View allAll Photos Tagged foreshadowing
One month old SD70 2575 was meeting C30-7A 6579 on the Chicago Line near Burdick in 1998.
With a Norfolk Southern C39-8 as foreshadowing on this line along for the ride, Big Blue was on the way out less than a year later.
L'ANCORA DI SALVEZZA. ANCHOR OF SALVATION
Le superstizioni dei marinai dipendono da molti fattori e dalla storica convivenza col mare e con i viaggi. Ecco alcune superstizioni: cosa fare e cosa non fare in mare e in barca!
Superstizioni generali del marinaio
C’erano e ci sono usanze che i marinai cercano assolutamente di evitare a bordo: indossare abiti di un altro marinaio; evitare di fare cadere fuori bordo un bugliolo o una scopa; imbarcare bagagli di colore nero e guardare alle proprie spalle quando si salpa; salire a bordo della nave con il piede sinistro; poggiare una bandiera sui pioli di una scala o ricucirla sul cassero di poppa (attualmente i marinai italiani nel ripiegare la bandiera lasciano il colore verde fuori in segno di speranza); lasciare le scarpe con la suola verso l’alto (presagio di nave capovolta); accendere una sigaretta da una candela (significava condannare un marinaio a morte); evitare il suono prodotto dallo sfregamento del bordo di un bicchiere o di una tazza; il rintocco della campana di bordo se non mossa dal rollio; pronunciare le parole: verde, maiale, uovo, tredici, coniglio; parlare di una nave affondata o di qualcuno morto annegato. Non regalare mai dei fiori da portare a bordo a un marinaio! In passato, i fiori erano strettamente correlati ai funerali ed erano banditi dalle navi. E mai portare un ombrello a bordo !!!
---------------------------
Sailors' superstitions depend on many factors and on historical coexistence with the sea and with travel. Here are some superstitions: what to do and what not to do at sea and on the boat!
General superstitions of the sailor
There were and there are customs that sailors absolutely try to avoid on board: wear clothes from another sailor; avoid dropping a bugle or broom overboard; load black luggage and look behind you when you set sail; board the ship with the left foot; place a flag on the rungs of a ladder or sew it back on the quarterdeck (currently the Italian sailors in folding the flag leave the green color outside as a sign of hope); leave the shoes with the sole upwards (foreshadowing of the ship upside down); lighting a cigarette from a candle (meant condemning a sailor to death); avoid the sound produced by the rubbing of the edge of a glass or cup; the ringing of the bell on board if not moved by the roll; pronounce the words: green, pig, egg, thirteen, rabbit; talk about a sunken ship or someone drowned. Never give flowers to a sailor on board! In the past, flowers were closely related to funerals and were banned from ships. And never carry an umbrella on board !!!
CANON EOS 6D Mark II con ob. CANON EF 100 mm f./2,8 L Macro IS USM
1987, alfred-harth-vinyl.blogspot.com/ ,
a23h-discography.blogspot.com/
The titles of "Plan Eden", out in 1987, refer to Doris Lessing, Friedrich Nietzsche, Robert Anton Wilson and Harth himself. It's another "separated at birth" statement: the first side is Harth solo on the tenor sax, playing a series of short improvisations whose atmosphere changes like tropical weather: a serene reverb-drenched meditation one moment, a torrent of multiphonic schizophrenia a minute later, and the firm reminder that what we currently worship in the so-called "reductionist" movement had already been tackled by Mr.23 at least a decade earlier. The second side features a clutch of duets with Lindsay Cooper - on bassoon and sopranino, while Harth uses clarinets - and a furious one with John Zorn, plus a three-minute improvised "mini opera" with Phil Minton gurgling his tonsils out and a pre-iPod, pre-electronics Günter Müller on drums among the others. In this album, just like in "Anything goes", the composer also took good care of the cover artwork; the LPs include inserts with Harth's drawings, and the nostalgic collector who replaces my good self every once in a while is still moved by the carton's smell of his treasured copies. Sniff....Aaaahhh...
Massimo Ricci in Touching Extremes
-----------------------------
A first live encounter between A23H and John Zorn took place in 1985 during a Harald Haerter project in Zürich, Switzerland. This meeting paved the way for their duo, initiated by A23H’s invitation to Zorn for their pure sax duo performances at the Moers Festival in 1986, at the Brotfabrik Frankfurt/Main, and a concert in Würzburg, culminating in the track “Atom Sex Kino” on A23H’s 1987 LP, “Plan Eden”.
Structure and Style of “Plan Eden”:
The first side of “Plan Eden” is dedicated to Harth’s solo tenor saxophone improvisations, shifting from serene, reverb-washed meditations to intense, multiphonic workouts. These explorations anticipate the reductionist and minimalist trends later seen in avant-garde music, underscoring Harth’s forward-thinking approach.
On the second side, the album presents varied duets: Harth’s clarinet dialogues with Lindsay Cooper’s bassoon and sopranino, a high-voltage interaction with John Zorn, a turbulent three-minute “mini opera” featuring Phil Minton’s vocal improvisation, and contributions from Günter Müller on drums before his electronic phase.
