This series will be the last of my uploads for the trip I took to southern Burgundy in September 2023.

Listed as a Historic landmark in 1900, the Romanesque church in the out-of-the-way village of Gourdon is one of the secret wonders of Burgundy. Not particularly outstanding from the outside, its large silhouette nevertheless foreshadows an impressive interior, and indeed it is, with its combination of a whooping three-level, Cluny-inspired elevation, its three naves and its generalized system of groin vaulting. Its collection of sculpted capitals is also famous, as are the alfresco paintings that were discovered in the 1940s as the plastering that was applied to hide them in the 19th century began to peel away. More such discoveries were made in the 1970s and restoration lasted until the early 1990s.

Located on a hilltop in the département of Saône-et-Loire, Gourdon has been inhabited since time immemorial. Valuable traces of Roman presence were found in 1845 and promptly shipped to a museum in Paris (the Cabinet des Médailles) where the are still being exhibited to this day. A monastery was founded here very early on, as there is a written trace of a dependency of the Le Puy cathedral chapter in 534, but claims that it was “a Benedictine priory” seem to me a bit overambitious, in spite of my sympathies for that order: let’s not forget that Saint Benedict died only in 547 in Monte Cassino, and I doubt that his Rule was so well-known in Gaul in his own lifetime that it could have been adopted by a small religious establishment in Burgundy... The monastery did certainly exist, though, as Saint Gregory of Tours visited it in 570 and there met with Didier (or Desideratus). About this last figure, History hesitates between the quality of abbot (that would indeed rather be prior if Gourdon were a priory back then) and that of hermit. In any case, by 1104, when the completed parish church is mentioned (there remains no trace of the in-between period), there is no further mention of that monastery, which must have disappeared in the meantime; it was probably little more than a hermitage, as by Year 1000 the rule had been largely propagated by Saint Benedict of Aniane († 821) and Benedictine houses were flourishing all over the Western world. An already existing priory would most likely never have been so abandoned and shut down. No physical traces of that establishment were ever found by archæologists.

Since around 1100, the church has been left almost intact, except for the bell tower which collapsed in 1881 and was rebuilt in 1889, exactly as it was before.

The church in Gourdon does have that “special light” that I often find in Romanesque churches. Such a lovely ambiance for Christmas time...!

On my 28th birthday, October 2nd, 2002, I took a trip to Ottawa South with my mother to have birthday supper at Red Lobster with my sister, who also celebrates her birthday on October 2nd (though she's 3 years younger than I am). At the time, I lived in Pincourt, Quebec, which is near Montreal, and, although I had visited Ottawa many times, I had never really explored Ottawa's suburban sprawl before. Before we had supper, we stopped off at a big box plaza that I now know was South Keys Shopping Centre and I took a set of photos with my Nikon F65 camera in the parking lot, pivoting in order to get enough shots to make a panorama. At the time, it seemed like a silly waste of film, but in a way, it was foreshadowing my life over the next decade.

A little over 2 years later, my parents and I moved to Nepean, in suburban Ottawa, and since then, I have taken many more photos of suburban Ottawa sprawl, I actually came back to the same spot in the South Keys Shopping Centre parking lot on my 32nd birthday, October 2nd, 2006, to take photos for an updated panorama 4 years after taking the photos for the original panorama.

6 years to the day later, or a decade to the day after my very first visit to South Keys Shopping Centre, on my 38th birthday, October 12th, 2012, I came back to South Keys yet again to take a third panorama. Unlike the 2006 one, I decided to only replicate the original panorama and not attempt to do a full 360 degree view. Shall I shoot another panorama here on my 48th birthday, October 2nd, 2022?

Kwinn is probably one of my favorite GI Joe characters. He was the antagonist of the first GI Joe comic book I ever owned as a child, issue #2. He proved to be a canny and formidable foe, defeating a team made up of some of the deadliest and most experienced Joes (Snake Eyes, Scarlett, Stalker and Breaker). He was a complicated enemy as well, he was hired by the Russians in that story and he fulfilled his assignment for them, but as he personally disapproved of his employer's goals, he did so in a way that left open the possibility that the Joe team would show up later and defeat the Russians before they could escape.

Many issues later he would show up again in the jungles of Sierra Gordo and eventually ally with the Joes after being betrayed by his Cobra employers. He basically became a regular recurring character during that long story arc until he was eventually killed.

His character is important in several ways, he was the first example of the "honorable enemy" archetype that would become a staple of GI Joe, and not surprisingly, also the first of many characters in the comics that would start out as enemies and end up as allies. He was the first character to carry around a "ma deuce", a machine gun so massive it is usually mounted on a vehicle or tripod. This weapon would later become a trademark of Roadblock. As a Native American and skilled hunter/tracker with a strong mystical streak, he also foreshadows the character of Spirit. His special bond with Snake Eyes which sees them begin as rivals and end up as brothers in arms also foreshadows Storm Shadow's story. So you can see that Kwinn was a goldmine of great ideas which would be recycled in various ways by Larry Hama and Hasbro in the next several years.

Kwinn received no action figure during the vintage era that he originated in, probably because his character had been killed off. More recent times have been kinder to him. He received his first ever official figure about 10 years ago in his arctic outfit from GI Joe #2. This year, he finally got another figure, this time in the "jungle outfit" he appeared in more commonly.

This figure had long been on the wish list of many old time Joe fans like myself, and is well worth the wait he is a fantastic figure with a plethora of amazing accessories. My only criticisms are that while the face sculpt is very well done, I always imagined Kwinn with a broader face and mouth. I also see him as having a broader torso and thicker arms. However, this is a minor quibble as overall this is a great, great toy!

Itmad-ud-Daulah is the tomb of Mirza Ghyas Beg, a persian who had obtained service in Akbar Court. The Marvel tomb was made by Emperor Jehangir's Queen, Noorjahan, for his father Mirza Ghyas Beg during 1622-1628 A.D. at Agra.

The Craftmanship at Itmad-ud-Daulah foreshadows that of the Taj Mahal. It was here that. "Pietra Dura"-the inlay work on marble-so characteristic of the Taj-was first used.

View On Black

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This series will be the last of my uploads for the trip I took to southern Burgundy in September 2023.

Listed as a Historic landmark in 1900, the Romanesque church in the out-of-the-way village of Gourdon is one of the secret wonders of Burgundy. Not particularly outstanding from the outside, its large silhouette nevertheless foreshadows an impressive interior, and indeed it is, with its combination of a whooping three-level, Cluny-inspired elevation, its three naves and its generalized system of groin vaulting. Its collection of sculpted capitals is also famous, as are the alfresco paintings that were discovered in the 1940s as the plastering that was applied to hide them in the 19th century began to peel away. More such discoveries were made in the 1970s and restoration lasted until the early 1990s.

Located on a hilltop in the département of Saône-et-Loire, Gourdon has been inhabited since time immemorial. Valuable traces of Roman presence were found in 1845 and promptly shipped to a museum in Paris (the Cabinet des Médailles) where the are still being exhibited to this day. A monastery was founded here very early on, as there is a written trace of a dependency of the Le Puy cathedral chapter in 534, but claims that it was “a Benedictine priory” seem to me a bit overambitious, in spite of my sympathies for that order: let’s not forget that Saint Benedict died only in 547 in Monte Cassino, and I doubt that his Rule was so well-known in Gaul in his own lifetime that it could have been adopted by a small religious establishment in Burgundy... The monastery did certainly exist, though, as Saint Gregory of Tours visited it in 570 and there met with Didier (or Desideratus). About this last figure, History hesitates between the quality of abbot (that would indeed rather be prior if Gourdon were a priory back then) and that of hermit. In any case, by 1104, when the completed parish church is mentioned (there remains no trace of the in-between period), there is no further mention of that monastery, which must have disappeared in the meantime; it was probably little more than a hermitage, as by Year 1000 the rule had been largely propagated by Saint Benedict of Aniane († 821) and Benedictine houses were flourishing all over the Western world. An already existing priory would most likely never have been so abandoned and shut down. No physical traces of that establishment were ever found by archæologists.

Since around 1100, the church has been left almost intact, except for the bell tower which collapsed in 1881 and was rebuilt in 1889, exactly as it was before.

The surroundings of the church have been nicely landscaped to include the public well and a metal roadside cross made in 1950 and set atop a column from the same period and a much older base.

In order to secure sharpness in all planes of this very “deep” photo, I focus-stacked two distinct exposures that I composited in Helicon Focus software.

“We Saw the Future” is a conceptual series of paintings by, Brazilian artist Danilo Omwisye (Zéh Palito). The series portrays a world wherein man and animal merge as one. Defining Palito’s archetypal foreshadowing’s of this obscure destiny, each painting illuminates a specific step of the journey. Using his signature color palette of bright reds, royal blues, lime greens, and electric yellows within the contrasting organic shapes against geometric, Zéh Palito takes his audience into this self-conceived dimension. He enhances the cardinal concept of nature’s connectivity by splashing evocative imagery about the canvas: grenades ejecting rainbows, hands possessing hearts, elephants and deers exploring uncharted territory. “We Saw the Future” reinvents the inherent evolution, alludes to the riddance of all things bad, and leaps towards the equality of man and his fellow animal. Yet again, Zéh Palito gives his audience reason to take a second look at the world around them. For, it is man who determines what lay ahead. Perhaps the future is not such a mystery after all.

(Paley Martin- Art Nouveau MAG)

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Boddinstrasse 60, Berlin, Germany

www.idrawalot.com

+5 Pictures Inside

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Italian postcard by Rotalfoto, Milano, no. 522. Photo: Richard Miller / Warner Bros. James Dean at the set of Giant (George Stevens, 1956).

American actor James Dean (1931-1955) was the quintessential 1950s teenager, brooding and romantic. An air of androgyny attributed to his iconic appeal to both men and women. The three roles that defined his stardom are as troubled teenager Jim Stark in Rebel Without a Cause (1955), loner Cal Trask in East of Eden (1955) and surly ranch hand Jett Rink in Giant (1956). After his death in a car crash, the only 24-yers-old Dean became the first actor to receive a posthumous Academy Award nomination for Best Actor.

James Byron Dean was born in 1931, in Marion, Indiana, the only child of Winton Dean and Mildred Marie Wilson. Six years after his father had left farming to become a dental technician, Dean and his family moved to Santa Monica, California. In 1938, his mother was suddenly struck with acute stomach pain and quickly began to lose weight. She died of uterine cancer when Dean was nine years old. Unable to care for his son, Dean's father sent him to live with his aunt and uncle, Ortense and Marcus Winslow, on their farm in Fairmount, Indiana, where he was raised in their Quaker household. Dean's overall performance in school was exceptional and he was a popular student. He played on the baseball and varsity basketball teams, studied drama, and competed in public speaking through the Indiana High School Forensic Association. After graduating from Fairmount High School in May 1949, he moved back to California with his dog, Max, to live with his father and stepmother. He enrolled in Santa Monica College (SMC) and majored in pre-law. He transferred to UCLA for one semester and changed his major to drama, which resulted in estrangement from his father. While at UCLA, Dean was picked from a group of 350 actors to portray Malcolm in Macbeth. At that time, he also began acting in James Whitmore's workshop. In January 1951, he dropped out of UCLA to pursue a full-time career as an actor. Dean's first television appearance was in a Pepsi Cola commercial His first speaking part was as John the Beloved Disciple, in Hill Number One (1951), an Easter television special dramatizing the Resurrection of Jesus. Dean subsequently obtained three walk-on roles in films: as a soldier in Samuel Fuller’s moody study of a platoon in the Korean War, Fixed Bayonets! (Samuel Fuller, 1951), a boxing cornerman in the Dean Martin and Jerry Lewis comedy Sailor Beware (Hal Walker, 1952), and a youth in the comedy Has Anybody Seen My Gal? (Douglas Sirk, 1952) with Rock Hudson. While struggling to get jobs in Hollywood, Dean also worked as a parking lot attendant at CBS Studios, during which time he met Rogers Brackett, a radio director for an advertising agency, who offered him professional help and guidance in his chosen career, as well as a place to stay. In July 1951, Dean appeared on Alias Jane Doe, which was produced by Brackett. In October 1951, Dean moved to New York City. There, he worked as a stunt tester for the game show Beat the Clock, but was subsequently fired for allegedly performing the tasks too quickly. He also appeared in episodes of several CBS television series The Web, Studio One, and Lux Video Theatre, before gaining admission to the Actors Studio to study method acting under Lee Strasberg. There, he was classmates and close friends with Carroll Baker, alongside whom he would eventually star in Giant (George Stevens, 1956). Dean's career picked up and he performed in further episodes of several early 1950s television. One early role, for the CBS series Omnibus in the episode Glory in the Flower (1953), saw Dean portraying the type of disaffected youth he would later portray in Rebel Without a Cause. Positive reviews for Dean's 1954 theatrical role as Bachir, the blackmailing Arab house boy, in an adaptation of André Gide's book The Immoralist, led to calls from Hollywood.

