaroli Anna, Arisi Emilia, Catellani Camilla, Filippini Fabio, Kononenko Daria, Costi Ludovica, Zambelli Luigi, Davoli Lorenzo, Masini Samuele, Bertolini Matilde, Iotti Allegra, Codeluppi Luca
Viole - Corradini Zini Francesco, Fanti Filippo, Casarini Susanna, Catellani Francesca, Ferretti Emma, Poli Francesca, Corradini Sveva
Violoncelli - Masini Gabriele, Zini Valentina, Letizia Calza, Giuseppe Raciti, Elena Maria Vitale, Re Beniamino, Caterina Vignali, Zappettini Maria Bianca, Vecchi Ines, Campanini Caterina
Contrabbassi - Boiardi Lucia, Braglia Valeria, Fabbiano Gaia, Chiesi Stefano
Percussioni - Genta Gabriele, Tomasello Nicolò, Edoardo Reverberi, Ferrari Martina, Camorani Sofia, Fabbi Diego
Fisarmoniche - Giacomo Melli, Ganassi Riccardo.
Friday 7 February at 20.30 in the Cathedral of Saint Mary of the assumption, the Cathedral of Reggio Emilia, two youth orchestras and soloists of the istituto superiore di studi musicali Peri-Merulo offered the city a concert dedicated to the conductor Claudio Abbado, recently deceased, tied in Reggio by a long friendship and artistic activity.
The event, made possible by the availability of the Diocese of Reggio and Guastalla, is laden with symbolism for the attention that Abbado had throughout his career to issues of artistic training and young musicians, as well as to the ties that have historically had with Reggio.
The Conservatory has a tradition in cheese field of musical pedagogy recognized internationally and is today one of the leading Italian music training. Several of the young people who will perform are the same that have come to appreciate in recent concert at teatro Ariosto on the occasion of the celebrations of the first Tricolor and in palazzo del Senato in Rome, where they played in front of some of the highest offices of the State.
In the concert of February 7 will be committed and (B) formations, consisting of more than 100 musicians of the age groups of middle schools, and academic courses and are included in the national system of youth orchestras and choirs. Directed by Gabrielangela Spaggiari, youngsters will alternate with orchestral performances of other songs played by soloists of the school: Monica Piccinini (soprano), Renato Negri (organ), Davide Gaspari (violin) and Luca Franzetti (cellos).
The program will range from the baroque to the romantic repertoire with works by Bach, Wagner, Handel, Mussorgsky, Charpentier, Rameau and Buxtehude.
THE PROGRAM
Johann Sebastian Bach
Sarabande from Partita in d minor BWV 1004
Paul Gaspari, violin
Prelude in e minor, BWV 548
Renato Negri, organ
Komm, süßer Tod (Come, sweet death) BWV 478
Monica Piccinini, soprano-Renato Negri body
Nun komm, der Heiden Heiland (come, Redeemer of the pagans) BWV 659
Renato Negri, organ
Richard Wagner
Pilgrim Choir (Tannhäuser; arr. by m. j. Isaac)
Modest Mussorgsky
from pictures at an exhibition; arr. by d. Stone, a. Carter)
Georg Friedrich Händel
Sarabande (arr. G. Spaggiari)
Marc-Antoine Charpentier
Te Deum
Jean-Philippe Rameau
Suite (arr. by p. Gordon)
Dietrich Buxtehude
Sarabande (arr. by p. Gordon)
Youth orchestras of the Institute "Achille Peri – Claudio Merulo"
Spaggiari Gabrielangela Director
Johann Sebastian Bach
Prelude from Suite in c major, BWV 1009
Sarabande, with original, breakage from Suite in c minor, BWV 1011
Luca Franzetti, cello