Artistic Vision and Packaging:
Like its predecessor, “Anything Goes” (1986)—an LP merging remixes by Heiner Goebbels, John Oswald, and John Zorn—“Plan Eden” embodies Harth’s multidimensional artistry, which extends not only to composition and performance but also to visual design, with self-drawn cover artwork and inserts. Collectors particularly value the distinctive physical presentation and nostalgic appeal of these LP editions.
Impact and Legacy:
Through “Plan Eden”, A23H established an influential model in experimental improvisation and multimedia collaboration, foreshadowing trends that would only later gain broader recognition in the contemporary music scene.
New York City Transit Authority (NYCTA) R46 no. 6180 (Pullman-Standard, 1975-1978) is the lead motor on a Brooklyn-bound A train seen climbing onto the Liberty Avenue Line structure south of Rockaway Blvd Station. The front of the motor is somewhat sunlit as the brief spot of sunshine is rapidly succumbing to the dark clouds, seemingly foreshadowing the future for these cars as the new R211 models enter service.
SMK: "With this drama from the west coast of Jutland, Bloch strikes a serious tone and takes his painting to new levels of ambition. Large in scale and scope, the scene unfolds the omninous tale of fishermen's families anxiously looking out across the troubled sea for signs of their loved ones' fishing boats. The possible fatal outcome of the story is symbolically foreshadowed in details such as the fish skeleton and the child innocently snapping a stick. ..."
The castle and cathedral of Durham in North East England are a UNESCO World Heritage Site. Here, they are viewed from the viaduct carrying the East Coast Mainline between London and Edinburgh, over the gorge of the River Wear in which Durham was founded.
Durham Cathedral was built between the late 11th and early 12th century to house the bodies of St. Cuthbert (634-687 AD) (the evangeliser of Northumbria) and the Venerable Bede (672/3-735 AD). It attests to the importance of the early Benedictine monastic community and is the largest and finest example of Norman architecture in England. The innovative audacity of its vaulting foreshadowed Gothic architecture. The Cathedral lies within the precinct of Durham Castle, first constructed in the late eleventh century under the orders of William the Conqueror.
The Norman Castle was the stronghold and residence of the Prince-Bishops of Durham, who were given virtual autonomy in return for protecting the northern boundaries of England, and thus held both religious and secular power. Since the 19th Century, the castle has been occupied by University College Durham.
The Cathedral and Castle are located on a peninsula formed by a bend in the River Wear with steep river banks constituting a natural line of defence. These were essential both for the community of St. Cuthbert, who came to Durham in the tenth century in search of a safe base (having suffered periodic Viking raids over the course of several centuries), and for the Prince-Bishops of Durham, protectors of the turbulent English frontier.
The site is significant because of the exceptional architecture demonstrating architectural innovation and the visual drama of the Cathedral and Castle on the peninsula, and for the associations with notions of romantic beauty in tangible form. The physical expression of the spiritual and secular powers of the medieval Bishops’ Palatinate is shown by the defended complex and by the importance of its archaeological remains, which are directly related to its history and continuity of use over the past 1000 years.
This description incorporates text both from the Durham UNESCO World Heritage Register listing and the English Wikipedia.
This wasn’t the shot I was after, but I’m glad I got something out of it regardless.
It’s just gone past midnight, as SSR’s P14 & P16 work through Windsor with inspection vehicle IEV 102. The train is seen running one of two inspection runs from Sandringham to Flinders Street, as 7594.
To the right is Alstom Comeng 607M, which is running one of the last Sandringham services of the night.
Thursday 9th April, 2026 (Morning)
260409 7594 P14-IEV102-P16 Windsor, VIC
Foreshadowing a frightening future event when Hood - like its sister volcano Mt. St. Helens - reawakens, the setting sun reflects off wind-driven snow on Mt. Hood's north side, May 5, 2007. Mt. Hood is a dormant volcano 50 miles east of Portland, Oregon where it is located on the Pacific rim of file.
This view is from the east side about 5 miles south of the I-84 and OR 35 exit for Hood River. The sun is not in the image. It is far to the right and north of the mountain. This unusual sunset event is a fortunate combination of a storm on Hood, cloud formation over Hood, clouds farther to the west and the sun setting at exactly the right angle north of Hood.
It had been cloudy that evening, but I decided to see if I could get a shot of Hood before the end of the day anyway. I was amazed by the view, jumped from my car grabbing the tripod and starting to shoot with out checking exposure or focus. Fortunately, the event lasted long enough for me to slow down, get composed and take a couple of dozen images. I've never seen a more dramatic natural event.
[Explored Jun 7, 2012 #330 @ 4 PM PST]
(adj.) *Ominous
1. presaging ill-fortune
2. threatening or foreshadowing evil or tragic developments.
Ominous Black Clouds, Percé, Gaspésie, Québec, Canada.
PixQuote:
"In photography the goal seems to be to prove beyond a doubt that the cameraman, in his great moment of creation, was either hanging by his heels from the rafters or was wedged under the floor with his lens in a knothole."