In 1954, James Dean was cast in the emotionally complex role of 'Cal Trask' in East of Eden (Elia Kazan, 1955), an adaptation of John Steinbeck's 1952 novel East of Eden. The lengthy novel deals with the story of the Trask and Hamilton families over the course of three generations, focusing especially on the lives of the latter two generations in Salinas Valley, California, from the mid-19th century through the 1910s. In contrast to the book, the film script focused on the last portion of the story, predominantly with the character of Cal. Though he initially seems more aloof and emotionally troubled than his twin brother Aron (Richard Davalos), Cal is soon seen to be more worldly, business savvy, and even sagacious than their pious and constantly disapproving father (Raymond Massey) who seeks to invent a vegetable refrigeration process. Cal is bothered by the mystery of their supposedly dead mother, and discovers she is still alive and a brothel-keeping 'madam'; the part was played by actress Jo Van Fleet. Much of Dean's performance in the film was unscripted, including his dance in the bean field and his fetal-like posturing while riding on top of a train boxcar (after searching out his mother in nearby Monterey). The most famous improvisation of the film occurs when Cal's father rejects his gift of $5,000, money Cal earned by speculating in beans before the US became involved in World War I. Instead of running away from his father as the script called for, Dean instinctively turned to Massey and in a gesture of extreme emotion, lunged forward and grabbed him in a full embrace, crying. Kazan kept this and Massey's shocked reaction in the film. Wikipedia: “Dean's performance in the film foreshadowed his role as Jim Stark in Rebel Without A Cause. Both characters are angst-ridden protagonists and misunderstood outcasts, desperately craving approval from their fathers.” In recognition of his performance in East of Eden, Dean was nominated posthumously for the 1956 Academy Awards as Best Actor in a Leading Role of 1955, the first official posthumous acting nomination in Academy Awards history. East of Eden was the only film starring Dean that he would see released in his lifetime.

James Dean quickly followed up his role in Eden with a starring role as the brooding red-jacketed teenager Jim Stark in Rebel Without a Cause (Nicholas Ray, 1955) with Sal Mineo and Natalie Wood. The film depicts the dilemma of a typical teenager of the time, who feels that no one, not even his peers, can understand him. The film scrupulously follows the classic theatrical disciplines, telling all within a 24-hour period. Jim Stark was Dean’s true starring role, and Rebel Without a Cause proved to be hugely popular among teenagers. The landmark juvenile-delinquent drama fixed James Dean’s image forever in American culture. In his next film, Giant (George Stevens, 1956), Dean played a supporting role to Elizabeth Taylor and Rock Hudson. This was due to his desire to avoid being typecast as a rebellious teenager like Cal Trask or Jim Stark. In the film, he plays Jett Rink, a Texan ranch hand who strikes oil and becomes wealthy. His role was notable in that, in order to portray an older version of his character in the film's later scenes, Dean dyed his hair gray and shaved some of it off to give himself a receding hairline. Giant would prove to be Dean's last film. At the end of the film, Dean was supposed to make a drunken speech at a banquet; this is nicknamed the 'Last Supper' because it was the last scene before his sudden death. Due to his desire to make the scene more realistic by actually being inebriated for the take, Dean mumbled so much that director George Stevens decided the scene had to be overdubbed by Nick Adams, who had a small role in the film, because Dean had died before the film was edited. Dean received his second posthumous Best Actor Academy Award nomination for his role in Giant at the 29th Academy Awards in 1957 for films released in 1956.

Today, James Dean is often considered an icon because of his perceived experimental take on life, which included his ambivalent sexuality. Most of his so-called affairs with various starlets were made up by the Warner Brothers public relations. Dean's best-remembered relationship was with young Italian actress Pier Angeli, whom he met while Angeli was shooting The Silver Chalice (1955) on an adjoining Warner lot, and with whom he exchanged items of jewelry as love tokens. Angeli's mother disapproved of Dean. After finishing his role for East of Eden, he took a brief trip to New York in October 1954. While he was away, Angeli unexpectedly announced her engagement to Italian-American singer Vic Damone. The press was shocked and Dean expressed his irritation. Angeli married Damone the following month. Dean also dated Swiss actress Ursula Andress. She was seen with Dean in his sports cars, and was with him on the day he bought the car that he died in. The Gay Times Readers' Awards cited him as the greatest male gay icon of all time. Dean’s ambiguous relationship with Sal Mineo in the angst-ridden Rebel Without A Cause has led many to speculate and view this golden age film as years ahead of its time. When questioned about his sexual orientation, Dean is reported to have said, "No, I am not a homosexual. But I'm also not going to go through life with one hand tied behind my back." Dean, with time on his side during down times of filming, often frequented gay bars in mornings, afternoons and evenings in both Hollywood, Studio City and North Hollywood. He and screenwriter and theatre student from UCLA, William Bast lived together as roommates for a number of years. Bast later became Dean's first biographer and told he and Dean ‘experimented’ sexually. Journalist Joe Hyams suggests that any gay activity Dean might have been involved in appears to have been strictly "for trade", as a means of advancing his career. However, the ‘trade only’ notion is contradicted by Bast and other Dean biographers. Biographer Val Holley: “There's been quite an evolution in the thinking since Dean's death in 1955, moving from ‘James Dean was straight’ to ‘Dean had sex with men but only to advance his career’ to ‘Dean had sex with women but only to advance his career.’ In 2016, a new gossipy biography was published, James Dean: Tomorrow Never Comes, by Darwin Porter and Danforth Prince. The authors claim Dean was in love with Marlon Brando and the two would had a long affair with S&M overtones. We may never know for certain if Dean identified as gay, straight, bisexual, but, regardless, what he’s come to represent still resonates with many LGBT audiences.

In 1954, James Dean had become interested in developing an auto racing career. He purchased various vehicles after filming for East of Eden had concluded, including a Triumph Tiger T110 and a Porsche 356. Just before filming began on Rebel Without a Cause, he competed in his first professional event at the Palm Springs Road Races, which was held in Palm Springs, California on March 26–27, 1955. Dean achieved first place in the novice class, and second place at the main event. His racing continued in Bakersfield a month later, where he finished first in his class and third overall. Dean hoped to compete in the Indianapolis 500, but his busy schedule made it impossible. Dean's final race occurred in Santa Barbara on Memorial Day, 30 May 1955. He was unable to finish the competition due to a blown piston. His brief career was put on hold when Warner Brothers barred him from all racing during the production of Giant. Dean had finished shooting his scenes and the movie was in post-production when he decided to race again. Dean was scheduled to compete at a racing event in Salinas, California on 30 September 1955. Accompanying the actor to the occasion was stunt coordinator Bill Hickman, Collier's photographer Sanford Roth, and Rolf Wütherich, the German mechanic from the Porsche factory who maintained Dean's Porsche 550 Spyder "Little Bastard" car. Wütherich, who had encouraged Dean to drive the car from Los Angeles to Salinas to break it in, accompanied Dean in the Porsche. At 3:30 p.m. Dean was ticketed for speeding, as was Hickman who was following behind in another car. As the group traveled to the event via U.S. Route 466, (currently SR 46) at approximately 5:15 p.m. a 1950 Ford Tudor was passing through an intersection while turning, ahead of the Porsche. Dean, unable to stop in time, slammed into the driver's side of the Ford resulting in Dean's car bouncing across the pavement onto the side of the highway. Dean's passenger, Wütherich, was thrown from the Porsche, while Dean was trapped in the car and sustained numerous fatal injuries, including a broken neck. The driver of the Ford, Donald Turnupseed, exited his damaged vehicle with minor injuries. Dean was pronounced dead on arrival shortly after he arrived by ambulance at the Paso Robles War Memorial Hospital at 6:20 p.m. The Failure Analysis Associates later reconstructed and recreated all details of the accident and have concluded that James Dean was travelling 55 to 56 mph when the fateful accident occurred, thereby proving he had not been speeding, as rumor had it. Ed Stephan at IMDb: “At age 24, James Dean was killed almost immediately from the impact from a broken neck. His very brief career, violent death and highly publicized funeral transformed him into a cult object of apparently timeless fascination.”

Sources: Hal Erickson (AllMovie), Ed Stephan (IMDb), Daniel Bates (Daily Mail), Towleroad, Wikipedia, and IMDb.

A special indoor exhibit of Dale Chihuly's contemporary glass sculptures was installed in Dorrance Hall and Ottesen Gallery. These are Rotolo - Italian for coil. Foreshadowing a little here. :)

www.chihuly.com/work/rotolo

"Rotolo rekindled my excitement for working with clear glass. I was really amazed by the complexity and brilliance of the form. " Chihuly

"Every Rotolo (Italian for “coil”) sculpture is a feat in and of itself. They are heavy, intricate and delicate—requiring as much as 140 pounds of glass and up to seventeen team members working in unison for hours to stretch the boundaries of what glass can do. Chihuly spent months perfecting the process of creating Rotolo works."

dbg.org/media-release/desert-botanical-garden-announces-c...

"Dale Chihuly makes a dramatic return to the Sonoran Desert on Dec. 3 with a stunning new exhibition at two of Arizona’s most iconic venues, Desert Botanical Garden and Frank Lloyd Wright’s Taliesin West.

"Combining art, architecture and nature, Chihuly in the Desert, is set against majestic saguaros, landmark buildings and striking Papago buttes. Chihuly’s masterpieces stun from day to night as color, light and form come alive at two locations for a joint exhibition. Tickets go on sale to the public starting Oct. 4 for the exhibition that runs from Dec. 3, 2021 through June 19, 2022.

“The Garden is thrilled to bring Chihuly back to the Valley since their first showing in 2008. We are co-presenting the exhibit with Taliesin West – both venues will be filled with extraordinary glass installations,” says Ken Schutz, the Garden’s executive director. “Partnering with Taliesin West has been a rewarding experience, and I think our successful collaboration might serve as a model for other arts and cultural organizations in the Valley as they bring their programs back on line.”

"Chihuly in the Desert showcases Dale Chihuly’s stunning, large-scale installations nestled among the Garden’s world-class collection of desert plants. Featuring installations on the Garden’s trails complemented by a major indoor gallery in Dorrance Hall, the dynamic exhibition includes never-before-seen installations and is a must-see throughout the seasons.

Desert Botanical Garden Chihuly 2022

DSC01098 acd

This heritage statue certainly makes the point about the Sacred Heart of Jesus as the first son of Adam with a circumcised heart. The circumcision of the Old Testament is to expose a most intimate and sensitive organ as a liturgical sacrifice of alliance with God and his people. The circumcision of the Old Testament only foreshadows the true circumcision that is asked from Christ: the circumcision of one's only true intimate and sensitive organ which is one's heart! It is the only way that one's heart can become a heart of flesh rather than a heart of stone ... to paraphrase Saint Paul.