THE COMPONENTS OF THE ORCHESTRAS
Flutes-Gozzi Alessandro, Ferdinand Spezzani, Chiara, Martina Elroy Charles, Ghirri Alessio, Zini Charles Clare, D'Onofrio Laura, Francesca Russo Margherita Bizzocchi
Oboi-Pancaldi Marta, Morini Lucia, Manfredi Orpheus, Alessandro Tarquini, Ferretti Elijah Storchi Constance
Clarinets-Man Martina, De Francesco, Sara Horses Zuani, Martina, Pignedoli John Ranellucci, Russian Thomas
Bassoons-Tubertini Champions We Suggest Martino, Francesca Davoli, De Rosa Chiara, Chiessi Alice
Horns-Catherine De Rosa Rodomonti Sabrina, Fantozzi Frederick, Righi, Tommaso Righi, Marco Napolitano Daniele
Trumpets-Scolari Simone, Ben Hamed Omar, Marco Magnani, Gianolio Gerardo, Corradini Dimitri
Trombones-Carletti Gianmarco, Bigi Niccolò, Galimberti Bisi Samuele, Raoul
First Violins-Sofia Bertolini, Burza Laura Ferrante, Giorgia, Bulgarelli Eleonora, Horses, Of Sante Maria Vittoria, Laura Baird, Ashok Pilgrims, Bazzani Henry, Alexander Sahu, Zamil John, Sabet Giulia, Catellani Sara, Catherine Turcano Perezzani Mihaela, Lagan Maharaj
Violins Seconds-Bertolini Simone, Bort Ida, Ghirri Rebecca Sonia,, Casanova, Curti Victory Charlotta Reverbs, Giaroli Anna, Abid, Catellani Camilla, Filipinos Fabio, Kononenko Daria, Ludovica, Zafar Ahmed, Davoli Lorenzo Masini Samuel, Bertolini Matilda, Iotti Allegra, Codeluppi Luca
Violas-Corradini Zini Francis, Fahmi Philip Casarini Susanna, Catellani Francesca Ferretti, Emma, Francesca Corradini Sveva
Cellos-Masini, Gabriele, Zini Valentina, Letizia Sock, Giuseppe Raciti, Elena Maria Vitale, King Benjamin, Catherine Vignali, Zappettini Nirmal, Old Ines, Campanini Catherine
Double Basses-Boyars, Valeria, Lucia Baranowski Fabbiano Gaia, I Asked Stefano
Percussion-Genta Gabriele, Tomasello Nicolò, Edoardo Ferrari Reverberi, Martina, Camorani Sofia, Diego Fabbi
Accordions-Giacomo Ganassi Melli, Richard.
I just listed this "whole pile of beads". Most of these were used as models in my Rustic Beads and Components Tutorial. They look kind of pretty all in a pile like that.
Copyright © 2013 by Ginger Davis Allman The Blue Bottle Tree, all rights reserved.
The Iowa Pacific 'Caritas' carries the markers for 22. The brown and orange really fit the Caritas scheme.
The GT46C is a model of diesel electric locomotive designed and built by Clyde Engineering using Electro-Motive Diesel components. Entering service from 1997 for a number of Australian rail freight operators, those built for Westrail are known as the Q class.
Specifications
Configuration:
Gauge1,435 mm (4 ft 8 1⁄2 in) standard gauge
Length22 m (72 ft 2 in)
Loco weight134 t (132 long tons; 148 short tons)
Fuel typeDiesel
Prime moverElectro-Motive Diesel 16-710G3B-ES
GeneratorElectro-Motive Diesel AR11 PBEH
Traction motorsElectro-Motive Diesel D87BTRL
Cylinders16
[hide]Performance figures
Maximum speed115 km/h (71 mph)
Power output3,100 kW (4,200 hp)
La abeja europea (Apis mellifera), también conocida como abeja doméstica o abeja melífera, es una especie de himenóptero apócrito de la familia Apidae. Es la especie de abeja con mayor distribución en el mundo. Originaria de Europa, África y parte de Asia, fue introducida en América y Oceanía. Fue clasificada por Carlos Linneo en 1758. A partir de entonces numerosos taxónomos describieron variedades geográficas o subespecies que, en la actualidad, superan las treinta razas.