-E.B. White
La Plaza Roja (en ruso Красная площадь, Krásnaya plóshchad’) es la plaza más famosa de Moscú en el barrio comercial conocido como Kitay-górod. Posee 330 metros de longitud y 70 metros de ancho, sumando una superficie de 23.100 m². Desde 1990 la Plaza Roja fue incluida, junto con el conjunto del Kremlin, en la lista de Patrimonio de la Humanidad de Unesco.
El nombre de Plaza Roja no proviene del color de los ladrillos que la rodean, ni tampoco es referencia al color rojo del comunismo. Más bien deriva de la palabra rusa Красная (Krásnaya), que significa "roja", pero en el antiguo ruso significaba "bonita", es decir, la plaza bonita. La palabra en un principio se usaba para nombrar la Catedral de San Basilio (del siglo XVI), con el sentido de bonito, y más tarde el nombre recaló en la plaza cercana. Se cree que la plaza adquirió su actual nombre, reemplazando el antiguo, Пожар (Pozhar), en el siglo XVII.
es.wikipedia.org/wiki/Plaza_Roja
La Torre Spásskaya (en ruso, Спа́сская башня, literalmente «Torre del Salvador») es la torre principal del muro este del Kremlin de Moscú, situada junto a la Plaza Roja.
es.wikipedia.org/wiki/Torre_Spasskaya
La catedral de la Intercesión de la Virgen junto al foso (en ruso Собор Покрова Пресвятой Богородицы, что на Рву, Sobor Pokrová Presvyatoy Bogoróditsy, chto na Rvu), más conocida como Catedral de San Basilio, es un templo ortodoxo localizado en la Plaza Roja de la ciudad de Moscú, Rusia. Es mundialmente famosa por sus cúpulas en forma de bulbo. A pesar de lo que se suele pensar popularmente, la Catedral de San Basilio no es ni la sede del Patriarca Ortodoxo de Moscú, ni la catedral principal de la capital rusa, pues en ambos casos es la Catedral de Cristo Salvador. Como parte de la Plaza Roja, la catedral de San Basilio fue incluida desde 1990, junto con el conjunto del Kremlin, en la lista de Patrimonio de la Humanidad de Unesco.
La construcción de la catedral fue ordenada por el zar Iván el Terrible para conmemorar la conquista del Kanato de Kazán, y se realizó entre 1555 y 1561. En 1588, el zar Teodoro I de Rusia mandó que se agregara una nueva capilla en el lado este de la construcción, sobre la tumba de San Basilio el Bendito, santo por el cual se empezó a llamar popularmente la catedral.
San Basilio se encuentra en el extremo sureste de la Plaza Roja, justo frente a la Torre Spásskaya (la Torre del Salvador) del Kremlin y la iglesia de San Juan Bautista en Dyákovo.
El concepto inicial era construir un grupo de capillas, dedicadas a cada uno de los santos en cuyo día el zar ganó una batalla, pero la construcción de una torre central unifica estos espacios en una sola catedral.
La leyenda dice que el zar Iván dejó ciego al arquitecto Póstnik Yákovlev para evitar que proyectara una construcción que pudiera superar a esta, aunque parece claro que no se trata más que de una fabulación, ya que Yákovlev participó, pasados unos años, en la construcción del Kremlin de Kazán.
La catedral de San Basilio no debe confundirse con el Kremlin de Moscú, que está situado a su lado en la Plaza Roja, y por tanto no forma parte de él. Aun así, muchos medios confunden ambas construcciones.
es.wikipedia.org/wiki/Catedral_de_San_Basilio
Red Square (Russian: Кра́сная пло́щадь, tr. Krásnaya plóshchaď, IPA: [ˈkrasnəjə ˈploɕːətʲ]) is a city square (plaza) in Moscow, Russia. It separates the Kremlin, the former royal citadel and now the official residence of the President of Russia, from a historic merchant quarter known as Kitai-gorod. Red Square is often considered the central square of Moscow since Moscow's major streets, which connect to Russia's major highways, originate from the square.
The name Red Square originates neither from the pigment of the surrounding bricks (which, in fact, were whitewashed at certain periods) nor from the link between the colour red and communism. Rather, the name came about because the Russian word красная (krasnaya), which means "red" is related to the word ('krasivaya') meaning "beautiful," was applied to a small area between St. Basil's Cathedral, the Spassky Tower of the Kremlin, and the herald's platform called Lobnoe Mesto (contrary to the common misconception, it actually never was a place of execution), and Tsar Alexei Mikhailovich officially extended the name to the entire square, which had previously been called Pozhar, or "burnt-out place", in reference to the fact that several buildings had to be burned down to make place for the square. Several ancient Russian towns, such as Suzdal, Kiev, Yelets, and Pereslavl-Zalessky, have their main square named Krasnaya ploshchad.
en.wikipedia.org/wiki/Red_Square
The Spasskaya Tower (Russian: Спасская башня, tr. Spasskaya Bashnya), translated as 'Saviour Tower', is the main tower on the eastern wall of the Moscow Kremlin which overlooks the Red Square.
en.wikipedia.org/wiki/Spasskaya_Tower
The Cathedral of Vasily the Blessed (Russian: Собор Василия Блаженного, Sobor Vasiliya Blazhennogo), commonly known as Saint Basil's Cathedral, is a church in Red Square in Moscow, Russia. The building, now a museum, is officially known as the Cathedral of the Intercession of the Most Holy Theotokos on the Moat (Собор Покрова Пресвятой Богородицы, что на Рву, Sobor Pokrova Presvyatoy Bogoroditsy, chto na Rvu) or Pokrovsky Cathedral (Покровский собор). It was built from 1555–1561 on orders from Ivan the Terrible and commemorates the capture of Kazan and Astrakhan. It was the city's tallest building until the completion of the Ivan the Great Bell Tower in 1600.