One day out the big window of the place we were staying we saw a hawk and a hummingbird. One would leave and then the other would show up … this went on for a couple of hours and we were fascinated. Ever try taking a photo of a hummingbird in flight? Might as well try and capture whales surfacing to breathe (foreshadowing)

Represented By The Cross

"They took Jesus, and led him away." [John 19:16]

He had spent the night in agony, and in the early morning He was hurried from the hall of Caiaphas to Pilate, from Pilate to Herod, and from Herod back again to Pilate. Consequently his strength was almost gone, but He was granted neither food nor rest. They were eager for His blood and therefore led Him out to die, burdened with the cross. At this sad procession the women wept, and my soul weeps in turn. What do we learn here as we see our blessed Lord led forth? Do we not perceive the truth, which was foreshadowed in the scapegoat? Remember how the high priest brought the scapegoat and put both his hands upon its head, confessing the sins of the people, so that those sins might be transferred from the people and laid upon the goat. Then the goat was led away into the wilderness, and it carried away the sins of the people, so that if they looked for them they could not be found. Now we see Jesus brought before the priests and rulers, who pronounce Him guilty. God Himself imputes our sins to Him: “ the Lord has laid on Him the iniquity of us all ;” [Isa.53:6] “ He made Him who knew no sin to be sin for us ;” [2Co.5:21] And as the substitute for our guilt, bearing our sin upon His shoulders, represented by the cross, we see the great Scapegoat led away by the appointed officers of justice. Beloved, can you feel assured that He carried your sin? As you look at the cross upon His shoulders, does it represent your sin? There is one way by which you can tell whether He carried your sin or not. Have you laid your hand upon His head, confessed your sin, and trusted in Him? Then your sin no longer lies on you; it has all been transferred by blessed imputation to Christ, and He bears it on His shoulder as a load heavier than the cross. Do not allow this picture to disappear until you have rejoiced in your own deliverance and bowed in adoring wonder before the Redeemer upon whom your iniquities were laid. Hallelujah God bless

Beautiful spring weather took a sudden shift in Toronto today. This line of clouds carried with it a drop in temperature, foreshadowing snow which is expected a few hours from now.

This Home Depot parking lot is typical of the "curbside pickup" mandated by Ontario's stay at home order combatting a dangerous third wave of COVID which is on the verge of overwhelming the health care system.

Essential goods are ordered online. When they are ready for pickup, you receive an email. You go to the parking lot and and email that you are in parking slot (9 in this case) and a few minutes later your order is delivered to your car.

Dark clouds and high winds seem to foreshadow a storm brewing over Lake Michigan near Holland, Michigan.

Storm clouds over the Arc de Triomphe

A design concept for the 2011 Geneva Motor Show, foreshadowing the look of current Škoda cars. This study is mobile, with many specific design features like the use of crystal quartz in cockpit.

Paolo Veronese (Paolo Caliari), Verona 1528 - Venedig 1588

Ruhe auf der Flucht nach Ägypten - Rest on the Flight into Egypt - Riposo durante la fuga in Egitto (ca. 1533)

Ringling Museum of Art, Sarasota, Florida, USA

Idyllic visions of the Holy Family at rest in the countryside were a particular specialty of Paolo Veronese. The artist amusingly shows angels performing mundane household tasks. They hang the infant Christ's garments to dry on a tree and gather dates for the family's meal. Veronese's art was seemingly irreligious, and Inquisition examiners questioned him regarding his representations. A closer look at his paintings, however, reveals him to be a sophisticated painter of religious content as well as an astute observer of earthly folly and fallibility. The humor of this scene is undercut by references to Christ's eventual martyrdom. The tree branches crossing above the Virgin's head allude to the crucifix upon which Christ was martyred, and the bread and wine held by Joseph foreshadow the Eucharistic sacrament. Veronese's style was important for later artists because of his brilliant use of colors and his dazzling brushwork.

Source: Ringling Museum of Arts

The Fiat Coupé (type 175, officially titled the Coupé Fiat) was a coupé produced by the Italian manufacturer Fiat between 1993 and 2000. The car was introduced at Brussels Motor Show in 1993.

It is most remembered for its distinctive, angular design, with unique scalloped side panels. The body was designed by Chris Bangle from Centro Stile Fiat, while the interior was designed by Pininfarina. The exterior design would foreshadow much of late 1990s and early 2000s car design, acting as a precedent to both Bangle's somewhat notorious work at BMW, as well as futuristic angular designs by other marques, such as Ford and Renault.

History:

The Fiat Coupe made media headlines in auto magazines during 1992 after several spy shots were taken revealing the car on test. On its launch in 1993, the Coupé was available with a four-cylinder, 2.0 L 16V engine, in both turbo (190 PS) and normally aspirated (139 PS) versions. Both engines were later versions of Fiat's twin-cam design and inherited from the Lancia Delta Integrale, winner of the World Rally Championship a record six times. 1996 brought in a 1.8 L 16V engine (not available in the UK, 131 PS), along with a 2.0-litre 5-cylinder 20V (147 PS), and a 5-cylinder 2.0-litre 20V turbo (220 PS).

Fiat Coupé 20v Turbo Model

The turbocharged 16 and 20 valve versions were equipped with a very efficient Viscodrive limited-slip differential to counter the understeer that plagues most powerful front wheel drive cars. Additionally, the coupe featured independent suspension all round: at the front MacPherson struts and lower wishbones anchored to an auxiliary crossbeam, offset coil springs and anti-roll bar; at the rear, trailing arms mounted on an auxiliary subframe, coil springs and an anti-roll bar.

1998 saw the release of the Limited Edition which featured red Brembo brake calipers at the front and standard red calipers at the back, a body kit, push-button start, six-speed gearbox, strut brace to make the chassis more rigid and Recaro seats with red leather inserts which offered better support than the standard 20VT seats. The LE was produced in Black (flat), Red (flat), Vinci Grey (metallic), Crono Grey (flat) and Steel Grey (metallic). The bodywork of the LE also benefited from titanium coloured insert around the light bezels and the wing mirrors. Each Limited Edition ('LE') Coupé was manufactured with a badge located by the rear-view mirror which contained that car's unique number (it is rumored that Michael Schumacher was the original owner of LE No. 0001, however when the question was raised to him personally he confirmed he had owned one, but a red one, while LE No. 0001 is a Crono Grey one). Originally a spokesman from Fiat stated only approximately 300 Limited Editions would be built. The final amount was much higher, with numbers as high as 1400 touted by some. This angered many of the owners of the original 300 cars and almost certainly impacted residual values. The original number however was quoted by a Fiat UK spokesman, so probably that number only applied to the UK market. The numbered plaque on every Coupe features enough space for 4 numbers.

In 1998 the 2.0-litre 5-cylinder 20V got a Variable Inlet System which brought the power to 154 PS (113 kW). The 2.0-litre 5-cylinder 20V Turbo received a 6-speed gearbox and a large, satin gloss push starter button. In addition, the sills of the Turbo version were colour matched with the body paintwork. Fiat also released the 2.0 L 5 cylinder Turbo 'Plus'. This model came with an option kit that made it virtually identical to the LE, except for minor interior design changes and without the unique identification badge of the LE.

In 2000 Fiat released another special version of the Fiat Coupé. Featuring the 1.8-litre engine, it was only available throughout mainland Europe and marketed as an elegant and affordable edition. Fiat also made changes throughout the rest of the range: new seats, side skirts and wheels for the 2.0-litre 20V model, 'Plus' edition wheels on turbo models and Fiat manufactured seats on the 'Plus' that were virtually identical to the original Plus Recaro seats with the addition of extra airbags. The 2.0-litre 20V Turbo model is capable of accelerating from 0–100 km/h (0 to 62 mph) in 6.5 seconds, with a top speed of 240 km/h (149 mph) or 250 km/h (155 mph) with later 6-speed gearbox. When production finally stopped in September 2000, a total number of 72,762 units had been produced.

[Text from Wikipedia]

en.wikipedia.org/wiki/Fiat_Coup%C3%A9

This miniland-scale Lego FIAT Coupe (Type 175 - 1993 - Bangle) has been created for Flickr LUGNuts' 92nd Build Challenge, - "Stuck in the 90's", - all about vehicles from the decade of the 1990s.

One Sheet (27" X 41")

Starring Richard Egan, Constance Dowling, Herbert Marshall, John Wengraf, Philip Van Zandt, William Schallert. Directed by Herbert L. Strock

youtu.be/rSSgM94sSxQ

Starring Richard Egan, Constance Dowling, Herbert Marshall, John Wengraf, Philip Van Zandt, and William Schallert. Directed by Herbert L. Strock.

When two scientists at a top-secret government installation devoted to space research are killed -- in their own test chamber, seemingly by an experiment gone awry -- Dr. David Sheppard (Richard Egan) is sent out from Washington to investigate. Sheppard mixes easily enough with the somewhat eccentric team of scientists, though he always seems in danger of being distracted by the presence of Joanne Merritt (Constance Dowling), who serves as the aide to the project director Dr. Van Ness (Herbert Marshall) but is, in reality, another security agent. Sheppard is as puzzled as anyone else by the seemingly inexplicable series of events overtaking the installation -- properly operating equipment suddenly undergoing lethal malfunctions, and the radar tracking aircraft that aren't there -- until he puts it together with the operations of NOVAC (Nuclear Operated Variable Automatic Computer), the central brain of the complex. But the mystery deepens when he discovers that NOVAC was shut down during one of the "accidents" -- and even the computer's operators can't account fully for the whereabouts of GOG and MAGOG, the two robots under the computer's control.

"...and then without warning, the machine became a frankenstein of steel," says the sensationalist poster text. This is the third story in Ivan Tors' OSI trilogy. His first "Office of Scientific Investigation" story was Magnetic Monster in early 1953. The second was Riders to the Stars in early '54. With Gog the loose trilogy is complete. Unlike the Star Wars trilogy in which the stories build upon each other, each of the three OSI stories are separate tales which have nothing to do with each other. The common thread is the idea of there being a sort of Science FBI agency whose job it is, is to check out the scientifically strange. In that regard, Tors' OSI is a bit like a foreshadowing of the X-Files TV series, but without any of the New Age paranormal focus.

In keeping with the previous two stories, Gog is more of a detective murder mystery movie. Tors was a huge fan of "hard" science, not fanciful fiction fluff, so Gog, like the other two movies, is chock full of reveling in sciencey stuff in an almost geeky way. This reverence for real science keeps things from getting out on shaky limb, as many sci-fi films to. The events are much more plausible, less fantastic.

Synopsis

At a secret underground research facility, far out in the desert, scientists working on preparations for a manned space mission, are getting murdered mysteriously. Two agents from the OSI are dispatched to solve the mystery and keep the super secret space station program on track. The scientists are killed in various ways, mostly through equipment malfunctions. The facility director and the agents suspect sabotage. Small transmitter/receiver boxes are found within equipment in different parts of the facility. They suggest that someone on the outside is transmitting in the "malfunctions" in order to kill off the program's scientists. Occasional alarms indicate some flying high intruder, but nothing is clearly found. One of the base's two robots, named Gog, kills another technician while it's mate, Magog, tries to set up an overload within the base's atomic pile. The OSI agents stop Magog with a flame thrower. Meanwhile, interceptor jets scramble and find the highflying spy jet and destroy it with missiles. Once the trouble is past, the Director announces that they will be launching their prototype space station the next day, despite the sabotage attempts to stop it. The End.

The time spent reveling in techno-geekery has a certain Popular Science charm to it. There's an evident gee-whiz air about space and defense sciences which is fun to see. People were fascinated with things rockety and atomic. For various fun bits, see the Notes section.

Gog oozes Cold War from every frame. First is the base's underground location to make them safe from A-bombs. Next is the mysterious killer trying to stop the space station program. The high-flying mystery plane is "not one of ours." (that leaves: Them, and we all knew who they were.) The space station is to be powered by a solar mirror. Even that benign mirror has sinister possibilities. While demonstrating the mirror, the scientists use it to burn a model of a city. "This could happen...if we're not the first to reach space," says the Director. Space is the next "high ground" to be contested. At the end of the movie, when discussing the launch (despite the sabotage attempt) of the prototype space station, the Director says, "Through it's eye, we'll be able to see everything that goes on upon this tired old earth." The Defense Secretary says, "Nothing will take us by surprise again." An obvious reference to Pearl Harbor.

B-films often re-used props and sets from prior films in order to save on their budgets. Gog, even though shot in Eastman Color, was no exception. Two old prop friends show up in Gog. One is our venerable old friend, the space suits from Destination Moon ('50). Look for the centrifuge scene. The research assistants are dressed in them, and as an added bonus, they wear the all-acrylic fish bowl helmets used in Abbot and Costello Go to Mars ('53). Our second old friend is scene in the radar / security room, (the one with the annoying tuning fork device). Check out the monitor wall. It's been gussied up a bit, but it is the spaceship control panel wall from Catwomen of the Moon and Project Moon Base -- complete with the empty 16mm film reels on the right side. It's fun to see old friends.

B-films often include stock footage of military units, tanks, jets, battleships, etc. to fill things out. Gog is no different, and even commits the common continuity error of showing one type of plane taking off, but a different kind in the air.