Cuando un apicultor se refiere a sus colmenas en forma colectiva lo hace desde un concepto intuitivo de colectividad, al hablar de los componentes de un apiario, habla lógicamente del conocimiento de la biología de las abejas, cuya naturaleza social hace que el individuo, en sí mismo, carezca de valor en favor de la colectividad de las abejas. Por todo ello se dice que la colmena es un superorganismo. Este superorganismo se comporta con sinergia que es el efecto producido por la interacción entre los componentes de un sistema que hace que el todo sea más que la suma de las partes individuales. A esta sinergia de conjunto demostrada por Farrar matemáticamente se le denomina regla de Farrar.
I think I have a new addiction. These crusty, grungy Rustic Components are my latest creation. I'm having fun dreaming up new color combinations to try. I blogged about it here.
Copyright © 2013 by Ginger Davis Allman The Blue Bottle Tree, all rights reserved.
AIRBUS A400M "ATLAS" (C/N: 116) BELGIAN AIR COMPONENT (CT-05) / AEROPUERTO DE SEVILLA (LEZL) ESPAÑA-SPAIN / VUELO DE ENTREGA
PictionID:44808994 - Title:Atlas Payload Component - Catalog:14_014229 - Filename:14_014229.TIF - - - Image from the Convair/General Dynamics Astronautics Atlas Negative Collection. The processing, cataloging and digitization of these images has been made possible by a generous National Historical Publications and Records grant from the National Archives and Records Administration---Please Tag these images so that the information can be permanently stored with the digital file.---Repository: San Diego Air and Space Museum
The Damara make up a component of 8.5% of the Namibian nation. The majority live in the northwestern regions of the country but others are found widely across Namibia, where they live and work in towns, on commercial farms, on mines, as well as at the coast.
They have no cultural relationship with any of the other tribes anywhere else in Africa. It is believed that the Damara left their original abode in northwestern Africa long before other tribes started their migrations to western and southern Africa. They no longer possess their traditions of origin, nor former linguistic and cultural affiliations.
In earlier times in Namibia, the Damara people are believed to have been hunter-gatherers, thereafter dominated by and working for the Nama and the Herero. According to Dr. Vedder’s book, “South West Africa in Early Times,” the Bergdamara were regarded by the Nama and Herero as their rightful servants and would mercilessly pursue them when the Damara stole their cattle. The Damara people would then flee in the less hospitable mountainous area around Otavi and further to the West. This gave rise to them being called the “Bergdamara”
Mosquito y zancudo1 son términos genéricos con los que se designa a los miembros de varias familias de insectos del orden de los dípteros y en particular del suborden de los nematóceros; en su uso más estricto «mosquito» se refiere únicamente a los componentes de la familia de los culícidos. Como los otros insectos holometábolos mosquitos tienen cuatro etapas de desarrollo en su vida: huevo, larva, pupa y adulto. Necesitan el agua para completar sus ciclos de vida, porque las larvas son acuáticas.
La presencia de los mosquitos ha sido obviamente reconocida por todos los habitantes de la Tierra, y en cada lengua hay un término, más o menos específico para designarlos. Las referencias escritas más antiguas, aquellas en las cuales podemos nítidamente reconocer al actor, son probablemente las de Aristóteles. En efecto, el famoso filósofo y naturalista griego los cita tanto en su Historia animalium como en De generatione animalibus. En ambas obras se refiere a ellos con el nombre de empis y los incluye entre aquellos seres que tienen una fase de vida terrestre y otra acuática y que además se originaban por generación espontánea de los líquidos putrefactos. Estas ideas primarían en Europa hasta tiempos recientes.
PictionID:54255524 - Catalog:14_034414 - Title:GD/Astronautics Details: Missile Components - Filename:14_034414.tif - - - Images from the Convair/General Dynamics Astronautics Atlas Negative Collection. The processing, cataloging and digitization of these images has been made possible by a generous National Historical Publications and Records grant from the National Archives and Records Administration---Please Tag these images so that the information can be permanently stored with the digital file.---Repository: San Diego Air and Space Museum
An absolute ebay bargain. This Chris Paulson frame was on offer for £75. A pair of Campagnolo portacatena drop-outs would cost over £100 alone! The fade paint scheme might not be everyone's favourite but the condition is brilliant and will look a lot better when built up. A wee project to pass some time during the pandemic.