The building is shaped like the flame of a bonfire rising into the sky, a design that has no parallel in Russian architecture. Dmitry Shvidkovsky, in his book Russian Architecture and the West, states that "it is like no other Russian building. Nothing similar can be found in the entire millennium of Byzantine tradition from the fifth to the fifteenth century ... a strangeness that astonishes by its unexpectedness, complexity and dazzling interleaving of the manifold details of its design." The cathedral foreshadowed the climax of Russian national architecture in the 17th century. The Guardian compared building with "garish chunk of Disneyland architecture" and "a clown's nose on the face of the evil empire".
A byway in the development of European knowledge of Egypt is revealed by a manuscript recording the travels of an unidentified Venetian in 1589 through Upper Egypt and Lower Nubia as far south as el-Derr. His is one of dozens of accounts by visitors to, and residents of, Egypt, but the only one to claim a disinterested fascination for the ancient monuments. The author stated that he “did not travel for any useful purpose, but only to see so many superb edifices, churches, statues, colossi, obelisks, and columns.” But “even though I went a great distance, none of the buildings I saw was worthy of admiration, except for one, which is called Ochsur [Luxor, within which he included Karnak] by the Moors [the Italian word for North Africans].” His evaluation foreshadowed the 19th century, when Luxor became a center of tourism.
from
John Baines and Jaromir Malek, Atlas of Ancient Egypt (Revised Edition) (Cairo: The American University in Cairo Press, 2002), p. 23.
On one of my many visits to the West Slope, I took yet another shot of the former Pennsylvania Railroad position light signal bridge in Summerhill.
I knew then that it was on borrowed time, and in 2019 it finally fell to that thing called progress. It was sunset for the day at the time, but of course it is now sunset for all time.
Engine Company 31 -87 Lafayette Street
In 1879 Napoleon LeBrun became the official architect of the New York City Fire Department. When son Pierre joined him the firm became N. LeBrun & Son. LeBrun would produce 42 structures for the fire department before stepping down in 1895.But he went out with a splash.
In 1894 N. LeBrun & Son drew plans for a lavish new home for Engine Company 31, which had been situated at No. 116 Leonard Street.But first the architects had to deal with a logistical nightmare.
The site where the new firehouse was to be built was atop a filled-in body of water called Collect Pond.In the 18th century the pond covered 48 acres and, in spots,was up to 60 feet deep.What had been a popular place for picnics in the summer and ice skating in the winter became polluted and odorous when tanneries, slaughterhouses and other nearby business dumped their waste here.Derided at the end of the 18th century as "a very sink and common sewer," it was slowly filled. By 1813,the entire lake was undetectable.At least on the surface.
Below ground the water remained.LeBrun's solution was to drive immense wooden pilings below ground on which the foundation of the firehouse would sit.He knew,as was proved in Venice,that as long as the pilings remained submerged they would remain stable.
For Engine Company 31 he turned to the Loire Valley of France for inspiration.Looking more like chateau than firehouse it was completed in 1896 at a cost of $80,000--more than $2.3 million today.A mountainous slate-shingled roof erupted above two stories of limestone and brick.Bold dormers,more than a story tall, were worthy of Fountainebleau.
While it was admittedly beautiful,some contemporary critics found it a bit much.In The Architectural Record, Montgomery Schuyler strongly questioned what elegance had to do "with so grimly practical business as putting out fires."And the Real Estate Record &Guide called it a "manifestly extravagant absurdity.
Both detractors seemed to be foreshadowing the 20th century architectural principle of "form follows function"which resulted in firehouses being no more interesting than a suburban garage.
Engine Company 31 called 87 Lafayette Street home until the Fire Department abandoned it in late 1972,just ten months after it was placed on the National Register of Historic Places.It sat neglected and empty for seven years before Downtown Community Television rented space from the city there.The in 1983,DCTV purchased the building along with the Chinese-American Planning Council for $400,000.
The new owners bought an expensive problem.Over the years the long forgotten Collect Pond had begun drying up.The water level below the street fell which caused the pilings to dry out and begin to rot.LeBrun's elegant chateau began settling unevenly as the pilings eroded. The entire foundation had to be reconstructed at a cost of almost $800,000.
Additional costly restoration has taken place,bringing No.87 Lafayette Street back to its former glory.The New York Landmarks Preservation Commission noted in 1966 "the quality of its detail and in the use of fine materials it is unsurpassed by any building in its category."
Absurdly extravagant or not,I prefer LeBrun's Loire Valley chateau to a suburban garage.
Buick introduced the Skylark in 1953. Only 1690 of these customized Roadmaster convertibles were produced. A luxurious sporty car that foreshadowed the Thunderbird by two years.