What amounts to a small treat amid the usual stock footage of jets, some shots of a rather obscure bit of USAF hardware -- the F-94C Starfire with its straight wings and huge wing tanks. In 1954, the Starfire was one of America's coolest combat jets, yet we hear little about it. The swept-wing F-86 Sabers (which we see taxiing and taking off) were the agile fighter which gained fame over Korea. They're common stock footage stars. The F-94, with its onboard radar (in the nose cone) was deemed too advanced to risk falling into enemy hands. So, it didn't see much action , and therefore little fame. The heavier, yet powerful F-94C (one of the first US jets to have an afterburner) was 1954 America's hottest Interceptor -- designed to stop high flying Soviet bombers. It's blatant cameo appearance in Gog, intercepting the high-flying mystery plane, was a fun little bit of patriotic showing off.

The very name of the movie, Gog, is charged with meaning to American audiences of the mid 50s, though virtually lost on viewers of the 21st century. The names of the two robots, Gog and Magog, come from the Bible. More specifically, from the prophecies of Ezekiel (Chapter 38) and the Book of Revelation (chapter 20). While just who they are (nations? kings?) has been debated for centuries, their role as tools of Satan in the battle of Armageddon is clear. Mainstream American patriotic Christendom had settled on the idea that the Soviet Union was the prophesied "nations from the north" who would join Satan to oppose God. This gives the title of the movie a special Cold War significance. It also puts an interesting spin on the Dr. Zeitman character for having named the two robots in the first place. Since they were tools of the mega-computer NOVAC, what was he saying about NOVAC?

It is interesting that the base's radar could not detect the mystery plane (which was beaming in the 'kill' instructions to NOVAC) because it was made of "fiberglass" which rendered it invisible to radar. Now, fiberglass itself isn't sturdy enough for high-speed jets, and it would take until the 1990s before composite materials advanced to make the dream of a stealth aircraft a reality. Nonetheless, the dream (or nightmare) of stealth aircraft was on-screen in 1954 in Gog.

The super computer, NOVAC, controlled everything on the base. Even though the machines were not really killing scientists on their own, but following human orders from the mystery plane, there was the on-screen depiction of machines having a murderous mind of their own. (all pre-Steven King) In the techno starry-eyed 50s, it was fairly uncommon for the technology itself to be turning on its masters. This idea would gain traction later in the 50s, and especially in the 60s, but in '54, it was unusual.

A cautionary subtext to Gog is the danger of trusting in a supercomputer to manage defenses and a whole base. NOVAC doesn't go bad on its own, as the computer will in The Invisible Boy, Hal in 2001 or Colossus in The Forbin Project. In this movie, it was the nefarious "others" who hacked into NOVAC to make it do the killing, but this just demonstrates the danger. People were getting a little nervous about letting machines take over too much responsibility. We were starting to distrust our creations.

Until Gog, robots were fairly humanoid.

They had two legs, two arms, a torso and a head. Audiences had seen the mechanical Maria in Metropolis ('27), the fedora-wearing metal men in Gene Autrey's Phantom Empire serial ('35). The water-heater-like Republic robot appeared in several rocketman serials. There was the gleaming giant Gort in The Day the Earth Stood Still ('51) and the cute left over fedora-dudes in Captain Video ('51). The metal giant in Devil Girl from Mars ('54) was also humaniod, in a chunky way. Gog and Magog were a departure from the stereotype. They were noticeably in-human, which was part of the mood.

Bottom line? Gog seems a bit bland, as far as sci-fi tends to go, but it has a lot in it for fans of 50s sci-fi.

This series will be the last of my uploads for the trip I took to southern Burgundy in September 2023.

Listed as a Historic landmark in 1900, the Romanesque church in the out-of-the-way village of Gourdon is one of the secret wonders of Burgundy. Not particularly outstanding from the outside, its large silhouette nevertheless foreshadows an impressive interior, and indeed it is, with its combination of a whooping three-level, Cluny-inspired elevation, its three naves and its generalized system of groin vaulting. Its collection of sculpted capitals is also famous, as are the alfresco paintings that were discovered in the 1940s as the plastering that was applied to hide them in the 19th century began to peel away. More such discoveries were made in the 1970s and restoration lasted until the early 1990s.

Located on a hilltop in the département of Saône-et-Loire, Gourdon has been inhabited since time immemorial. Valuable traces of Roman presence were found in 1845 and promptly shipped to a museum in Paris (the Cabinet des Médailles) where the are still being exhibited to this day. A monastery was founded here very early on, as there is a written trace of a dependency of the Le Puy cathedral chapter in 534, but claims that it was “a Benedictine priory” seem to me a bit overambitious, in spite of my sympathies for that order: let’s not forget that Saint Benedict died only in 547 in Monte Cassino, and I doubt that his Rule was so well-known in Gaul in his own lifetime that it could have been adopted by a small religious establishment in Burgundy... The monastery did certainly exist, though, as Saint Gregory of Tours visited it in 570 and there met with Didier (or Desideratus). About this last figure, History hesitates between the quality of abbot (that would indeed rather be prior if Gourdon were a priory back then) and that of hermit. In any case, by 1104, when the completed parish church is mentioned (there remains no trace of the in-between period), there is no further mention of that monastery, which must have disappeared in the meantime; it was probably little more than a hermitage, as by Year 1000 the rule had been largely propagated by Saint Benedict of Aniane († 821) and Benedictine houses were flourishing all over the Western world. An already existing priory would most likely never have been so abandoned and shut down. No physical traces of that establishment were ever found by archæologists.

Since around 1100, the church has been left almost intact, except for the bell tower which collapsed in 1881 and was rebuilt in 1889, exactly as it was before.

The figure of Christ represented on the cul-de-four vault of the apse has reached us virtually unscathed, and only had to be very marginally restored. It is a depiction quite typical of the late 11th century.

Can you imagine the amount of skill, calculation, craftsmanship and sheer physical commitment that went into the making of this figure, which needed to be vectored into three different planes for its proportions to look OK from the beholder’s perspective viewpoint? And all of that had to be accomplished pretty quickly, as the alfresco undercoat was drying by the minute, and the necks and arms were hurting so much from working in such contorted positions... Faith, of course, and the absolute conviction that one was carrying out a sacred duty, were the main drivers behind the dedication.

“To crave and to have are as like as a thing and its shadow. For when does a berry break upon the tongue as sweetly as when one longs to taste it, and when is the taste refracted into so many hues and savors of ripeness and earth, and when do our senses know any thing so utterly as when we lack it? And here again is a foreshadowing -- the world will be made whole. For to wish for a hand on one's hair is all but to feel it. So whatever we may lose, very craving gives it back to us again.”

― Marilynne Robinson,

Meghan Markle, in a contemplative mood, sits for several moments after Christmas shopping. Meghan wonders about what gifts she will contribute to society as a public figure who will no longer be simply a minor celebrity with a social conscience. They won't be gifts that could be brought by Jolly Old Saint Nick whose face shone merrily on her shopping bag...

She recalls that after her engagement to Prince Harry was announced, the United Nations' women's advocacy agency, UN Women, for which she has been an "Advocate for Political Participation and Leadership" since 2014, issued a statement saying that it "trusts and hopes that in her new and important public role she will continue to use her visibility and voice to support the advancement of gender equality."

News reports recount how an incident of childhood activism foreshadowed this interest:

"Meghan Markle became an advocate for women when she was an 11-year-old elementary school student, and achieving gender equality remains a driving force for the fiancée of Britain's Prince Harry and self-described "feminist."

Markle spoke about her accidental road to becoming an advocate at a star-studded celebration in March 2015 for the 20th anniversary of the Beijing women's conference that adopted a roadmap to achieve equality for women, which is the framework for UN Women's activities...

Markle recalled that around the time of the 1995 Beijing conference she was in school in Los Angeles watching television and saw a commercial for a dishwashing liquid with the tagline: "Women all over America are fighting greasy pots and pans."

"Two boys from my class said, 'Yeah. That's where women belong — in the kitchen,'" she said.

"I remember feeling shocked and angry and also just feeling so hurt. It just wasn't right, and something needed to be done," Markle said.

When she went home, she told her dad, who encouraged her to write letters.

"My 11-year-old self worked out that if I really wanted someone to hear, well then I should write a letter to the First Lady. So off I went scribbling away to our First Lady at the time, Hillary Clinton," Markle said.

She also wrote to her main news source, Linda Ellerbee, who hosted a kids news program, as well as to "powerhouse attorney" Gloria Allred and to the manufacturer of the dishwashing soap.

To her surprise, she said, after a few weeks she received letters of encouragement from Clinton, Allred and Ellerbee, who even sent a camera crew to her house to cover the story.

"It was roughly a month later when the soap manufacturer, Proctor and Gamble, changed the commercial for their Ivory Clear Dishwashing Liquid ... from 'Women all over America are fighting greasy pots and pans' to "People all over America ...'," Markle said.

"It was at that moment that I realized the magnitude of my actions," she said. "At the age of 11, I had created my small level of impact by standing up for equality....'"**

Perhaps having a greater "level of impact" by "standing up for equality" will be a gift given to her that she, in turn, can share with the world...

**excerpt from "Meghan Markle has advocated

This series will be the last of my uploads for the trip I took to southern Burgundy in September 2023.

Listed as a Historic landmark in 1900, the Romanesque church in the out-of-the-way village of Gourdon is one of the secret wonders of Burgundy. Not particularly outstanding from the outside, its large silhouette nevertheless foreshadows an impressive interior, and indeed it is, with its combination of a whooping three-level, Cluny-inspired elevation, its three naves and its generalized system of groin vaulting. Its collection of sculpted capitals is also famous, as are the alfresco paintings that were discovered in the 1940s as the plastering that was applied to hide them in the 19th century began to peel away. More such discoveries were made in the 1970s and restoration lasted until the early 1990s.

Located on a hilltop in the département of Saône-et-Loire, Gourdon has been inhabited since time immemorial. Valuable traces of Roman presence were found in 1845 and promptly shipped to a museum in Paris (the Cabinet des Médailles) where the are still being exhibited to this day. A monastery was founded here very early on, as there is a written trace of a dependency of the Le Puy cathedral chapter in 534, but claims that it was “a Benedictine priory” seem to me a bit overambitious, in spite of my sympathies for that order: let’s not forget that Saint Benedict died only in 547 in Monte Cassino, and I doubt that his Rule was so well-known in Gaul in his own lifetime that it could have been adopted by a small religious establishment in Burgundy... The monastery did certainly exist, though, as Saint Gregory of Tours visited it in 570 and there met with Didier (or Desideratus). About this last figure, History hesitates between the quality of abbot (that would indeed rather be prior if Gourdon were a priory back then) and that of hermit. In any case, by 1104, when the completed parish church is mentioned (there remains no trace of the in-between period), there is no further mention of that monastery, which must have disappeared in the meantime; it was probably little more than a hermitage, as by Year 1000 the rule had been largely propagated by Saint Benedict of Aniane († 821) and Benedictine houses were flourishing all over the Western world. An already existing priory would most likely never have been so abandoned and shut down. No physical traces of that establishment were ever found by archæologists.

Since around 1100, the church has been left almost intact, except for the bell tower which collapsed in 1881 and was rebuilt in 1889, exactly as it was before.

The perfect three-level elevation of the nave. I still find it quite strange that so much talent and expertise (which in turn meant much financing available) could have been called upon to build a village church, without any trace of it being found in period writings...

The 18-story gothic-inspired Fisher Building designed by Charles Atwood of Burnham & Co. is distinguished by its richly detailed golden terra cotta façade with fantastical depictions of sea life that allude to the name of the developer, Lucius Fisher. The high percentage of glass on the facade, groundbreaking at the time, foreshadows the amount of glass we have come to expect on modern skyscrapers. Originally an office building in the active Dearborn Street corridor, the building underwent an extensive renovation in 2001 (including repair/replacement of 6,000 terra cotta pieces and 1,200 wood frame windows, as well as refurbished mosaic floor tiles and Carrara marble), and now offers elegant rental apartments and selected offices.

Fujifilm X-M1;Tokina 12-28mm f/4

isn't a dagger a little too much foreshadowing?

plokoonremix.wordpress.com/2020/02/08/tie-dagger/

www.freemoviescinema.com/science-fiction/video/latest/con... Full Feature

See more photos in set.