[Full writeup here.]
Plungercam 2 keeps in the spirit of the original plungercam by using of cheap plumbing equipment and affixing it to precision optics. This iteration eliminates the need for glue altogether, so all the optical components can be easily taken out and re-used elsewhere.
The main component is a rubberized pipe coupling, which I got for $7 at the always awesome Center hardware. The two adjustable steel bands will be used to hold the mount and lens securely in place. This particular one is two inches on the narrow end, and three on the wider end.
To fix the problem with the body cap mount teeth fraying, I decided to replace it with a T-mount T-mount adapter. I picked up the one I'm using for $3 from one of the closing Ritz camera stores.
I'm re using the $12 (from ebay) Zenza bronica medium format lens that was in plungercam 1. Since this was only held in place using a metal clip, it was easy to take it out and re-use it.
Total cost: $22 :)
The Dakshinkali Temple is located 22 kilometers from Kathmandu next to the village of Pharping. It's one of the main temples in Nepal. Twice every week thousands of people come here to worship the goddess Kali by sacrificing life animals, particularly cockerels and uncastrated male goats.
GODDESS KALI
Kālī (/ˈkɑːli/; Sanskrit: काली & Bengali: কালী; IPA: [kɑːliː]), also known as Kālikā (Sanskrit: कालिका), is the Hindu goddess associated with empowerment, or shakti. She is the fierce aspect of the goddess Durga. The name of Kali means black one and force of time; she is therefore called the Goddess of Time, Change, Power, Creation, Preservation, and Destruction. Her earliest appearance is that of a destroyer principally of evil forces. Various Shakta Hindu cosmologies, as well as Shākta Tantric beliefs, worship her as the ultimate reality or Brahman; and recent devotional movements re-imagine Kāli as a benevolent mother goddess. She is often portrayed standing or dancing on her husband, the god Shiva, who lies calm and prostrate beneath her. Worshipped throughout India but particularly South India, Bengal, and Assam, Kali is both geographically and culturally marginal.
ETYMOLOGY
Kālī is the feminine form of kālam ("black, dark coloured"). Kāla primarily means "time", but also means "black"; hence, Kālī means "the black one" or "beyond time". Kāli is strongly associated with Shiva, and Shaivas derive the masculine Kāla (an epithet of Shiva) 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".
Other names include Kālarātri ("black night"), as described above, and Kālikā ("relating to time"), and Kallie ("black alchemist"). 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, whose 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 AND 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
Sanskrit: सर्वमङ्गलमाङ्गल्ये शिवे सर्वार्थसाधिके । शरण्ये त्र्यम्बके गौरि नारायणि नमोऽस्तु ते ॥
ॐ जयंती मंगल काली भद्रकाली कपालिनी । दुर्गा शिवा क्षमा धात्री स्वाहा स्वधा नमोऽस्तुते ॥
(Sarvamaṅgalamāṅgalyē śivē sarvārthasādhikē . śaraṇyē tryambakē gauri nārāyaṇi namō'stu tē.
Oṃ jayantī mangala kālī bhadrakālī kapālinī . durgā śivā ksamā dhātrī svāhā svadhā namō'stutē.)
YANTRA
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 Kali 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. He also states that she does not behave like a mother should and that she ignores his pleas:
Can mercy be found in the heart of her who was born of the stone? [a reference to Kali as the daughter of Himalaya]
Were she not merciless, would she kick the breast of her lord?
Men call you merciful, but there is no trace of mercy in you, Mother.
You have cut off the heads of the children of others, and these you wear as a garland around your neck.
It matters not how much I call you "Mother, Mother." You hear me, but you will not listen.