This is a composite of two photos and a texture.
Apps used: Sketchbook, Superimpose. Backstory: This is one of series exploring the meaning of “epiphany,” both as a religious festival, as well as in its sense of the essential. “Frankincense” alludes to the coming of the Magi as the first manifestation of Christ to the Gentiles. The triangular shape reflects the three Magi as well as its allusion to the triune nature of God. The diagonal broken diagonal reflects their journey to Bethlehem, encounter with the Christ child, and subsequent return home by a different route due to the threat of Herod’s malevolence. Within the frame of their encounter are two symbols: one, the invaluable golden frankincense; and the other, blood red strokes foreshadowing the sacrificial death of Christ for mankind’s salvation.
The main building of Orvieto is the cathedral (Duomo di Orvieto), built between the late thirteenth and fifteenth centuries. The nave of the church is built in Romanesque style with horizontal black and white bands, such as in Siena and Florence. In 1310, the Sienese architect Lorenzo Maitani was recruited, who had the façade built in a revolutionary Gothic style with a mixture of cheerful colors that together with the expressive work of the sculptors (of which he was not the least) yield an unusual result. The Duomo's interior is majestic, colorful and light, and contains elaborate frescoes by Luca Signorelli, which foreshadow Michelangelo's work. Signorelli has also included a double portrait of himself with his colleague Fra Angelico, who has also worked on this church for a short time.
Wikipedia
Railway operations at the 'eastern end' of The Fraser Valley don't get the same level of railfan attention as those closer to Vancouver and it's suburbs. With the arguably more scenic and certainly more dramatic environs of the Fraser Canyon only a score of miles up the road, many keep driving, skipping some challenging, but potentially rewarding locations.
Timetable east of Rosedale (Yale Sub), and Agassiz (Cascade Sub) both routes curve to run in a northeasterly direction. The mountains on each side of the valley increase in height and close ranks, squeezing the two highways and railways closer to the rivers edge. Since the CP line on the north side of the Fraser River hosts eastbounds almost exclusively, optimal direct lighting is limited to at most a few hours per day in the summer. On the south side of the river, the CN line hosts only westbounds. With the trains heading south and then west, most of the lighting from late morning through evening is ideal.
The twenty five miles between the open farmlands at Rosedale, and end of road access at Hope find the CN tracks winding closely along the banks of the Fraser River. In the days of wired communications via the pole line, photographic opportunities were almost endless. The pole line itself was typically the primary obstacle for photo angles from the shoulder of nearby Highway #1. Once these wires were obsolete and regular lineside vegetation control stopped though, it didn't take long for thousands of deciduous trees to spring up and close ranks around the rails.
Ideal rail photo locations now consist of the few places where there is a break in the near continuous tree line, or where the high sun can shine down between the trees rather than through them.
Westbound manifest A417 trundles west across the bridge over Hunter Creek at MP47 of the Yale Sub. The Rocky outcropping above the train foreshadows the terrains transition to the east.
308/365
Big thanks to Alex, who told me what to shoot today hahaha <3
Midterms week has started wo0o
Hope you guys are doing well! <3
facebook page | tumblr | buy prints | blog | formspring | instagram @ginaaballerina
The chapel features, on its three walls, frescoed scenes relating to the Universal Flood, the Entrance of the Animals into the Ark, the End of the Flood and Noah's Drunkenness. The compositions are characterised by outdoor visions marked by the presence of human figures and animals, both depicted on a small scale. The painter's attention seems to be focused on the description of the variety of animals and birds, without, however, failing to dwell on the more intensely dramatic scenes, such as the cases of those who drown, going as far as the cold analysis of the corpses strewn on the ground after the Flood. The stories of the Flood are linked to the fresco of the Baptism of Christ that faces them in the cloistered church, as a foreshadowing of that moment of salvation, according to what St Peter makes clear in the First Epistle (3:20-21): "God in his longsuffering waited in the days of Noah for the ark to be built, in which eight people in all found escape from the water, a figure, this one, of the Baptism that now saves us".
Historical-critical information: In these frescoes, Aurelio Luini displays an unprecedented propensity for storytelling and narration for its own sake, which results in a smug amusement directed above all at the descriptive rendering of the various animal species, rendered with an almost lenticular meticulousness. As the son of Bernardino Luini, who was active for many years in San Maurizio, Aurelio showed undisputed talent for painting, which led him to collaborate with his older brother Giovan Pietro from 1555 onwards. Here, as in other cases, Aurelio exhibits the peculiar characteristics of his painting, sustained by an exuberant expressive emphasis that is fully in line with contemporary 'Mannerism'. The naturalistic taste manifested in the frescoes of the Noah's Ark chapel also reflects the interest that Aurelio, a member of the Accademia della Val di Blenio (run by Giovan Paolo Lomazzo), had always shown in Leonardo's research.
This image of a luminous point, indivisible, without extension in space and time, is Dante’s picture of God. In turning toward it, Dante finally turns away from the “mirror” that is his human, erotic love for Beatrice, “where Love once set the snare and drew the cord,” and faces toward the Love that has now caught him: God himself. And in doing so, Dante has turned away from all those other “mirrors”—lower, created loves—which both foreshadow and distract from the Love that “moves the sun and the other stars.”