Starring Walter Brooke, Eric Fleming, Mickey Shaughnessy, Phil Foster, William Redfield, William Hopper, Benson Fong, Ross Martin, Vito Scotti. Directed by Byron Haskin. Producer George Pal gave us the sci-fi landmark Destination Moon in 1950. He then gave us the timeless classic War of the Worlds in '53. This, his third epic, was a grand effort, but fell shy of his earlier triumphs. On paper, it should have been another mega-classic. The team members from the earlier hits were reassembled. Pal as producer, Haskin directing, Lydon on screenplay, O'Hanlon writing. Conquest was also based on a popular book. Yet, despite all this pedigree, something fell short. Conquest would not go on to be remembered as one of the 50s mega-classics. Some of this obscurity may be due to Conquest being in the "serious" science fiction sub-genre, like Destination Moon and Riders to the Stars which tried to depict a plausible space-traveling future. Audiences were becoming much more entranced with saucers and weird aliens.

In some ways,Conquest is a remake of the basic story line from Destination Moon -- a crew are the first to land on a celestial body. They struggle to survive and yet courageously return. This time, instead of the moon, it's Mars. As a remake goes, however, it's worthy. The Technicolor is rich and the sets well done. This is an A-level production which at its release was the 2001: A Space Odyssey of its day. All the melodrama, however, starts to get in the way of the techno-gee-whiz.

Synopsis

Based aboard a rotating wheel space station, workmen prepare a big flying wing of a rocket ship. A group of potential crewmen train for what they think will be a moon landing mission. As the work nears completion, they find out that the real mission will be a landing on Mars instead. While aboard "The Wheel", we're introduced to the phenomenon of "space sickness" -- a mental breakdown due to workload and confinement for long periods. One of the crew candidates is scrubbed because of one such breakdown. Nonetheless, the multinational crew are chosen and embark for the long journey to Mars. After departure, it's found that General Merritt's old friend, Sergeant Mahoney, stowed away. On the way to Mars, a communications antenna is damaged and must be fixed via spacewalking crewmen. Just as the repairs are completed, the customary meteor arrives, threatening to hit the ship. General Merritt manages to fly the ship out of the way, but one of the crewmen on EVA is hit with micrometeoroids (like bullets) and killed. The General is also starting to show odd behavior, doubting whether their mission is proper or is an affront to God. Their evasive action puts them behind schedule, but they arrive at Mars. While attempting to land on Mars, the General has another bout of delusion and tries to abort the landing. His son, Captain Merritt, manages to take control and brings in the flying-wing lander to a rough but successful landing. The others go out to explore, but the General, now fully delusional, is venting rocket fuel in an attempt to blow up the ship. His son discovers this and the two struggle. The General's pistol discharges, killing him. Mahoney comes on the scene just then and accuses Captain Merritt of murdering the General. The rest explore a bit more, but pronounce Mars a dead planet. Despite this, Imoto discovers that his earth flower seed sprouted in martian soil. Earthquakes cause the escape rocket to shift off of perpendicular. They get it righted and blast off. On the way home, Mahoney and Captain Merritt make up and declare that the dead General was a hero, the man who conquered space. The End.

The color, the sets, models and background paintings are very visually rich. The whole image is a great snapshot of the future as people in the mid-50s imagined it would be. More tidbits in the Notes section below.

There is actually a subtle anti-war tone to the movie. No overt talk of nuclear dangers or menacing enemies. It is notable, however, that among the conspicuously international crew candidates, there is no Russian. Americans would "conquer" space with a few other nationals along for the ride, but NO Russians. There is also a poorly explained urgency to the mission. What's the hurry? Back in the Cold War, it was pretty common that WE had to get something before THEY did.

In 1949, Willy Ley wrote the book "The Conquest of Space," which speculated about how mankind might travel to other planets. This book was illustrated by space artist Chesley Bonestell. This book would become the inspiration for the movie.

From 1952 to 1954, Collier's magazine ran a series of stories about mankind conquering space. These were repeats by Ley and Bonestell of their 1949 book, but this time Collier's added material from "rocket scientist" Werner von Braun. Bonestell's new illustrations were clearly the prototype for the look of Conquest. People felt that mankind was on the verge of taking to the stars. The Collier's series expressed that giddy optimism.

The screenplay for Conquest added weak human interest sub-plots which almost negate the gee-whiz optimism that the visuals convey. The screenwriters were all experienced in their craft, so it's puzzling why such amateurish characterizations are so prominent. The comic relief moments are almost cartoonish. The whole leader-gone-mad sub-plot seems out of place.

A possible "message" to Conquest is that man is a fragile creature who may not be ready for the rigors of space travel. Certainly, people wondered about this, and other movies touched on the theme too, such as Riders to the Stars ('54). Our not being mentally ready yet was cited by the aliens in It Came From Outer Space ('53). General Merritt's dementia was foreshadowed in the breakdown of Roy early in the movie.

One thing that strikes the viewer is how much life aboard the space station is presumed to duplicate life aboard a navy ship. It's not overtly stated that the military should (or will) be the agency which "conquers" space, but from the ranks and uniforms and the navy-life scenes, that message comes through. Space ships will be like earthly ships.

On the surface, it seems like Conquest is blasting Christians as dangerous religious fanatics. This notion, that anyone who believes in God simply MUST be wacko, would be much more popular in later decades, but it was uncommon in the 50s. For that reason, the General's dementia deserves a closer look.

Actually, General Merritt was not the stereotypic religious fanatic. His son comments that he had never seen him carrying around and reading the Bible before. Instead of headaches or paralysis, the General's "space sickness" took a paranoid turn. He had rational misgivings about the Mars mission from the start, pre-dementia. His repressed misgivings are expressed in Bible verses dealing with sinners being punished by God. He once quotes from Psalm 38, then later from Psalm 62.

Throughout all this, God is not mocked. Indeed, only the "religious" man had the courage to go outside and give the dead Fodor a proper burial. The other non-relgious crewmen were at a loss for what to do.

The notion of impudent mankind trying to meddle in God's domain, is treated as a credible issue. In this, the pattern of the Tower of Babel is drawn. Prideful mankind thinks they can build their way into God's realm. God foils that plan. General Merritt's dementia seems motivated by a fear that this divine retribution could be coming again.

The writers of Conquest imagine a multinationalism in space. Most notable are two former enemy nations: Imoto is from Japan and Fodor is a German-accented Austrian, (as a stand-in for Germany). Imoto gets to make a little speech about why Japan went to war (lack of resources). Fodor gets to be seen as the cherished son of a classic "mama". By 1955, it was starting to become okay to look beyond World War 2.

At one point, the crew of The Wheel are watching a movie with many scantily clad dancing girls (much like sailors aboard a ship). The movie is a lavish musical number with many gold bikini clad pseudo-harem girls dancing while Rosemary Clooney sings about love "...in the desert sand." This clip is total non-sequetor to the high-tech space environment. What's interesting, is that it's NOT stock footage recycled. Clooney had not done any such movie. This dance number must have been staged and shot just for this scene in Conquest. Random act of musical. Gotta love 'em.

Bottom line? Conquest is an almost-epic. It's definitely an A-grade sci-fi movie, so it's well worth watching. The human story part gets in the way sometimes, but the visuals more than make up for it.

Clouds foreshadowing a night of rain and thunderstorms. This photo was taken from the Daisy Farm Campground's dock on Isle Royale National Park. It looks west down Rock Harbor towards Moskey Basin. Another backpacker was filtering water in the foreground.

I took this photo on the 2nd day of our Isle Royale backpacking trip.

Getting a shot at the next peak that I would hike up.

Pentax S-M-C Takumar 105mm f/2.8

He is Risen !

This is the fresco on the wall of Cell 6 of the Convento di San Marco in Florence.

In this fresco Christ stands on a rock, prefiguring his rising from the tomb. His arms are outstretched and in this He also foreshadows his own crucifixion. He is voluminously clad in a sculptural mass of glowing white robe, and encircling Him is a radiant white mandorla. His forward gaze does not directly engage the eye of the spectator. At the base of the rock three of the Apostles crouch in awed positions, but they maintain the curious contemplative detachment from the drama of the scene which is the hallmark of this fresco cycle.

At the edge of the fresco, on either side, stand the Virgin and St Dominic in positions indicative of prayer, stern and unresponsive to events around them. The heads of Moses and Elias appear beneath the arms of Christ; they are introduced as detached symbols to aid meditation.

Il s'agit de la fresque sur le mur de la cellule 6 du Convento di San Marco à Florence. Dans cette fresque, le Christ se dresse sur un rocher, préfigurant son lever du tombeau. Ses bras sont tendus et en cela, il préfigure également sa propre crucifixion. Il est volumineusement vêtu d'une masse sculpturale de robe blanche éclatante, et L'encerclant est un mandorla blanc radieux. Son regard vers l'avant n'engage pas directement l'œil du spectateur. Au pied du rocher, trois des Apôtres sont accroupis dans des positions emerveillees, mais ils conservent le curieux détachement contemplatif du drame de la scène qui est la marque de ce cycle de fresques. Au bord de la fresque, de chaque côté, se dressent la Vierge et saint Dominique dans des positions indicatives de prière, sévères et insensibles aux événements qui les entourent. Les têtes de Moïse et d'Elias apparaissent sous les bras du Christ; ils sont présentés comme des symboles détachés pour faciliter la méditation.

I guess you could say this background provides some...

Foreshadowing! Yeeaaaaaaaaaaah!

As seen near the Ferry Building, San Francisco.

CP 472 rolls into Bensenville with an eclectic motive power consist under cloud cover. Some recently-planted MCI survey flags foreshadow some changes that will be coming to the area. With the cut-over of the new C&M connection at B17 underway, the iconic searchlight signals that stand tall here will soon fall.

A design concept for the 2011 Geneva Motor Show, foreshadowing the look of current Škoda cars. This study is mobile, with many specific design features like the use of crystal quartz in cockpit.

This is a foreshadow of the beauty fall will soon bring. I love how this tree's leaves react to the climate and they must be quite delicious too.

French postcard by Editions P.I., offered by Les Carbones Korès 'Carboplane', no. 18. Photo: AFEX, Wien (Vienna). Photo: publicity still for East of Eden (Elia Kazan, 1955).

American actor James Dean (1931-1955) was the quintessential 1950s teenager, brooding and romantic. An air of androgyny attributed to his iconic appeal to both men and women. The three roles that defined his stardom are as troubled teenager Jim Stark in Rebel Without a Cause (1955), loner Cal Trask in East of Eden (1955) and surly ranch hand Jett Rink in Giant (1956). After his death in a car crash, the only 24-yers-old Dean became the first actor to receive a posthumous Academy Award nomination for Best Actor.

James Byron Dean was born in 1931, in Marion, Indiana, the only child of Winton Dean and Mildred Marie Wilson. Six years after his father had left farming to become a dental technician, Dean and his family moved to Santa Monica, California. In 1938, his mother was suddenly struck with acute stomach pain and quickly began to lose weight. She died of uterine cancer when Dean was nine years old. Unable to care for his son, Dean's father sent him to live with his aunt and uncle, Ortense and Marcus Winslow, on their farm in Fairmount, Indiana, where he was raised in their Quaker household. Dean's overall performance in school was exceptional and he was a popular student. He played on the baseball and varsity basketball teams, studied drama, and competed in public speaking through the Indiana High School Forensic Association. After graduating from Fairmount High School in May 1949, he moved back to California with his dog, Max, to live with his father and stepmother. He enrolled in Santa Monica College (SMC) and majored in pre-law. He transferred to UCLA for one semester and changed his major to drama, which resulted in estrangement from his father. While at UCLA, Dean was picked from a group of 350 actors to portray Malcolm in Macbeth. At that time, he also began acting in James Whitmore's workshop. In January 1951, he dropped out of UCLA to pursue a full-time career as an actor. Dean's first television appearance was in a Pepsi Cola commercial His first speaking part was as John the Beloved Disciple, in Hill Number One (1951), an Easter television special dramatizing the Resurrection of Jesus. Dean subsequently obtained three walk-on roles in films: as a soldier in Samuel Fuller’s moody study of a platoon in the Korean War, Fixed Bayonets! (Samuel Fuller, 1951), a boxing cornerman in the Dean Martin and Jerry Lewis comedy Sailor Beware (Hal Walker, 1952), and a youth in the comedy Has Anybody Seen My Gal? (Douglas Sirk, 1952) with Rock Hudson. While struggling to get jobs in Hollywood, Dean also worked as a parking lot attendant at CBS Studios, during which time he met Rogers Brackett, a radio director for an advertising agency, who offered him professional help and guidance in his chosen career, as well as a place to stay. In July 1951, Dean appeared on Alias Jane Doe, which was produced by Brackett. In October 1951, Dean moved to New York City. There, he worked as a stunt tester for the game show Beat the Clock, but was subsequently fired for allegedly performing the tasks too quickly. He also appeared in episodes of several CBS television series The Web, Studio One, and Lux Video Theatre, before gaining admission to the Actors Studio to study method acting under Lee Strasberg. There, he was classmates and close friends with Carroll Baker, alongside whom he would eventually star in Giant (George Stevens, 1956). Dean's career picked up and he performed in further episodes of several early 1950s television. One early role, for the CBS series Omnibus in the episode Glory in the Flower (1953), saw Dean portraying the type of disaffected youth he would later portray in Rebel Without a Cause. Positive reviews for Dean's 1954 theatrical role as Bachir, the blackmailing Arab house boy, in an adaptation of André Gide's book The Immoralist, led to calls from Hollywood.