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 AND 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 consumes Raktabija and his duplicates, and dances 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, drunk on the blood of her victims, is about to destroy the whole universe when, urged by all the gods, Shiva lies in her way to stop her, and she steps upon his chest. Recognizing Shiva beneath her feet, she calms herself. 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 Shiva lies beneath her feet. The drooping out-stuck tongue represents her blood-thirst. Lord Shiva beneath her feet represents matter, as Kali 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, and Shiva challenges Kali to a dance contest, wherein Kali matches Shiva until Shiva takes the "Urdhvatandava" step, vertically raising his right leg. Kali refuses to perform this step, which would not befit her as a woman, and becomes 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
At the time of samundra manthan when amrit came out, along with that came out poison which was going to destroy the world hence on the request of all the gods, Lord Shiva drank it to save the world but as he is beyond death he didn't die but was very much in pain due to the poison effect hence he became a child so that Kali can feed him with her milk which will sooth out the poison effect.
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, ten feet, and three eyes for each head. 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.
Kali as the Symbol of Creation , Freedom , Preservation and Destruction
The head that hangs in Kali's hand is a symbol of Ego and the scimitar which she is holding represents power and energy.It is believed that Kali is protecting the human race by that scimitar and also destroying the negativity and ego within human being. The body lying under Kali symbolizes ruination, is actually a form of Shiva. Kali steps her leg on the chest of the body and suppress ruination . Since she is standing on the pure white chest of Lord Shiva who, as pure primal awareness, lays in a passive reclining position, peacefully lies with his eyes half open in a state of bliss. Her hair is long, black and flowing freely depicting Her freedom from convention and the confines of conceptualization. The white teeth which Kali has stands for conscience and her red tongue represents greed. By pressing her white teeth on her tongue Kali refers to control greed.The goddess may appear terrible from outside but every symbol in Kali signifies truth of life. Since the earth was created out of darkness, the dark black color of Kali symbolizes the color from which everything was born. Her right hand side arms she shows the Abhaya mudra(gesture of fearlessness) and Vara mudra (gesture of welcome and charity) respectively . But on the other arm in left side she holds a bloody scimitar and a severed head depicting destruction and end of ego.
Kali as the Symbol of Mother Nature
The name Kali means Kala or force of time. When there were neither the creation, nor the sun, the moon, the planets, and the earth, there was only darkness and everything was created from the darkness. The Dark appearance of kali represents the darkness from which everything was born. Her complexion is deep blue, like the sky and ocean water as blue. As she is also the goddess of Preservation Kali is worshiped as mother to preserve the nature.Kali is standing calm on Shiva, her appearance represents the preservation of mother nature. Her free, long and black hair represents nature's freedom from civilization. Under the third eye of kali, the signs of both sun, moon and fire are visible which represent the driving forces of nature.
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 [28] 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.
A TIME magazine article of October 27, 1947, used Kali as a symbol and metaphor for the human suffering in British India during its partition that year. In 1971, Ms. Magazine used an image of Kali, her multiple arms juggling modern tasks, as a symbol of modern womanhood on its inaugural issue.
Swami Vivekananda wrote his favorite poem Kali the Mother in 1898.
KALI IN NEOPAGAN AND NEW AGE PRACTICE
An academic study of Western Kali enthusiasts noted that, "as shown in the histories of all cross-cultural religious transplants, Kali devotionalism in the West must take on its own indigenous forms if it is to adapt to its new environment."[60] The adoption of Kali by the West has raised accusations of cultural appropriation:
A variety of writers and thinkers have found Kali an exciting figure for reflection and exploration, notably feminists and participants in New Age spirituality who are attracted to goddess worship. [For them], Kali is a symbol of wholeness and healing, associated especially with repressed female power and sexuality. [However, such interpretations often exhibit] confusion and misrepresentation, stemming from a lack of knowledge of Hindu history among these authors, [who only rarely] draw upon materials written by scholars of the Hindu religious tradition. The majority instead rely chiefly on other popular feminist sources, almost none of which base their interpretations on a close reading of Kali's Indian background. The most important issue arising from this discussion - even more important than the question of 'correct' interpretation - concerns the adoption of other people's religious symbols. It is hard to import the worship of a goddess from another culture: religious associations and connotations have to be learned, imagined or intuited when the deep symbolic meanings embedded in the native culture are not available.