-Beauty and Imitation
A Philosophical Reflection on the Arts, Daniel McInerny
Go Ahead Ireland's 11902, former Donnybrook GT90 is seen at the Newgrove Avenue terminus of route 18, as it breaks after doing route training on route 18, which Go Ahead Ireland will operate from this Sunday 24/3/2019. Donnybrook's AX645 is seen behind awaiting for its departure on route 18.
The Japanese artist Fumiya's wood craft artwork "WA NA TA BE "demonstrated his imagination for feeling of flying, and spiritual freedom.
FYR.
globe-views.com/dreams/wing.html
However, there are a lot of alternative interpretations of such dreams.
If you have wings in a dream, it states that you are unstable on your feet, and can’t live a safe life without someone’s support. If you are a person of high rank or position in society, such a dream promises that luck will no longer accompany you. For a common dreamer, the wings forebode the destruction of happiness, troubles, and opponents’ contempt.
Also, wings can be a source of inspiration, a muse. If you feel the wings behind your back, it bodes a fast and successful resolution of troubles. Creased, cast down wings signify that the soul of a dreamer is in anguish, and a person is no longer able to cope with it. Perhaps it is time to think about a vacation to relax, not only physically, but also morally. Our ancestors believed that the wings foreshadow wealth and well-being.
The ancient Maya believed that wings in a dream try to warn about possible attack. To protect yourself, you need to take a real wing, wrap it with your hair and burn at dawn.
A good interpretation of this dream – you will fall in love; so you need to find a white feather, and put it behind your ear.
Another interpretation of this dream is a feeling of flying, and spiritual freedom.
I had to go old school. This was taken back in 2010 from the tender taking us to Grand Cayman from the Carnival Conquest. I the background is the Liberty of the Seas. That oddly foreshadowed the fact the five years later, we would be on the Carnival Liberty. I love ships!
How do you "plus" the zombies? I thought it might be cool to take 3 separate images, merge them in Photomatix, import them to Photoshop and then post them here. I like how the Castle is tilted, sort of foreshadowing that something is not quite right with this composition. The 3 images I used have the zombies dancing from left to right. I chose shots where there would be dancers to the left, then center, then right so I could fill the frame with subjects.
The wonky purple lighting that was illuminating the zombies helped to amplify their spectral nature. The translucent echos of zombies "past" can be seen in the image.
These performers do such a great job with these characters and you can see that in my shot(s). Anytime one can make the zombies even spookier is a sight to be seen...
A November morning on Frobisher Bay at low tide—
The sea withdraws in silence, baring its dark, glistening bones.
Snow clings to basalt like memory to stone,
and gulls drift between land and sea.
Across the water, the hills brace beneath a leaden sky,
clouds pressing down, foreshadowing the iron grip of winter yet to come.
Foreshadowing
At the top of the pine tree, notice, is the one with the tired wings, waiting for the indecisive wind.
He landed to bring the harbinger of heaven that is about to fall behind him.
The gust of wind came, but he waited even longer. There were more foreshadows to do.
It was not only about the sky that was about to fall, it was also about the earth that would agonize with the storm.
There was one more. Just another harbinger to do. Therefore, the thunder made its wings flap involuntarily.
When he found himself, everything behind him was passed.
He landed again, now more tired. There were more foreshadows to be done.
"The sea awoke at midnight from its sleep,
And round the pebbly beaches far and wide
I heard the first wave of the rising tide
Rush onward with uninterrupted sweep;
A voice out of the silence of the deep,
A sound mysteriously multiplied
As of a cataract from the mountain's side,
Or roar of winds upon a wooded steep.
So comes to us at times, from the unknown
And inaccessible solitudes of being,
The rushing of the sea-tides of the soul;
And inspirations, that we deem our own,
Are some divine foreshadowing and foreseeing
Of things beyond our reason or control"
4 image stitched panorama from the Z7 that I rented for this trip. I hope to get a trip report together for my time with the Z7 soon. Foreshadowing: it has some quirks but I like it. A lot.
Regno Unito, Kent, Margate, Inverno 2014
La storia della città è legata strettamente al mare e ha una fiera tradizione marittima. Per circa 250 anni, Margate è stata delle più importanti località balneari del Regno Unito, contendendo a Scarborough, Whitby e Brighton il titolo della prima stazione balneare dell'Inghilterra. Come Brighton e Southend, Margate è stata tristemente nota per i violenti scontri tra mods e rockers negli anni ‘60, e mods e skinheads negli anni ‘80. Intorno al 1786, Turner, il celebre pittore romantico paesaggistico inglese, si trasferì a Margate e qui ha produsse una serie di disegni della città e la zona circostante prefigurando il suo lavoro successivo. Turner tornò a Margate molte volte nella vita adulta.