In 1954, James Dean was cast in the emotionally complex role of 'Cal Trask' in East of Eden (Elia Kazan, 1955), an adaptation of John Steinbeck's 1952 novel East of Eden. The lengthy novel deals with the story of the Trask and Hamilton families over the course of three generations, focusing especially on the lives of the latter two generations in Salinas Valley, California, from the mid-19th century through the 1910s. In contrast to the book, the film script focused on the last portion of the story, predominantly with the character of Cal. Though he initially seems more aloof and emotionally troubled than his twin brother Aron (Richard Davalos), Cal is soon seen to be more worldly, business savvy, and even sagacious than their pious and constantly disapproving father (Raymond Massey) who seeks to invent a vegetable refrigeration process. Cal is bothered by the mystery of their supposedly dead mother, and discovers she is still alive and a brothel-keeping 'madam'; the part was played by actress Jo Van Fleet. Much of Dean's performance in the film was unscripted, including his dance in the bean field and his fetal-like posturing while riding on top of a train boxcar (after searching out his mother in nearby Monterey). The most famous improvisation of the film occurs when Cal's father rejects his gift of $5,000, money Cal earned by speculating in beans before the US became involved in World War I. Instead of running away from his father as the script called for, Dean instinctively turned to Massey and in a gesture of extreme emotion, lunged forward and grabbed him in a full embrace, crying. Kazan kept this and Massey's shocked reaction in the film. Wikipedia: “Dean's performance in the film foreshadowed his role as Jim Stark in Rebel Without A Cause. Both characters are angst-ridden protagonists and misunderstood outcasts, desperately craving approval from their fathers.” In recognition of his performance in East of Eden, Dean was nominated posthumously for the 1956 Academy Awards as Best Actor in a Leading Role of 1955, the first official posthumous acting nomination in Academy Awards history. East of Eden was the only film starring Dean that he would see released in his lifetime.

James Dean quickly followed up his role in Eden with a starring role as the brooding red-jacketed teenager Jim Stark in Rebel Without a Cause (Nicholas Ray, 1955) with Sal Mineo and Natalie Wood. The film depicts the dilemma of a typical teenager of the time, who feels that no one, not even his peers, can understand him. The film scrupulously follows the classic theatrical disciplines, telling all within a 24-hour period. Jim Stark was Dean’s true starring role, and Rebel Without a Cause proved to be hugely popular among teenagers. The landmark juvenile-delinquent drama fixed James Dean’s image forever in American culture. In his next film, Giant (George Stevens, 1956), Dean played a supporting role to Elizabeth Taylor and Rock Hudson. This was due to his desire to avoid being typecast as a rebellious teenager like Cal Trask or Jim Stark. In the film, he plays Jett Rink, a Texan ranch hand who strikes oil and becomes wealthy. His role was notable in that, in order to portray an older version of his character in the film's later scenes, Dean dyed his hair gray and shaved some of it off to give himself a receding hairline. Giant would prove to be Dean's last film. At the end of the film, Dean was supposed to make a drunken speech at a banquet; this is nicknamed the 'Last Supper' because it was the last scene before his sudden death. Due to his desire to make the scene more realistic by actually being inebriated for the take, Dean mumbled so much that director George Stevens decided the scene had to be overdubbed by Nick Adams, who had a small role in the film, because Dean had died before the film was edited. Dean received his second posthumous Best Actor Academy Award nomination for his role in Giant at the 29th Academy Awards in 1957 for films released in 1956.

Today, James Dean is often considered an icon because of his perceived experimental take on life, which included his ambivalent sexuality. Most of his so-called affairs with various starlets were made up by the Warner Brothers public relations. Dean's best-remembered relationship was with young Italian actress Pier Angeli, whom he met while Angeli was shooting The Silver Chalice (1955) on an adjoining Warner lot, and with whom he exchanged items of jewelry as love tokens. Angeli's mother disapproved of Dean. After finishing his role for East of Eden, he took a brief trip to New York in October 1954. While he was away, Angeli unexpectedly announced her engagement to Italian-American singer Vic Damone. The press was shocked and Dean expressed his irritation. Angeli married Damone the following month. Dean also dated Swiss actress Ursula Andress. She was seen with Dean in his sports cars, and was with him on the day he bought the car that he died in. The Gay Times Readers' Awards cited him as the greatest male gay icon of all time. Dean’s ambiguous relationship with Sal Mineo in the angst-ridden Rebel Without A Cause has led many to speculate and view this golden age film as years ahead of its time. When questioned about his sexual orientation, Dean is reported to have said, "No, I am not a homosexual. But I'm also not going to go through life with one hand tied behind my back." Dean, with time on his side during down times of filming, often frequented gay bars in mornings, afternoons and evenings in both Hollywood, Studio City and North Hollywood. He and screenwriter and theatre student from UCLA, William Bast lived together as roommates for a number of years. Bast later became Dean's first biographer and told he and Dean ‘experimented’ sexually. Journalist Joe Hyams suggests that any gay activity Dean might have been involved in appears to have been strictly "for trade", as a means of advancing his career. However, the ‘trade only’ notion is contradicted by Bast and other Dean biographers. Biographer Val Holley: “There's been quite an evolution in the thinking since Dean's death in 1955, moving from ‘James Dean was straight’ to ‘Dean had sex with men but only to advance his career’ to ‘Dean had sex with women but only to advance his career.’ In 2016, a new gossipy biography was published, James Dean: Tomorrow Never Comes, by Darwin Porter and Danforth Prince. The authors claim Dean was in love with Marlon Brando and the two would had a long affair with S&M overtones. We may never know for certain if Dean identified as gay, straight, bisexual, but, regardless, what he’s come to represent still resonates with many LGBT audiences.

In 1954, James Dean had become interested in developing an auto racing career. He purchased various vehicles after filming for East of Eden had concluded, including a Triumph Tiger T110 and a Porsche 356. Just before filming began on Rebel Without a Cause, he competed in his first professional event at the Palm Springs Road Races, which was held in Palm Springs, California on March 26–27, 1955. Dean achieved first place in the novice class, and second place at the main event. His racing continued in Bakersfield a month later, where he finished first in his class and third overall. Dean hoped to compete in the Indianapolis 500, but his busy schedule made it impossible. Dean's final race occurred in Santa Barbara on Memorial Day, 30 May 1955. He was unable to finish the competition due to a blown piston. His brief career was put on hold when Warner Brothers barred him from all racing during the production of Giant. Dean had finished shooting his scenes and the movie was in post-production when he decided to race again. Dean was scheduled to compete at a racing event in Salinas, California on 30 September 1955. Accompanying the actor to the occasion was stunt coordinator Bill Hickman, Collier's photographer Sanford Roth, and Rolf Wütherich, the German mechanic from the Porsche factory who maintained Dean's Porsche 550 Spyder "Little Bastard" car. Wütherich, who had encouraged Dean to drive the car from Los Angeles to Salinas to break it in, accompanied Dean in the Porsche. At 3:30 p.m. Dean was ticketed for speeding, as was Hickman who was following behind in another car. As the group traveled to the event via U.S. Route 466, (currently SR 46) at approximately 5:15 p.m. a 1950 Ford Tudor was passing through an intersection while turning, ahead of the Porsche. Dean, unable to stop in time, slammed into the driver's side of the Ford resulting in Dean's car bouncing across the pavement onto the side of the highway. Dean's passenger, Wütherich, was thrown from the Porsche, while Dean was trapped in the car and sustained numerous fatal injuries, including a broken neck. The driver of the Ford, Donald Turnupseed, exited his damaged vehicle with minor injuries. Dean was pronounced dead on arrival shortly after he arrived by ambulance at the Paso Robles War Memorial Hospital at 6:20 p.m. The Failure Analysis Associates later reconstructed and recreated all details of the accident and have concluded that James Dean was travelling 55 to 56 mph when the fateful accident occurred, thereby proving he had not been speeding, as rumor had it. Ed Stephan at IMDb: “At age 24, James Dean was killed almost immediately from the impact from a broken neck. His very brief career, violent death and highly publicized funeral transformed him into a cult object of apparently timeless fascination.”

Sources: Hal Erickson (AllMovie), Ed Stephan (IMDb), Daniel Bates (Daily Mail), Towleroad, Wikipedia, and IMDb.

After a summer in the Martian arctic under the midnight sun, the Phoenix lander is now beginning to see the sun dip low near the horizon at night. The lander's cameras are also catching the first glimpses of morning frost on the ground. Both the sunset and the frost foreshadow the mission's end. Eventually, darkening skies and encrusting frost will end the lander's functional life.

This color version was built from the raw images by Stuart Atkinson.

Sent by: Phoenix | From: Mars | Credit: NASA/JPL/UA/Atkinson

Added to www.ridingwithrobots.org Aug 16, 2008.

Written on the Georgia Guidestones are these ten desires of the New World Order:

THE MESSAGE OF THE GEORGIA GUIDESTONES

1. Maintain humanity under 500,000,000 in perpetual balance with nature.

2. Guide reproduction wisely - improving fitness and diversity.

3. Unite humanity with a living new language.

4. Rule passion - faith - tradition - and all things with tempered reason.

5. Protect people and nations with fair laws and just courts.

6. Let all nations rule internally resolving external disputes in a world court.

7. Avoid petty laws and useless officials.

8. Balance personal rights with social duties.

9. Prize truth - beauty - love - seeking harmony with the infinite.

10.Be not a cancer on the earth - Leave room for nature.

On one of the highest hilltops in Elbert County, Georgia stands a huge granite monument. Engraved in eight different languages on the four giant stones that support the common capstone are 10 Guides, or commandments. That monument is alternately referred to as The Georgia Guidestones, or the American Stonehenge. Though relatively unknown to most people, it is an important link to the Occult Hierarchy that dominates the world in which we live.

The origin of that strange monument is shrouded in mystery because no one knows the true identity of the man, or men, who commissioned its construction. All that is known for certain is that in June 1979, a well-dressed, articulate stranger visited the office of the Elberton Granite Finishing Company and announced that he wanted to build an edifice to transmit a message to mankind. He identified himself as R. C. Christian, but it soon became apparent that was not his real name. He said that he represented a group of men who wanted to offer direction to humanity, but to date, almost two decades later, no one knows who R. C. Christian really was, or the names of those he represented. Several things are apparent. The messages engraved on the Georgia Guidestones deal with four major fields: (1) Governance and the establishment of a world government, (2) Population and reproduction control, (3) The environment and man's relationship to nature, and (4) Spirituality.

In the public library in Elberton, I found a book written by the man who called himself R.C. Christian. I discovered that the monument he commissioned had been erected in recognition of Thomas Paine and the occult philosophy he espoused. Indeed, the Georgia Guidestones are used for occult ceremonies and mystic celebrations to this very day. Tragically, only one religious leader in the area had the courage to speak out against the American Stonehenge, and he has recently relocated his ministry.

Limiting the population of the earth to 500 million will require the extermination of nine-tenths of the world's people. The American Stonehenge's reference to establishing a world court foreshadows the current move to create an International Criminal Court and a world government. The Guidestones' emphasis on preserving nature anticipates the environmental movement of the 1990s, and the reference to "seeking harmony with the infinite" reflects the current effort to replace Judeo-Christian beliefs with a new spirituality.