INCARNATIONS OF KALI
Draupadi, Wife of Pandavas, was an avatar of Kali, who born to assist Lord Krishna to destroy arrogant kings of India. There is a temple dedicated to this incarnation at Banni Mata Temple at Himachal Pradesh. The vedic deity Nirriti or the Puranic deity Alakshmi is often considered as incarnations of Kali.
WIKIPEDIA
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Explore Apr 21, 2011 #226
Once a year, I manage to catch a Common Skipper that's not skipping. Yes, they're beautiful but quite fast-moving so getting a good shot is a challenge... worth pursuing! I love the big black eyes and long supportive rear legs!
Despite its appearance and what most books say, it seems a Skipper is actually a butterfly, not a moth. Common Skippers (Hesperiidae) are distinguished from the higher butterflies by their large moth-like bodies, small wings and hooked antennae. Skippers have amazingly large, focused eyes and their bodies look like they're covered with a fine dust. Pruinescence, or pruinosity, is a "bloom" caused by pigment on top of an insect's cuticle that covers up the underlying coloration, giving a dusty or frosted appearance. The pruinescence is commonly white to pale blue in color, but can also be gray, pink, purple, or red; these colors may be produced by Tyndall (en.wikipedia.org/wiki/Tyndall_effect) scattering of light. When pale in color, pruinescence often strongly reflects ultraviolet.
Costus Ginger gives a delicate spicy flower to salads and adds color too. Pleasant for Skippers and for a gourmet too! Costus is a genus of perennial tropical herbaceous plants from the costus family (Costaceae). They are often characterized and distinguished from relatives such as Zingiber (true ginger) by their spiraling stems. The genus as a whole is thus often called spiral gingers, but this can also refer to C. barbatus specifically.
Costus spectabilis is the floral emblem of Nigeria; its flowers are represented (erroneously in red instead of yellow color) on its coat of arms. It is important not to confuse "Costus speciousus, C. spectabilis etc. with the herb known by the common name 'costus'. Some species are of importance to herbivores, such as caterpillars of the Restricted Demon (Notocrypta curvifascia) which feed on Crape Ginger (C. speciosus). The Crape Ginger is also a source of diosgenin, a compound used for the commercial production of various steroids, such as progesterone. On Trinidad and Tobago, a mix of Costus scaber juice and crushed Renealmia alpinia berries is used to treat dogs bitten by snakes.
Costus root has been used as an incense and perfume ingredient for thousands of years and is mentioned in Rabbinical writings as קשט koshet, reflecting its arrow head shape. It was used in Ketoret which is used when referring to the consecrated incense described in the Hebrew Bible and Talmud. It is also referred to as the HaKetoret (the incense). It was offered on the specialized incense altar in the time when the Tabernacle was located in the First and Second Jerusalem Temples. The ketoret was an important component of the Temple service in Jerusalem.
In Tibet it was and is used extensively as incense and medicine, and as an aromatic stomatic in Chinese herbal medicine under the name "Mu Xiang" meaning 'wood aroma'.
Costus sp. ‘French Kiss’, Common Skipper, Monk Skipper
Biscayne Park, FL
Here are the main sections of the Banshee. When transporting this for shows, this is probably how I'll do it - otherwise it'll just get banged up and pieces will go everywhere.
Future Shock is a book written by the futurist Alvin Toffler in 1970. In the book, Toffler defines the term "future shock" as a certain psychological state of individuals and entire societies. His shortest definition for the term is a personal perception of "too much change in too short a period of time". The book, which became an international bestseller, grew out of an article "The Future as a Way of Life" in Horizon magazine, Summer 1965 issue.
Toffler argued that society is undergoing an enormous structural change, a revolution from an industrial society to a "super-industrial society". This change overwhelms people, he believed, the accelerated rate of technological and social change leaving people disconnected and suffering from "shattering stress and disorientation"—future shocked. Toffler stated that the majority of social problems are symptoms of future shock. In his discussion of the components of such shock he popularized the term "information overload."
Wikipedia