The town's history is tied closely to the sea and it has a proud maritime tradition. For at least 250 years, Margate has been a leading seaside resort in the UK, vying with Scarborough, Whitby and Brighton for the title of England's first seaside resort. Like Brighton and Southend, Margate was infamous for gang violence between mods and rockers in the 1960s, and mods and skinheads in the 1980s. Around 1786, Turner, the famous british Romantic landscape painter, was sent to Margate and here he produced a series of drawings of the town and surrounding area foreshadowing his later work. Turner returned to Margate many times in later life.
Shakespeare
MacBeth, act 5, scene 1
"Out, damned spot; out, I say. One, two,—why, then ’tis time to do’t. Hell is murky. Fie, my lord, fie, a soldier and afeard? What need we fear who knows it when none can call our power to account? Yet who would have thought the old man to have had so much blood in him?"
These words are spoken by Lady Macbeth as she sleepwalks through Macbeth’s castle on the eve of his battle against Macduff and Malcolm. Earlier in the play, she possessed a stronger resolve and sense of purpose than her husband and was the driving force behind their plot to kill Duncan. When Macbeth believed his hand was irreversibly bloodstained earlier in the play, Lady Macbeth had told him, “A little water clears us of this deed”. Now, however, she too sees blood. She is completely undone by guilt and descends into madness. It may be a reflection of her mental and emotional state that she is not speaking in verse; this is one of the few moments in the play when a major character—save for the witches, who speak in four-foot couplets—strays from iambic pentameter. Her inability to sleep was foreshadowed in the voice that her husband thought he heard while killing the king—a voice crying out that Macbeth was murdering sleep. And her delusion that there is a bloodstain on her hand furthers the play’s use of blood as a symbol of guilt. “What need we fear who knows it when none can call our power to account?” she asks, asserting that as long as her and her husband’s power is secure, the murders they committed cannot harm them. But her guilt-racked state and her mounting madness show how hollow her words are. So, too, does the army outside her castle. “Hell is murky,” she says, implying that she already knows that darkness intimately. The pair, in their destructive power, have created their own hell, where they are tormented by guilt and insanity.
We're here visiting Shakespeare
Early morning sun begins to light up Clements Mountain. Foreground wildflowers eagerly await the light.
The patch of snow on the mountain, looking like a seated Mountain Goat, foreshadows what we will see further on the trail.
Even though it was a super small crowd at the Bourbon a few weeks ago - (I'd say a majority of the crowd were friends of the bands that played) it was a pleasant treat to see two bands that took advantage of the good acoustics and stage ambience.
Mikey from the Barcelona Chair was really looking to playing with Bells Clanging. I remember a few years back I saw a band called Bontempi that opened for the Stars at the Commodore but they shortly disbanded after that - or maybe they took a break - but they were great. There's a connection to Bontempi and Bells Clanging with a few bandmates. This night they didn't have the full band but still the effort of lead guitarist and vocals Jason Starnes was impressive..and to foreshadow was is to come - I went to the last show ever of "Kids these Days" featuring Jason Starnes along with members of Octoberman, Tailor Island and Mohawk Lodge - another impressive local lineup.
Location: Cursed Marches - Temple of Decay, World of Ruin
The Mana Beast of Decay awaits in the Forsaken Isle, buried deep beneath the Temple of Decay. When the Calamity fell from the sky, the four types of Mana (Lightning, Fire, Ice, Decay) were each sealed away inside an ancient Guardian, to prevent The World Eater from absorbing them into it's being. The existence of Mana and the Guardians has been lost to time.
This is not a numbered episode in the series, just a deeper look into the lore of the story, and foreshadowing what is to come.
Faves, comments, and feedback are appreciated, thank you!
In advance of their 1971 beauty pageant, General Idea created this image of the Spirit of Miss General Idea. It foreshadowed the pageant’s interplay of ambiguity, performance, fashion and humour. Striking a dramatic pose and lifting their skirt, the subject wears tight leather from head to toe, including their pumps and cloak. In spite of the title “Miss”, the Spirit of Miss General Idea is gender nonconforming, reflecting the way the artists were thinking about gender at the time.
Here is a foreshadow to one of the yards I will feature this year. The yard was built around the concept of hosting patio parties and easy clean up, with all the elements and balance that I strive to incorporate into any design that I create. This has been a tough challenge,as the client had to learn to trust my judgement, and was elated from start to finish.
Between March 1941 and March 1943 a small section of the Podgórze district of Kraków was walled off and served as a holding pen, or ghetto, for about 15,000 Jewish residents of Kraków. Podgórze is a suburb of Kraków lying on the south side of the Vistula River while the main city lies on the north side. Podgórze is not very big and only part of it was walled off. You can walk from one side of the ghetto area to the other in less than five minutes. A dozen small streets that had been home to around 3,000 people suddenly became home to 15,000 people.
The Ghetto was surrounded by the newly built walls that kept it separated from the rest of the city. In a grim foreshadowing of the near future, these walls contained brick panels in the shape of tombstones. All windows and doors that opened onto the "Aryan" side were ordered to be bricked up. Only four guarded entrances allowed traffic to pass in or out.
Kraków, Lesser Poland, Poland
This photo was taken in 1966. It is from a Kodachrome slide taken during my trip to the USSR.
Saint Basil's Cathedral
The Cathedral of Vasily the Blessed (Russian: Собо́р Васи́лия Блаже́нного, tr. Sobór Vasíliya Blazhénnogo), commonly known as Saint Basil's Cathedral, is an Orthodox church in Red Square of Moscow, and is one of the most popular cultural symbols of Russia. The building, now a museum, is officially known as the Cathedral of the Intercession of the Most Holy Theotokos on the Moat, or Pokrovsky Cathedral. It was built from 1555 to 1561 on orders from Ivan the Terrible and commemorates the capture of Kazan and Astrakhan. It was the city's tallest building until the completion of the Ivan the Great Bell Tower in 1600.
The original building, known as Trinity Church and later Trinity Cathedral, contained eight chapels arranged around a ninth, central chapel dedicated to the Intercession; a tenth chapel was erected in 1588 over the grave of the venerated local saint Vasily (Basil). In the 16th and 17th centuries, the church, perceived (as with all churches in Byzantine Christianity) as the earthly symbol of the Heavenly City, was popularly known as the "Jerusalem" and served as an allegory of the Jerusalem Temple in the annual Palm Sunday parade attended by the Patriarch of Moscow and the Tsar.
The cathedral has nine domes (each one corresponding to a different church) and is shaped like the flame of a bonfire rising into the sky, a design that has no parallel in Russian architecture. Dmitry Shvidkovsky, in his book Russian Architecture and the West, states that "it is like no other Russian building. Nothing similar can be found in the entire millennium of Byzantine tradition from the fifth to the fifteenth century ... a strangeness that astonishes by its unexpectedness, complexity and dazzling interleaving of the manifold details of its design." The cathedral foreshadowed the climax of Russian national architecture in the 17th century.
As part of the program of state atheism, the church was confiscated from the Russian Orthodox community as part of the Soviet Union's antireligious campaigns and has operated as a division of the State Historical Museum since 1928. It was completely secularized in 1929, and remains a federal property of the Russian Federation. The church has been part of the Moscow Kremlin and Red Square UNESCO World Heritage Site since 1990. With the dissolution of the Soviet Union in 1991, weekly Orthodox Christian services with prayer to St. Basil have been restored since 1997.
Seville is the city which story is closely connected with life and death of great discoverer of the New World. Inside Sevilla's Cathedral near southern door stands the Tomb of Christopher Columbus, an elaborate monument dating from 1902 with four sepulchre-bearers representing the four kingdoms of Spain at the time of Columbus' initial 1492 voyage: Castile, León, Aragón and Navarra.
Christopher Columbus (c. 1451 – 20 May 1506) was a great explorer whose voyages across the Atlantic Ocean led to general European awareness of the American continents in the Western Hemisphere. With his four voyages of exploration and several attempts at establishing a settlement on the island of Hispaniola, all funded by Isabella I of Castile, he initiated the process of Spanish colonization which foreshadowed general European colonization of the "New World" now known as America. I’m not going to tell here about all Columbus explorations. It’s even not about his last, forth voyage, just about his last return to Spain...
... On September 12, 1504., Christopher Columbus did many things for the last time. The ship he had come in from Jamaica had been refitted and placed under the command of his brother Bartholomew, and he had bought another small caravel in which he and his son were to sail. For the last time he superintended those details of fitting out and provisioning which were now so familiar to him; for the last time he walked in the streets of San Domingo and mingled with the direful activities of his colony; he looked last time at the place where the vital scenes of his life had been set, for the last time weighed anchor, and took his last farewell of the seas and islands of his discovery. It was his last return... Wind and sea rose up as though to make a last bitter attack upon the man who had disclosed their mysteries and betrayed their secrets. Horrible storm dismasted his ship, so that he was obliged to transfer himself and his son to Bartholomew's caravel and send the disabled vessel back to Espanola. The shouting sea, as though encouraged by this triumph, hurled tempest after tempest upon the one lonely small ship that was staggering on its way to Spain; and the duel between this great seaman and the vast elemental power that he had so often outwitted began in earnest. It was difficult time for the sailors but finally the sea falls back disappointed and finally conquered by Christopher Columbus, whose ship, battered, crippled, and strained, comes back out of the wilderness of waters and glides quietly into the smooth harbor of San Lucar, November 7, 1504. There were no guns or bells to greet the Admiral; his only salute was in the thunder of the conquered seas; and he was carried ashore to San Lucar, and thence to Seville, a sick and broken man...
Columbus remained in Seville from November 1504 to May 1505, when he joined the Court at Segovia and afterwards at Salamanca and Valladolid, where he remained till his death in May 1506. Columbus's remains were first interred at Valladolid, then at the monastery of La Cartuja in Seville by the will of his son Diego, who had been governor of Hispaniola. In 1542 the remains were transferred to Santo Domingo, in eastern Hispaniola. In 1795 the French took over Hispaniola, and the remains were moved to Havana, Cuba. After Cuba became independent following the Spanish-American War in 1898, the remains were moved back to Spain, to the Cathedral of Seville, where they were placed on an elaborate catafalque...
At his death, Columbus was still convinced that his journeys had been along the east coast of Asia. The New World he explored was called by the name of another traveler but Columbus’ heroic exploit will be never forgotten in Spain and all World...
Much better viewed large View On Black