The message of the American Stonehenge also foreshadowed the current drive for Sustainable Development. Any time you hear the phrase "Sustainable Development" used, you should substitute the term "socialism" to be able to understand what is intended. Later in this syllabus you will read the full text of the Earth Charter which was compiled under the direction of Mikhail Gorbachev and Maurice Strong. In that document you will find an emphasis on the same basic issues: control of reproduction, world governance, the importance of nature and the environment, and a new spirituality. The similarity between the ideas engraved on the Georgia Guidestones and those espoused in the Earth Charter reflect the common origins of both.

Yoko Ono, the widow of John Lennon, was recently quoted as referring to the American Stonehenge, saying:

"I want people to know about the stones ... We're headed toward a world where we might blow ourselves up and maybe the globe will not exist ... it's a nice time to reaffirm ourselves, knowing all the beautiful things that are in this country and the Georgia Stones symbolize that. " (1)

What is the true significance of the American Stonehenge, and why is its covert message important? Because it confirms the fact that there was a covert group intent on

(1) Dramatically reducing the population of the world.

(2) Promoting environmentalism.

(3) Establishing a world government.

(4) Promoting a new spirituality.

Certainly the group that commissioned the Georgia Guidestones is one of many similar groups working together toward a New World Order, a new world economic system, and a new world spirituality. Behind those groups, however, are dark spiritual forces. Without understanding the nature of those dark forces it is impossible to understand the unfolding of world events.

The fact that most Americans have never heard of the Georgia Guidestones or their message to humanity reflects the degree of control that exists today over what the American people think. We ignore that message at our peril.

This text courtesy of www.radioliberty.com/stones.htm

It was almost unheard of to see anything other than a minibus tread the tracks of route 73. But after an earlier failure, T566 JJC (816) was provided as emergency cover, curtailing the route at Gloddaeth Street as the MPDs were not yet cleared for the Orme roads.

I treated this as a true one-off, but little was I aware that it would become standard fare from January 2010 onwards, so the idea of this being a unique sight has become funny with hindsight.

27th June 2009.

It's November 1984 when we were returning from a senior visit to ISU in Ames when we stopped by Marengo, IA to take a shot of the decrepit CRI&P depot. There was a small gaggle of railfans milling around by the depot. One of them told me the first westbound Iowa Interstate train would soon be passing by. Iowa Interstate? What the hell is that? What happened to the IRRC? The rest is history I guess. I went on to graduate from ISU a few years later and would start my railroad career at, yep, the IAIS.

Wherever Amanda and Julie travel an historic house is sure to be on the itinerary! Astoria, OR, boasts the Flavel House, circa 1885, a survivor of fires and the ravages of time.

To learn much more about Flavel House start with this website provided byt Oregon tourism:

www.oregon.com/attractions/flavel-house

Oh my! Adult bed built for two with an infant crib nearby … definitely foreshadowing!

Visit my Facebook page!

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The NSU Ro 80 was a technologically advanced large sedan-type automobile produced by the German firm of NSU from 1967 until 1977. Most notable was the powertrain; a 113 bhp (86 kW), 995 cc twin-rotor Wankel engine driving the front wheels through a semi-automatic transmission employing an innovative vacuum system. It was voted Car of the Year for 1968 by European motoring writers.

Unfortunately for NSU, the car developed an early reputation for unreliability, from which it would never escape. The Wankel engine in particular suffered from heavy wear on the rotor tip seals, among many other problems, and some early cars required a completely rebuilt engine before 30,000 miles (50,000 km), with problems visible as early as 15,000 miles (24,000 kilometres). The fact that the rotary engine design was inherently thirsty (typically 15-18 mpg) and a poor understanding of the Wankel engine by dealers and mechanics did not help this situation. By the 1970 model year, most of these problems were resolved, but a necessarily generous warranty policy and damage to the car's reputation had undermined NSU's financial situation irreparably. NSU was acquired by Audi (of the Volkswagen group) in 1969. Second hand Ro80s were virtually worthless in the 1970s due to the well-publicised engine problems, and a common "cure" for an ailing rotary engine was to simply swap it for a Ford V4 "Essex" engine (as found in Mk1 Transits) purely as it was one of the few engines compact enough to fit in the Ro80's engine bay. Thus in an ironic twist, one of the smoothest engines in the world was replaced by one of the roughest. The NSU's unpopularity caused by the above problems means that surviving examples are very rare, and are now considered highly-prized classic cars with values to match, particularly as thanks to Mazda's perseverance with rotary design, the tip seal problem has been all but eradicated.

Other technological features of the Ro 80 aside from the powertrain were the four wheel ATE Dunlop disc brakes, which for some time were generally only featured on expensive sports or luxury saloon cars. The front brakes were mounted inboard, reducing the unsprung weight. The suspension was independent on all four wheels, with MacPherson struts at the front and semi-trailing arm suspension at the rear, both of which are space-saving designs commonly used today. Power assisted ZF rack and pinion steering was used, again foreshadowing more recent designs.

The car featured an automatic clutch which was commonly described as a three-speed semi-automatic gearbox: there was no clutch pedal but instead, on top of the gearknob, an electric switch that operated a vacuum system which disengaged the clutch. The gear lever itself then could be moved through a standard 'h pattern' gate.

Interior trim combined cloth covered seats with pvc headlining and a carpeted floor.

The styling, by Claus Luthe who was head of design at NSU and later BMW, was considered very modern at the time and still holds up well; the Ro 80 has been part of many gallery exhibits of modern industrial design. The large glass area foreshadowed 1970s designs such as Citroën's. The shape was also slippery, with a drag coefficient of 0.355 (very good for the era, although average for modern cars). This allowed for a top speed of 112 mph (179.2 km/h). Indeed, comparisons have been drawn between the design of the Ro80 and the superbly aerodynamic 1984 Audi 100 - the shape is very, very similar.

Series production started in October 1967: the last examples came off the production line in April 1977. There were 37,204 vehicles produced during the ten year production run.

(Wikipedia)

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Der NSU Ro 80 war eine Limousine der gehobenen Klasse von NSU, später Audi NSU. Er erschien 1967 mit einer revolutionären aerodynamischen Karosserie, die ihrer Zeit weit voraus war. Ebenfalls ungewöhnlich war der Wankelmotor, der 115 PS leistete. Dieser Motor machte in der Frühzeit durch häufige Dichtleistendefekte auf sich aufmerksam, denen jedoch der Hersteller mit kulantem Motorenaustausch begegnete. Dennoch litt der Ruf des neuen Modells und des Wankelmotors darunter erheblich.

Die konsequente Umsetzung der Keilform im Entwurf von Claus Luthe war ein stilprägender Impuls für das Automobildesign der 1980er-Jahre. Insbesondere bei Audi sollte das Erscheinungsbild des Ro 80 maßgeblich für ganze Fahrzeuggenerationen werden. Das charakteristische hintere Dreiecksfenster ist bis heute typischer Bestandteil des Designs bei Audi.

Der Ro 80 wurde in nur 37.398 Exemplaren bis 1977 produziert und blieb, technisch gesehen, ohne Nachfolger. Das letzte produzierte Fahrzeug wurde 1977 dem Deutschen Museum übergeben. Weitere Fahrzeuge sind unter anderem in der Pinakothek der Moderne in München, im Depot des Deutschen Technikmuseums Berlin, im Deutschen Zweirad- und NSU-Museum und im Audi Forum in Neckarsulm, im museum mobile in Ingolstadt, im EFA-Museum für Deutsche Automobilgeschichte in Amerang sowie in der Autostadt in Wolfsburg ausgestellt. Das Schnittmodell des Ro 80, mit dem der Wagen auf der IAA vorgestellt wurde, wird im Museum Autovision als Teil der Dauerausstellung Wankelmotor gezeigt.

Der weltweit älteste noch erhaltene NSU Ro 80 gehört einem Architekten aus Frankfurt am Main, und trägt die Fahrgestell-Nr. 80 001 061, Fertigungsdatum Donnerstag, der 19. Oktober 1967, Farbe saguntoblau.

Das „Ro“ im Namen steht für Rotationskolben im Gegensatz zu „K“ wie beim VW K 70, das für Kolben bzw. Hubkolben stand.

Bei den ersten Serienmotoren kam es infolge eines Konstruktionsfehlers zu vermehrten Motorschäden. Hatten die Motoren in der Erprobung über 200 000 km gehalten, so verloren sie in Kundenhand oft schnell an Kompression. Schnell wurde eine falsche Materialpaarung als Ursache dafür erkannt. Eilig wurden Material sowie die Teilung der Dichtleisten geändert und somit war das Dichtleistenproblem vorerst gelöst. In Verbindung mit einem Ferrotic-Mittelteil und einer härteren Enesilschicht mit höherem Siliziumkarbidanteil ging man später auf die ursprüngliche Dichtleistenteilung zurück. Ab Anfang 1970 wurden die neuen Ferrotic-Dichtleisten in die Serie eingeführt.

Als ebenfalls problematisch erwies sich die Doppelzündung, zum einen von der Einstellung her und zum anderen wegen des hohen Abbrands der Zündkontakte, was dann durch zu viel Frühzündung zu Motorschäden führte. Dies wurde durch eine Einfachzündung in Verbindung mit einer Hochspannungskondensatorzündung (HKZ) auf Kosten des Spritverbrauchs behoben. Die kulante Austauschpraxis führte zeitweise dazu, dass über 35 % der angeblich defekten Motoren in Ordnung waren. Nachdem der Zündzeitpunkt sowie der Vergaser neu eingestellt wurden und der Motor einen Probelauf auf dem Prüfstand absolviert hatte, wurden diese Motoren wieder als Austauschmotoren ausgeliefert.

Ein nicht unerheblicher Anteil an Motorschäden ging auf das Konto des Drehmomentwandlers, den man gegen das Schieberuckeln (verursacht durch den Umfangseinlass) einbaute und der zum Teil für den Mehrverbrauch des Ro 80 mitverantwortlich war. Da der Wankelmotor erheblich höher drehte (wohl eher wegen erheblicher Überdrehzahl aufgrund fehlender Drehzahlbegrenzung), passierte es bei einer Reihe Drehmomentwandlern, dass sie sich radial ausdehnten. Dadurch zogen sie sich axial zusammen und nun kollidierte das Pumpen- mit dem Turbinenrad. Da der Wandler im Motorölkreislauf hing, gelangten dadurch Späne in den Motor, was dann umgehend zu Motorschäden führte. Auch erwies sich ein kleines Nadellager im Wandler als anfällig, dessen häufiger Ausfall ebenfalls zu Spänen im Motoröl führte und damit indirekt für einen defekten Motor sorgte. Dies wurde dann durch einen verstärkten Wandler behoben. Ab Herbst 1971 führte man dann in Verbindung mit der Bosch-Hochspannungskondensatorzündung und thermischer Abgasentgiftung einen akustischen Drehzahlwarner ein, der die elektrische Benzinpumpe bei Überdrehzahl abschaltete und dadurch eine Überdrehzahl des Motors wirksam vermied.

Anfänglich war alle 20 000 km ein Ölwechsel nötig, der später jedoch entfiel. So mancher Fahrer glaubte deshalb, man müsste kein Öl mehr nachfüllen, worauf einige Motoren ohne Öl liegen blieben. Dieser Art Motorschäden begegnete man mit einer geänderten zweiflutigen Ölpumpe. Der Einlass für den Wandlerkreislauf wurde höher angesetzt. Bevor nun der Motorölkreislauf kein Öl mehr bekam, saugte der Wandlerkreislauf Luft, woraufhin der Wandleröldruck absank und die Öldruckanzeige aufleuchtete. Ignorierte der Fahrer die Warnlampe, übertrug der Wandler keine Kraft mehr an das Getriebe und das Auto blieb stehen. Spätestens jetzt wusste der nachlässige Fahrer, dass er vergessen hatte, den Ölstand zu kontrollieren.

Ein weiteres Problem, das ebenfalls direkt zu Motorschäden führte, war eine Öldosierpumpe ohne Nullanschlag. Dies führte dazu, dass, wenn diese Pumpe falsch eingestellt wurde, im Leerlauf kein Öl für die Trochoidenschmierung geliefert wurde. Daraufhin wurde eine geänderte Öldosierpumpe eingesetzt, die nun nicht mehr auf Null gestellt werden konnte.

Problematisch war auch, dass man gleich mehrere bis dahin unerprobte Verfahren in Verbindung mit dem Wankelmotor einführte. So hieß es von dem Enesilverfahren scherzhaft, es funktioniere nur bei Südwind, was auf die Witterungsempfindlichkeit anspielte. Auch gab es anfänglich Probleme mit der Dosierung und Korngröße des eingebetteten Siliziumkarbids und der Dosierung des Saccharin (das als Einebner für Nickelschichten in der Galvanik angewendet wird). Zudem waren die Werkstätten zum Teil mit der Technik rund um den Motor überfordert. Teilweise aber entwickelten einige Kunden auch geradezu kriminelle Energien. Kurz vor dem Ablauf der Garantie provozierten sie absichtlich einen Motorschaden.

Als das Dichtleistenproblem gelöst schien, kam es wieder zu gehäuften Motorschäden. Nun war es aber kein Konstruktionsfehler, sondern ein Zulieferer, der sich nicht an die Fertigungsvorschriften hielt.

Bei den letzten Ausführungen der Motoren bestanden die Dichtleisten komplett aus Ferrotic, diese Aggregate erwiesen sich als äußerst robust. Zusätzlich kam der Lebensdauer die Einführung des bleifreien Benzins entgegen. Anders als ein Viertakthubkolbenmotor dessen Ventilsitze mit Blei geschmiert werden mussten konnte der Wankelmotor des Ro 80 problemlos mit bleifreiem Kraftstoff betrieben werden, da beim Wankelmotor für die Gaswechselsteuerung keine Ventile benötigt werden.

(Wikipedia)

In the midst of a maze of construction walls, beautiful spring flowers foreshadow the 'new life' to come this summer at Disney California Adventure. Can't wait to be there to see it all open!

I posted one of my favorite Spaceship Earth photos ever earlier this week on my website. Please check it out: www.disneytouristblog.com/spaceship-earth-epcot-photo/

DisneyTouristBlog | Facebook | Twitter | YouTube | Google+ | ISO 5571 - Disney Photography Podcast

The Fiat Coupé (type 175, officially titled the Coupé Fiat) was a coupé produced by the Italian manufacturer Fiat between 1993 and 2000. The car was introduced at Brussels Motor Show in 1993.

It is most remembered for its distinctive, angular design, with unique scalloped side panels. The body was designed by Chris Bangle from Centro Stile Fiat, while the interior was designed by Pininfarina. The exterior design would foreshadow much of late 1990s and early 2000s car design, acting as a precedent to both Bangle's somewhat notorious work at BMW, as well as futuristic angular designs by other marques, such as Ford and Renault.

History:

The Fiat Coupe made media headlines in auto magazines during 1992 after several spy shots were taken revealing the car on test. On its launch in 1993, the Coupé was available with a four-cylinder, 2.0 L 16V engine, in both turbo (190 PS) and normally aspirated (139 PS) versions. Both engines were later versions of Fiat's twin-cam design and inherited from the Lancia Delta Integrale, winner of the World Rally Championship a record six times. 1996 brought in a 1.8 L 16V engine (not available in the UK, 131 PS), along with a 2.0-litre 5-cylinder 20V (147 PS), and a 5-cylinder 2.0-litre 20V turbo (220 PS).

Fiat Coupé 20v Turbo Model

The turbocharged 16 and 20 valve versions were equipped with a very efficient Viscodrive limited-slip differential to counter the understeer that plagues most powerful front wheel drive cars. Additionally, the coupe featured independent suspension all round: at the front MacPherson struts and lower wishbones anchored to an auxiliary crossbeam, offset coil springs and anti-roll bar; at the rear, trailing arms mounted on an auxiliary subframe, coil springs and an anti-roll bar.

1998 saw the release of the Limited Edition which featured red Brembo brake calipers at the front and standard red calipers at the back, a body kit, push-button start, six-speed gearbox, strut brace to make the chassis more rigid and Recaro seats with red leather inserts which offered better support than the standard 20VT seats. The LE was produced in Black (flat), Red (flat), Vinci Grey (metallic), Crono Grey (flat) and Steel Grey (metallic). The bodywork of the LE also benefited from titanium coloured insert around the light bezels and the wing mirrors. Each Limited Edition ('LE') Coupé was manufactured with a badge located by the rear-view mirror which contained that car's unique number (it is rumored that Michael Schumacher was the original owner of LE No. 0001, however when the question was raised to him personally he confirmed he had owned one, but a red one, while LE No. 0001 is a Crono Grey one). Originally a spokesman from Fiat stated only approximately 300 Limited Editions would be built. The final amount was much higher, with numbers as high as 1400 touted by some. This angered many of the owners of the original 300 cars and almost certainly impacted residual values. The original number however was quoted by a Fiat UK spokesman, so probably that number only applied to the UK market. The numbered plaque on every Coupe features enough space for 4 numbers.

In 1998 the 2.0-litre 5-cylinder 20V got a Variable Inlet System which brought the power to 154 PS (113 kW). The 2.0-litre 5-cylinder 20V Turbo received a 6-speed gearbox and a large, satin gloss push starter button. In addition, the sills of the Turbo version were colour matched with the body paintwork. Fiat also released the 2.0 L 5 cylinder Turbo 'Plus'. This model came with an option kit that made it virtually identical to the LE, except for minor interior design changes and without the unique identification badge of the LE.

In 2000 Fiat released another special version of the Fiat Coupé. Featuring the 1.8-litre engine, it was only available throughout mainland Europe and marketed as an elegant and affordable edition. Fiat also made changes throughout the rest of the range: new seats, side skirts and wheels for the 2.0-litre 20V model, 'Plus' edition wheels on turbo models and Fiat manufactured seats on the 'Plus' that were virtually identical to the original Plus Recaro seats with the addition of extra airbags. The 2.0-litre 20V Turbo model is capable of accelerating from 0–100 km/h (0 to 62 mph) in 6.5 seconds, with a top speed of 240 km/h (149 mph) or 250 km/h (155 mph) with later 6-speed gearbox. When production finally stopped in September 2000, a total number of 72,762 units had been produced.

[Text from Wikipedia]

en.wikipedia.org/wiki/Fiat_Coup%C3%A9

This miniland-scale Lego FIAT Coupe (Type 175 - 1993 - Bangle) has been created for Flickr LUGNuts' 92nd Build Challenge, - "Stuck in the 90's", - all about vehicles from the decade of the 1990s.

24 Hrs du Mans 1962

n° 46

Team : Automobiles René Bonnet (F)

Result : 17th

142,56 km/h - 3.421,55 km

Engine : Renault L4 996 cc

Bernard Consten (F)

José Rosinski (F)

After Charles Deutsch and René Bonnet went their separate ways, Bonnet's Renault-engined racer foreshadowed the early Matras.

996 cc

4 Cylinder

90 ch

Vmax : 210 km/h

Collection Automobile Club de l'Ouest

Musée Automobile de la Sarthe

Musée des 24 Heures

Le Mans

France

July 2015

The Fiat Coupé (type 175, officially titled the Coupé Fiat) was a coupé produced by the Italian manufacturer Fiat between 1993 and 2000. The car was introduced at Brussels Motor Show in 1993.

It is most remembered for its distinctive, angular design, with unique scalloped side panels. The body was designed by Chris Bangle from Centro Stile Fiat, while the interior was designed by Pininfarina. The exterior design would foreshadow much of late 1990s and early 2000s car design, acting as a precedent to both Bangle's somewhat notorious work at BMW, as well as futuristic angular designs by other marques, such as Ford and Renault.

History:

The Fiat Coupe made media headlines in auto magazines during 1992 after several spy shots were taken revealing the car on test. On its launch in 1993, the Coupé was available with a four-cylinder, 2.0 L 16V engine, in both turbo (190 PS) and normally aspirated (139 PS) versions. Both engines were later versions of Fiat's twin-cam design and inherited from the Lancia Delta Integrale, winner of the World Rally Championship a record six times. 1996 brought in a 1.8 L 16V engine (not available in the UK, 131 PS), along with a 2.0-litre 5-cylinder 20V (147 PS), and a 5-cylinder 2.0-litre 20V turbo (220 PS).

Fiat Coupé 20v Turbo Model

The turbocharged 16 and 20 valve versions were equipped with a very efficient Viscodrive limited-slip differential to counter the understeer that plagues most powerful front wheel drive cars. Additionally, the coupe featured independent suspension all round: at the front MacPherson struts and lower wishbones anchored to an auxiliary crossbeam, offset coil springs and anti-roll bar; at the rear, trailing arms mounted on an auxiliary subframe, coil springs and an anti-roll bar.

1998 saw the release of the Limited Edition which featured red Brembo brake calipers at the front and standard red calipers at the back, a body kit, push-button start, six-speed gearbox, strut brace to make the chassis more rigid and Recaro seats with red leather inserts which offered better support than the standard 20VT seats. The LE was produced in Black (flat), Red (flat), Vinci Grey (metallic), Crono Grey (flat) and Steel Grey (metallic). The bodywork of the LE also benefited from titanium coloured insert around the light bezels and the wing mirrors. Each Limited Edition ('LE') Coupé was manufactured with a badge located by the rear-view mirror which contained that car's unique number (it is rumored that Michael Schumacher was the original owner of LE No. 0001, however when the question was raised to him personally he confirmed he had owned one, but a red one, while LE No. 0001 is a Crono Grey one). Originally a spokesman from Fiat stated only approximately 300 Limited Editions would be built. The final amount was much higher, with numbers as high as 1400 touted by some. This angered many of the owners of the original 300 cars and almost certainly impacted residual values. The original number however was quoted by a Fiat UK spokesman, so probably that number only applied to the UK market. The numbered plaque on every Coupe features enough space for 4 numbers.

In 1998 the 2.0-litre 5-cylinder 20V got a Variable Inlet System which brought the power to 154 PS (113 kW). The 2.0-litre 5-cylinder 20V Turbo received a 6-speed gearbox and a large, satin gloss push starter button. In addition, the sills of the Turbo version were colour matched with the body paintwork. Fiat also released the 2.0 L 5 cylinder Turbo 'Plus'. This model came with an option kit that made it virtually identical to the LE, except for minor interior design changes and without the unique identification badge of the LE.

In 2000 Fiat released another special version of the Fiat Coupé. Featuring the 1.8-litre engine, it was only available throughout mainland Europe and marketed as an elegant and affordable edition. Fiat also made changes throughout the rest of the range: new seats, side skirts and wheels for the 2.0-litre 20V model, 'Plus' edition wheels on turbo models and Fiat manufactured seats on the 'Plus' that were virtually identical to the original Plus Recaro seats with the addition of extra airbags. The 2.0-litre 20V Turbo model is capable of accelerating from 0–100 km/h (0 to 62 mph) in 6.5 seconds, with a top speed of 240 km/h (149 mph) or 250 km/h (155 mph) with later 6-speed gearbox. When production finally stopped in September 2000, a total number of 72,762 units had been produced.

[Text from Wikipedia]

en.wikipedia.org/wiki/Fiat_Coup%C3%A9

This miniland-scale Lego FIAT Coupe (Type 175 - 1993 - Bangle) has been created for Flickr LUGNuts' 92nd Build Challenge, - "Stuck in the 90's", - all about vehicles from the decade of the 1990s.

“We Saw the Future”

“We Saw the Future” is a conceptual series of paintings by, Brazilian artist Danilo Omwisye (Zéh Palito). The series portrays a world wherein man and animal merge as one. Defining Palito’s archetypal foreshadowing’s of this obscure destiny, each painting illuminates a specific step of the journey. Using his signature color palette of bright reds, royal blues, lime greens, and electric yellows within the contrasting organic shapes against geometric, Zéh Palito takes his audience into this self-conceived dimension. He enhances the cardinal concept of nature’s connectivity by splashing evocative imagery about the canvas: grenades ejecting rainbows, hands possessing hearts, elephants and deers exploring uncharted territory. “We Saw the Future” reinvents the inherent evolution, alludes to the riddance of all things bad, and leaps towards the equality of man and his fellow animal. Yet again, Zéh Palito gives his audience reason to take a second look at the world around them. For, it is man who determines what lay ahead. Perhaps the future is not such a mystery after all.

(Paley Martin- Art Nouveau MAG)

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Thursday, June 6, 2013

7:00pm until 11:30pm

Boddinstrasse 60, Berlin, Germany

www.idrawalot.com

Facebook Event:

www.facebook.com/events/483261171709912/

In part with First Thursday Berlin - Art Walk: