View allAll Photos Tagged immolator
Sponsored:
Veil: mawt by cinphul, available at the cinphul mainstore for the duration of the SLS Anti-Valentines Hunt.
This is an event exclusive and will not be available for purchase afterwards, so grab one now!
Pose: Set 257 by SAPA Poses, available now at Anthem, afterwards at the SAPA Poses Mainstore.
Other deets:
Chest: Lightwood – Missing Heart
Additional hands: CerberusXing x Insomnia Angel - Deadly End Door (Disassembled and repurposed)
Chains: Static - Binding Chains
For an additional click to stisfy your curiosity, check out a raw gif of the flame in action blog!
the music which inspired this image .
www.youtube.com/watch?v=rIRHlvCZYAs
Nothing But Thieves // Broken Machine
the look:
RAMA.SALON - Melanie Hair
AZARAN - VIRTUAL HEADSET
[SOM] Daily Buckle Choker
9. [CX]&::SOLE:: - Pauldron (White) (L)
9. [CX]&::SOLE:: - Pauldron (White) (R)
B L A I S E . Star Threader Earrings
Vibing -- Leila Rings -- Onyx -- Legacy
TECHNOFOLK_Immolation Strap Panties_Leather.
TECHNOFOLK_AutoGenerated_Belt Arm_Legacy
TECHNOFOLK_Destruction Harness_
TECHNOFOLK_DESTROYER TOP_LEGACY.
TECHNOFOLK_DESTROYER KIT_PANTIES TAG
ROULY :: Rouly Tights - Mesh – Legacy
the scene:
.PALETO.Backdrop: Station B- 324
.PALETO.Backdrop:. kTX Studio
PIRAYA&TROPIX - Cyber City Gacha - neon sign keep out
PIRAYA&TROPIX - Cyber City Gacha - neon sign inspected
PIRAYA&TROPIX - Cyber City Gacha - Cyber Sign
PIRAYA&TROPIX - Cyber City Gacha - light pole
{anc} cracked glass (candy)
Nombre común: Gallo criollo, gallo común,
Nombre científico: Gallus gallus domesticus
Nombre en ingles: Chicken/ Red Jungle Fowl
Nombre en alemán: Haushahn
Nombre en francés: poule domestique
Lugar de la foto: 1046 msnm,Siboney, Santagueda, Palestina, Caldas, Colombia
Visualizar en pantalla completa
View in full screen
Im Vollbild anzeigen
Afficher en plein écran
On the peaceful Siboney estate, located in the beautiful area of Santagueda, in the municipality of Palestina, Colombia, the sun shines generously almost all year round, bathing the landscape in warm light and vitality. This sunny climate favors the abundance of birds that make this place a true natural sanctuary. The diversity of species that inhabit and visit Santagueda is impressive, and the local community has developed a deep awareness about the importance of preserving these precious creatures, recognizing them as messengers of prosperity and guardians of natural balance.
Since ancient times, birds have been symbols full of hope, transformation, and miracles for humanity. Their ability to fly between the sky and the earth makes them a living connection between our everyday world and the spiritual realm. In many indigenous cultures of Latin America, these birds hold a special meaning: they are heralds bringing messages of abundance and guides inspiring inner growth.
In Siboney, each day dawns with a natural concert, filled with angelic songs that soothe the soul and release everyday tensions. Listening to those fresh and varied trills is like opening a door directly to peace, freedom, and clarity. Observing the birds in their flight and their multicolored behavior is a constant reminder of the harmony that nature offers to those who know how to listen.
The rooster (Gallus gallus domesticus) of the Siboney estate is a vibrant and majestic bird, displaying exuberant and colorful plumage. The deep reds and intense oranges of the neck and comb stand out, contrasting with iridescent greens and shiny blacks in the tail and back feathers. Its bright red, wide, and upright comb stands proudly, as do the crimson wattles hanging beneath the beak. The expressive and alert eyes denote unwavering energy, while its proud posture conveys leadership and attentive reflexes. The silky texture of the feathers on the neck and tail, fluttering in the wind, adds a sense of movement and life to the rural landscape of Santagueda. This rooster is a visual emblem of renewal, prosperity, and bravery, serving as a colorful and sonorous reminder of the power of each dawn.
UN NUEVO PARADIGMA DE PROSPERIDAD Y SABIDURIA
En la apacible finca Siboney, situada en el hermoso paraje de Santagueda, en el municipio de Palestina, Colombia, el sol brilla con generosidad casi todo el año, bañando el paisaje en luz cálida y vitalidad. Este clima soleado favorece la abundancia de aves que hacen de este lugar un verdadero santuario natural. La diversidad de especies que habitan y visitan Santagueda es impresionante, y la comunidad local ha desarrollado una profunda conciencia acerca de la importancia de conservar estas preciosas criaturas, reconociendo en ellas mensajeras de prosperidad y guardianes del equilibrio natural.
Desde tiempos ancestrales, las aves han sido para la humanidad símbolos llenos de esperanza, transformación y milagros. Su habilidad para volar entre el cielo y la tierra las convierte en una conexión viva entre nuestro mundo cotidiano y el espiritual. En muchas culturas originarias de América Latina, estos pájaros poseen un significado especial: son heraldos que traen mensajes de abundancia y guías que inspiran el crecimiento interior.
En Siboney, cada día amanece con un concierto natural, lleno de cantos angelicales que calman el alma y liberan de las tensiones cotidianas. Escuchar esos trinos frescos y variados es abrir una puerta directa hacia la paz, la libertad y la claridad. Observar las aves en su vuelo y su comportamiento multicolor es un recordatorio constante de la armonía que la naturaleza ofrece para quienes saben escuchar.
El gallo (Gallus gallus domesticus) de la finca Siboney es un ave vibrante y majestuosa, que exhibe un plumaje exuberante y colorido. Destacan los profundos rojos y naranjas intensos del cuello y la cresta, contrastando con verdes iridiscentes y negros brillantes en las plumas de la cola y el lomo. Su cresta encarnada, amplia y erguida, resalta con orgullo, así como las barbas carmesí que cuelgan bajo el pico. Los ojos expresivos y alertas denotan una energía inquebrantable, mientras su postura altiva transmite liderazgo y atentos reflejos. La textura sedosa de las plumas del cuello y la cola, ondeando al viento, aporta una sensación de movimiento y vida al paisaje rural de Santágueda. Este gallo es un emblema visual de renovación, prosperidad y valentía, y sirve como un recordatorio sonoro y colorido del poder de cada amanecer.
"The rooster is a symbol of vigilance and activity. For this reason it is found in ancient monuments among the attributes of Minerva and Mercury. It also indicates combat and victory, because it prefers to die than give in. It immolated itself on the lares and on Priapus. It was also offered to Aesculapius for the healing of the sick. Mercurialis relates that, having addressed to this god a blind soldier named Valerius Aper to recover his sight, the god replied that it was necessary to take the blood of a white rooster, make eye drops with honey and rubbed his eyes with it three consecutive days. The soldier obeyed, healed and publicly thanked the god. Perhaps for this reason, says Mercurialis, the ancients have represented Aesculapius with a rooster on his fist. The statues of Bacchus They sometimes represent him with a rooster at his feet because he was sacrificed for the conservation of the vineyard.The Gauls had taken the rooster on their banners; it may be the cause of the Latin misunderstanding of his name and. The French have long held it as an emblem."(wikipedia)
"El gallo es símbolo de la vigilancia y de la actividad. Por esta razón se encuentra en los monumentos antiguos entre los atributos de Minerva y Mercurio. Indica también los combates y la victoria, porque prefiere morir que ceder. Se inmolaba a los lares y a Priapo. Se ofrecía también a Esculapio para la curación de los enfermos. Mercurialis refiere que, habiéndose dirigido a este dios un soldado ciego llamado Valerio Aper para recuperar la vista, el dios le respondió que era menester tomar la sangre de un gallo blanco, hacer un colirio con miel y frotarse con él los ojos tres días consecutivos. El soldado obedeció, sanó y dio gracias públicamente al dios. Quizás por esto, afirma Mercurialis, los antiguos han representado a Esculapio con un gallo sobre el puño. Las estatuas de Baco le representan alguna vez con un gallo a sus pies porque se le sacrificaba para la conservación de la viña. Los galos habían tomado el gallo en sus enseñas; puede ser la causa del equívoco latino de su nombre. Los franceses lo han tenido mucho tiempo por emblema." (wikipedia)
"Le coq est un symbole de vigilance et d'activité. C'est pourquoi on le retrouve dans les monuments antiques parmi les attributs de Minerve et de Mercure. Il indique aussi le combat et la victoire, car il préfère mourir que céder. Il s'est immolé sur les lares et sur Priape. On l'offrit aussi à Esculape pour la guérison des malades. Mercurialis raconte qu'ayant adressé à ce dieu un soldat aveugle nommé Valerius Aper pour recouvrer la vue, le dieu répondit qu'il fallait prendre le sang d'un coq blanc, faire des collyres avec du miel et s'en frotter les yeux trois jours consécutifs. Le soldat obéit, guérit et remercia publiquement le dieu. C'est peut-être pour cette raison, dit Mercurialis, que les anciens ont représenté Esculape avec un coq sur le poing. statues de Bacchus Elles le représentent parfois avec un coq à ses pieds car il a été sacrifié pour la conservation du vignoble.Les Gaulois avaient repris le coq sur leurs bannières;cela peut être la cause de l'incompréhension latine de son nom et. Les Français en ont longtemps fait leur emblème." (wikipedia)
The Monument to Confederate Women, called Angels of the Confederacy, was erected in 1912. The sculptor was Frederick W. Ruckstull. The inscription on the northwest side reads: “In this monument, generations unborn shall hear the voice of a grateful people testifying to the sublime devotion of the women of South Carolina in their country’s need. Their unconquerable spirit strengthened the thin lines of gray, their tender care was solace to the stricken. Reverence for God and unfaltering faith in a righteous cause inspired heroism that survived the immolation of sons, and courage that bore the agony of suspense and the shock of disaster. The tragedy of the Confederacy may be forgotten, but the fruits of the noble service of the daughters of the South are our perpetual heritage.
145
My life is like a taciturn lake.
If a distant cloud greets me,
if there is a bird that sings, if a soft one
and hidden breeze
immolate the discouragement of the roses,
if there is a blush of reds in the imprecise
at twilight hour,
I am glad and tend my smile.
My life is like a taciturn lake!
I have known how to form, drop by drop,
my blue background to see the universe.
Each new rumor gave me its note,
each diverse nuance, gave me its rhythm
and he taught me his verse.
My life is like a taciturn lake...
by Salvador Novo
North Pole - Fall is Here!, North Pole (120, 150, 23) - Moderado
A sculpture "Nightingale" meditating in the middle of a snowy day. This is a sculpture by Rimantas Daugintis. It depicts a boy in the tree, waiting for his mother to come back from the exile in Siberia. The sculptor himself made a sacrifice by self-immolation near the border of USSR-Hungary, as a protest against the totalitarian regime.
La Piramide, known as the Temple of Kukulcan, is a Mesoamerican step-pyramid that dominates the center of the Chichen Itza archaeological site in the Mexican state of Yucatan. Built by the pre-Columbian Maya civilization sometime between the 8th and 12th centuries AD, the pyramid served as a temple to the deity Kukulcan. The pyramid consists of a series of square terraces with stairways up each of the four sides to the temple on top. Sculptures of plumed serpents run down the sides of the northern balustrade.
Human sacrifice, a feature of all Meso-American and Andean religions, has often given rise to the portrayal of the American civilizations as particularly cruel and backward, and it has to be admitted that the practice is so alien to our way of thinking that an objective assessment is very difficult. Blood was viewed as a potent source of nourishment for the Maya deities, and the sacrifice of a living creature was a powerful blood offering. By extension, the sacrifice of human life was the ultimate offering of blood to the gods, and the most important Maya rituals culminated in human sacrifice. Heart extractions and sacrifice have been viewed as a supreme religious expression among the ancient Maya". The removal of the still-beating heart, or sometimes self-immolation was considered a great offering and meal for the gods.
Mexico, Chichen Itza
Please don't use my images without my permission. All images © Aivar Mikko.
Nombre común: Gallo
Nombre científico: Gallus gallus domesticus
Nombre en ingles: Chicken/ Red Jungle Fowl
Nombre en alemán: Haushahn
Nombre en francés: poule domestique
Lugar de la foto: Finca La Juana, Neira, Caldas, Colombia
"The rooster is a symbol of vigilance and activity. For this reason it is found in ancient monuments among the attributes of Minerva and Mercury. It also indicates combat and victory, because it prefers to die than give in. It immolated itself on the lares and on Priapus. It was also offered to Aesculapius for the healing of the sick. Mercurialis relates that, having addressed to this god a blind soldier named Valerius Aper to recover his sight, the god replied that it was necessary to take the blood of a white rooster, make eye drops with honey and rubbed his eyes with it three consecutive days. The soldier obeyed, healed and publicly thanked the god. Perhaps for this reason, says Mercurialis, the ancients have represented Aesculapius with a rooster on his fist. The statues of Bacchus They sometimes represent him with a rooster at his feet because he was sacrificed for the conservation of the vineyard.The Gauls had taken the rooster on their banners; it may be the cause of the Latin misunderstanding of his name and. The French have long held it as an emblem."(wikipedia)
"El gallo es símbolo de la vigilancia y de la actividad. Por esta razón se encuentra en los monumentos antiguos entre los atributos de Minerva y Mercurio. Indica también los combates y la victoria, porque prefiere morir que ceder. Se inmolaba a los lares y a Priapo. Se ofrecía también a Esculapio para la curación de los enfermos. Mercurialis refiere que, habiéndose dirigido a este dios un soldado ciego llamado Valerio Aper para recuperar la vista, el dios le respondió que era menester tomar la sangre de un gallo blanco, hacer un colirio con miel y frotarse con él los ojos tres días consecutivos. El soldado obedeció, sanó y dio gracias públicamente al dios. Quizás por esto, afirma Mercurialis, los antiguos han representado a Esculapio con un gallo sobre el puño. Las estatuas de Baco le representan alguna vez con un gallo a sus pies porque se le sacrificaba para la conservación de la viña. Los galos habían tomado el gallo en sus enseñas; puede ser la causa del equívoco latino de su nombre. Los franceses lo han tenido mucho tiempo por emblema." (wikipedia)
"Le coq est un symbole de vigilance et d'activité. C'est pourquoi on le retrouve dans les monuments antiques parmi les attributs de Minerve et de Mercure. Il indique aussi le combat et la victoire, car il préfère mourir que céder. Il s'est immolé sur les lares et sur Priape. On l'offrit aussi à Esculape pour la guérison des malades. Mercurialis raconte qu'ayant adressé à ce dieu un soldat aveugle nommé Valerius Aper pour recouvrer la vue, le dieu répondit qu'il fallait prendre le sang d'un coq blanc, faire des collyres avec du miel et s'en frotter les yeux trois jours consécutifs. Le soldat obéit, guérit et remercia publiquement le dieu. C'est peut-être pour cette raison, dit Mercurialis, que les anciens ont représenté Esculape avec un coq sur le poing. statues de Bacchus Elles le représentent parfois avec un coq à ses pieds car il a été sacrifié pour la conservation du vignoble.Les Gaulois avaient repris le coq sur leurs bannières;cela peut être la cause de l'incompréhension latine de son nom et. Les Français en ont longtemps fait leur emblème." (wikipedia)
As you emerge onto the hand-levelled platform atop the ridge, the sense of exposure after the climb is suddenly liberating. The High Place of Sacrifice (al-Madhbah in Arabic) is one of the highest easily accessible points in Petra, perched on cliffs that drop an almost sheer 170m to the Wadi Musa below. It’s just one of dozens of High Places perched on ridges and mountain-tops around Petra, all of which are of similar design and function. A platform about 15m long and 6m wide served as the venue for religious ceremonies, oriented towards an altar, set up on four steps, with a basin to one side and a socket into which may have slotted a stone representation of the god. Within the courtyard is a small dais, on which probably stood a table of (bloodless) offerings.
What exactly took place up here – probably in honour of Dushara – can only be guessed at, but there were almost certainly libations, smoking of frankincense and animal sacrifice. What is less sure is whether human sacrifice took place, although boys and girls were known to have been sacrificed to al-Uzza elsewhere: the second-century philosopher Porphyrius reports that a boy’s throat was cut annually at the Nabatean town of Dunat, 300km from Petra. At Hegra, a Nabatean city in the Arabian interior, an inscription states explicitly: “Abd-Wadd, priest of Wadd, and his son Salim… have consecrated the young man Salim to be immolated to Dhu Gabat. Their double happiness!” If such sacrifices took place in Petra, the High Place would surely have seen at least some of them.
It’s also been suggested that Nabatean religion incorporated ritual exposure of the dead, as practised among the Zoroastrians of Persia; if so, the High Place would also have been an obvious choice as an exposure platform. You can survey the vastness of Petra’s mountain terrain from here, and the tomb of Aaron atop Jabal Haroun is in clear sight in the distance.
The ridge extends a short distance north of the High Place, nosing out directly above the theatre, with the tombs of the Outer Siq minuscule below. From here, it’s easy to see that the city of Petra lay in a broad valley, about a kilometre wide and hemmed in to east and west by mountain barriers. North, the valley extends to Beidha, south to Sabra. It looks tempting to scramble down the front of the ridge, but there is no easily manageable path this way; it would be dangerous to try it.
Nombre común: Gallo criollo
Nombre científico: Gallus gallus domesticus
Nombre en ingles: Chicken/ Red Jungle Fowl
Nombre en alemán: Haushahn
Nombre en francés: poule domestique
Lugar de la foto: Corregimiento de Pueblo Nuevo, Pensilvania, Caldas, Colombia
"The rooster is a symbol of vigilance and activity. For this reason it is found in ancient monuments among the attributes of Minerva and Mercury. It also indicates combat and victory, because it prefers to die than give in. It immolated itself on the lares and on Priapus. It was also offered to Aesculapius for the healing of the sick. Mercurialis relates that, having addressed to this god a blind soldier named Valerius Aper to recover his sight, the god replied that it was necessary to take the blood of a white rooster, make eye drops with honey and rubbed his eyes with it three consecutive days. The soldier obeyed, healed and publicly thanked the god. Perhaps for this reason, says Mercurialis, the ancients have represented Aesculapius with a rooster on his fist. The statues of Bacchus They sometimes represent him with a rooster at his feet because he was sacrificed for the conservation of the vineyard.The Gauls had taken the rooster on their banners; it may be the cause of the Latin misunderstanding of his name and. The French have long held it as an emblem."(wikipedia)
"El gallo es símbolo de la vigilancia y de la actividad. Por esta razón se encuentra en los monumentos antiguos entre los atributos de Minerva y Mercurio. Indica también los combates y la victoria, porque prefiere morir que ceder. Se inmolaba a los lares y a Priapo. Se ofrecía también a Esculapio para la curación de los enfermos. Mercurialis refiere que, habiéndose dirigido a este dios un soldado ciego llamado Valerio Aper para recuperar la vista, el dios le respondió que era menester tomar la sangre de un gallo blanco, hacer un colirio con miel y frotarse con él los ojos tres días consecutivos. El soldado obedeció, sanó y dio gracias públicamente al dios. Quizás por esto, afirma Mercurialis, los antiguos han representado a Esculapio con un gallo sobre el puño. Las estatuas de Baco le representan alguna vez con un gallo a sus pies porque se le sacrificaba para la conservación de la viña. Los galos habían tomado el gallo en sus enseñas; puede ser la causa del equívoco latino de su nombre. Los franceses lo han tenido mucho tiempo por emblema." (wikipedia)
"Le coq est un symbole de vigilance et d'activité. C'est pourquoi on le retrouve dans les monuments antiques parmi les attributs de Minerve et de Mercure. Il indique aussi le combat et la victoire, car il préfère mourir que céder. Il s'est immolé sur les lares et sur Priape. On l'offrit aussi à Esculape pour la guérison des malades. Mercurialis raconte qu'ayant adressé à ce dieu un soldat aveugle nommé Valerius Aper pour recouvrer la vue, le dieu répondit qu'il fallait prendre le sang d'un coq blanc, faire des collyres avec du miel et s'en frotter les yeux trois jours consécutifs. Le soldat obéit, guérit et remercia publiquement le dieu. C'est peut-être pour cette raison, dit Mercurialis, que les anciens ont représenté Esculape avec un coq sur le poing. statues de Bacchus Elles le représentent parfois avec un coq à ses pieds car il a été sacrifié pour la conservation du vignoble.Les Gaulois avaient repris le coq sur leurs bannières;cela peut être la cause de l'incompréhension latine de son nom et. Les Français en ont longtemps fait leur emblème." (wikipedia)
Antonio Ricaurte (June 10, 1786 in Villa de Leyva, Colombia – March 25, 1814 in San Mateo, Venezuela) was a patriot of the Independence of Colombia and Venezuela and captain of Bolívar's army. He is remembered as the martyr of the Battle of San Mateo, where, in a heroic action, he blasted an enemy stronghold by immolating himself.
“What if one happens to be possessed of a heart that can’t be trusted? What if the heart, for its own unfathomable reasons, leads one willfully and in a cloud of unspeakable radiance away from all the blandly-held common virtues and instead straight towards a beautiful flare of ruin, self-immolation, disaster?” - Donna Tartt
Part of a memorial to Jan Palach, a 20 year old Czech student who self-immolated in January 1969 as a political protest against the Soviet Union's invasion and occupation of Czechoslovakia. The memorial, which consists of two sculptures, is called "The House of the Suicide and The House of the Mother of the Suicide." It is the work of an American sculptor and architect of Czech origin, John Hejduk (1929-2000).
This photograph captures the solemn presence of the Jan Palach Memorial, a modern sculptural tribute located in Prague. Shot in 2008, the image resonates with deep historical and emotional weight. The monument honors Jan Palach, a Czech student who self-immolated on January 16, 1969, in protest against the Soviet-led invasion of Czechoslovakia. His sacrifice became a spark of resistance and a symbol of moral courage throughout Europe.
The sculpture appears stark and minimal, yet powerful — an interplay of absence and presence. It stands not only as a commemorative form but as a visual echo of silence, protest, and unresolved memory. Captured through a contemplative lens, the framing emphasizes texture, shadow, and the geometry of the memorial in contrast with its urban surroundings. The tone of the image, whether color-muted or in black and white, reinforces the enduring solemnity of the act it commemorates.
en.m.wikipedia.org/wiki/Prague_Spring
Memorial to Jan Palach and Jan Zajíc
Located in front of the St. Wenceslas statue on the square of his name is a tiny memorial to two young men, Jan Palach and Jan Zajíc. In August 1968, Warsaw Pact soldiers invaded Czechoslovakia in response to the government’s reform movement known as the Prague Spring. In protest Jan Palach doused himself in petrol and set himself alight in this place on January 16, 1969. He survived for three days. A hunger strike followed Palach’s self-immolation, participated in by his friend and fellow student, Jan Zajíc. On the 21st anniversary of the Communist takeover (25 February 1969) Zajíc lit himself on fire in the passageway of a building on Wenceslas Square. Unable to get out of the building, he collapsed and died in the hallway. --- Memorial to Jan Palach and Jan Zajíc
GS3A8675.CR2
The apocalyptic end of civilization unfolds as the sun struggles through choking smoke above a dying chorus of scorched cottonwoods. Far above the smoldering ruins of what humanity has wrought, a skein of surviving cranes feels its way northward following the ingrained memory of generations, perhaps hoping that something, somewhere remains green and able to support life.
In reality, the previous sentence best describes how I feel about the future, at times, when I pause to think how little humanity is doing to address the climate crisis. Collective inaction prevails, even as the embers of scorched forests blown from hundreds of miles away have come wafting down over the plains for much of the past few weeks. Trees taken flight, immolated, the ashened spirit of their remains floating east to fertilize corn field, prairie and pothole. No, what we are really looking at is one of the few sunsets that may have left a permanent imprint in my neural circuitry. These are Lesser Sandhill Cranes (Grus canadensis) coming in to roost for the evening on a sandbar at the Rowe Sanctuary on the Platte River in Nebraska. This migration of cranes is the largest remaining animal migration in North America. Over 600,000 cranes pass through en route to breeding grounds further north, and this number is added to by numerous geese, ducks, and shorebirds. The Sanctuary has become a critical stop along the Central Flyway as the birds make their way north.
Think of the Central Flyway as a giant hourglass, oriented roughly north-south with the narrow waist occurring on the landscape as an approximately 80 mile stretch of land in Nebraska that corresponds more or less with the course of the Platte River. The Cranes have been making this journey for millennia, and making the journey successfully requires safety from predators when it is time to roost for the night. The Sandhills solved this problem by learning to roost while standing on one leg in shallow water, or by seeking sanctuary on a sandbar surrounded by water on all sides. Coyotes can swim, but they are not very stealthy or hidden while doing it compared to their stalking abilities while on land. Consequently, the Cranes lifestyle is dependent upon marshes with open, shallow, productive water, and multi-channeled, sandbar-rich river courses.
The name 'Platte' is derived from the French word 'plait,' which is 'braid' in English. French fur-trappers explored these reaches in the 18th century, and the name they bestowed is an accurate description of what happens when the snow in the Rockies melts in spring and a large pulse of water travels at once over the relatively flat surface of the Great Plains. Channels and furrows abound. The River uses each at its whimsy, and sometimes doesn't fancy any of the existing options and so charts a new path. The productive wetlands that surrounded the Platte absorbed flood water like a sponge, and fueled an incredible migration of millions of birds.
The Platte has been dammed at numerous points over the past century, and in most years, dams have a way of preventing the old spring floods from scouring the channels and spitting out sandbars as they once did. Without the floods, sandbars are eventually overcome by willows, and wetlands are easily converted into prime agricultural land. Rowe Sanctuary is a place where Audubon Society funds are used to bulldoze a 5-mile stretch of the River every year to keep the willows at bay and create a haven of sandbars for the Cranes. Farmers leave corn on the ground in the surrounding fields, and the Cranes gorge on dent corn kernels instead of the invertebrates their ancestors found in the mud of the Platte-borne marshes. The beauty and sound of them as they move through the air is completely dependent on us and our continued stewardship. With great power comes great responsibility, so they say. We have held our obligation to the Cranes in Nebraska so far. There is yet hope or them and us.
Koolina, Oahu, Hawaii
My day off from work spent with my family at the beach...oh yes!
Trying to immolate the film look... just because I really like it.
Sony A7R III | Sony 24mm GM
The Blood-Starved Beast Crucified and burning in the Old Yharnam Church.
If you know this game you will probably hate this boss. I struggled for ages until i found out one simple thing..
7 March 1909 – 12 September 1968 was a Polish accountant and former Home Army resistance member who was the first person to die by self-immolation in protest against the Warsaw Pact invasion of Czechoslovakia. Although his act was captured by a motion picture camera, Polish press omitted any mention of the incident, which was successfully suppressed by the authorities. Siwiec prepared his plan alone, and few people realized what he tried to achieve with his sacrifice. His story remained mostly forgotten until the fall of communism, when it was first recounted in a documentary film by Polish director Maciej Drygas. Since then, Siwiec has been posthumously awarded a number of Czech, Slovak, and Polish honours and decorations.
Chapter One
a pilgrimage
south on california one
leather & chrome, baby
a full tank
the shore pines
listen to the throaty pipes
of your lament
but they refuse
to take your confession,
leaving only salt air
to absolve your sins.
Chapter Two
down in LA
i find myself sitting
at the back of the church,
next to sam,
at the funeral
for our friend pat.
the last i knew of sam,
he was living out of his car,
not that those were bad years,
but it was awhile back
is what i am saying.
Chapter Three
i make it through
all the testimonials okay,
and suffer through the sermon
by the cheerful lady pastor
who assures us all
that god has called pat home
and he is in a better place,
although i don’t know how
that works for pat’s wife
or his son,
who’s kinda missing his dad and all.
towards the end,
they have a slide show of pat’s life,
and at that point i have to get up
and take a walk
for fear of completely
losing my composure.
i pretty much have a good view of pat’s life,
at least the parts that i enjoy remembering.
so i go outside
and start walking
on the sidewalk around the church.
the shadows are long
and the harsh midday sun is gone,
replaced by a reassuring golden light.
a light breeze comes up
to keep me company.
Chapter Four
soon the service is over
and people are coming
out of the church
and there’s sam
carrying a large flower arrangement
back to the car
to take to the reception at the house.
life is strange:
the last time i saw sam,
some 20 years ago,
he was carrying a large flower arrangement
out of the church after pat and kelly’s wedding.
i can’t cipher this out in my head,
so i back-burner it for later
.
anyway, let’s see, oh yeah,
well, we all go back to the house
and there are lots of people
who pat befriended
in one way or another over the years,
but i don't remember this part so good.
soon, it comes time for me to shove off.
i seek out sam and give him a hug.
“i live in up in malibu,” he says to me
“you ought to stop by the house
if you’re gonna be riding back up the coast.”
he gives me a card
with his number and i head out.
Chapter Five
so the next day, i call sam.
“things got interesting after you left,” he says to me.
“what do you mean?” i ask.
“i’ll explain when you get here,” he says.
later that afternoon,
i ride up to malibu
& up a side street into a canyon.
the last house at the end of the road
belongs to sam.
he answers the door
and i immediately notice
he’s got a big black eye.
“jesus! what happened to you?”
“as i said,
things got interesting after you left.”
“i thought us buddhists
were strictly non-violent.”
“well, there are certain exceptions,” says sam.
“i got into a fist fight
with a guy that had been staying
with pat and kelly for nearly a year.
i thought he was a mooch,
so i thought i’d ask him
when he was thinking about leaving.
apparently, he took offense.”
“boy,” i says, “i’m going to switch
to your Zen teacher. i’m liking this.
i always thought that,
except occasional self-immolation
during times of unjust wars,
we weren’t supposed to hurt other beings.”
“as i said,” says sam,
“there are certain exceptions.”
“i don’t have to lift a cauldron of boiling oil
with my bare arms
or nothing like that when i leave, do i?”
“no, i just have a regular door here.”
Chapter Six
and so,
sam and i spend the afternoon
drinking moosehead beer out on his deck.
zack the zen dog is running around the yard.
later we are joined by howie,
another old friend from the past,
and a chilean guy named aldo.
the sun drops down
behind the behind the canyon walls
and we look out towards a fiery sky
and share stories about pat,
some familiar, some not,
most of which cannot be repeated
in polite company.
anyways, later we get the drums out
and we get some pretty good riffs going.
and the sun is coming up
when sam walks me out to my bike.
“sam,” i says,
“i think this is the beginning
of a beautiful friendship.”
-> Like & follow me: Google+ | Facebook | Twitter | My Blog
Was having a crappy night tonight, indulging in my least-favourite but hardest-to-stop habit of comparing myself to other photographers :P
Everybody's got their own journey, their own story. And I don't know their full story, so it's not helpful to compare my story to theirs. As my friend Robin Spalding would say, I'm only seeing other people's "highlight reels", so I have no idea what struggles it took for them to get where they are. Everybody goes through self-doubt. The only thing that sets successful people apart is they never gave up; they weren't afraid to push through those moments of self-doubt and fear.
Anyway, I had the idea to set myself on fire as a weird sort of cleansing :P Pretty happy with how it came out. And look, here's a fancy gif showing how I made this image! :D i.imgur.com/Q1MH3me.gif
Sunrise light warms the underbellies of multi-layered clouds near my home on a December morning in Boulder, Colorado.
Looking back at the human experience of this past year, it has involved tragedy for far too many families around the world, and fear and loss for a good many more. Co-inhabiting the space of loss, sorrow, dreams postponed, and relationships stalled is also a collection of lessons. I think this year finally taught the majority of us that ignoring climate change is like ignoring part of your house being on fire. Because quite literally people lost their homes to fire all over the west this last year. I grew up in Western Oregon, and it is hard to imagine the forests that I remember from my youth now immolated over such a vast expanse. Of course, record-breaking wildfires afflicted California, Washington, and many other places, as well as my current home state of Colorado. For those not living in fire-prone ecosystems, this past year also delivered more hurricanes than have ever been recorded in an Atlantic hurricane season. We also know that these storms carried more water and energy than they have in the past, and they tended to stall out once they made landfall, delivering unprecedented deluges to the land below. This water that is driven inland by battering winds falls on a landscape with fewer wetlands than at any point in the holocene, thanks to our industrious activities. Without wetlands to absorb moisture over large scales, catastrophic flooding is the result, and frequently in communities built ill-advisedly on floodplains.
Not to ignore the elephant in the room, there are also the lessons that COVID teaches us, should we care to pause and listen. Why is it that COVID-19 was able to make the leap from bat populations into humans? Ultimately, I think the answer comes down to the simple count of how many of us human beings there are on planet Earth at this moment in time. Via our quest for dietary protein, we have come to dominate Earth, and in many places protein takes the form of wild animals, and specifically bats in the case of COVID-19. We ourselves are a monoculture, from a biological species point of view. When one looks at wild places, what is striking is the biodiversity and the interconnectedness of successful, persistent life. Sir David Attenborough does an exemplary job conveying this tapestry of richness in his most recent magnum opus, "A Life on Our Planet." How successfully, then, will a monoculture survive and persist? As Attenborough advocates, we need to invest ourselves in re-wilding the planet and becoming custodians of its biodiversity.
Along with the difficult lessons, I feel like there has also been hope and a re-discovery of the importance of the relationships in our lives. I found an opportunity to connect more with my wife, and we now go on long walks together with the dog on most mornings before I have to retreat upstairs to the home office. I also get to hear my boys playing their instruments throughout the day. At larger scales, and despite a pandemic, more people in the United States participated in a democratic election than ever before in the history of the country. On average, the people have stated that they want a leader who will attempt to aggressively address climate change, and to do so while creating jobs in the process. For all of our sakes, I hope he succeeds. Imagine what could be accomplished if we really tried, and if we all began to pull in a constructive direction? We got to the moon once, could we not also figure out how to live more sustainably on this planet, our only home? Do we really have a choice?
© Cynthia E. Wood
Instagram @cynthiaewood
www.cynthiawoodphoto.com | facebook | Blurb
My first night on the playa this year was a rather eventful one...first there was the full lunar eclipse (well, actually, first there was the donning of proper playa garb followed by some dancing on the Esplanade at Disorient), and then there was the five-days-early torching of the man...
My camp mates and I had been lying around our beautiful little fire pit, admiring the three dimensionality of the orange-y eclipsed moon (which was spectacular, but which did not lend itself to being photographed*), when we started hearing voices and shouts from across the playa. It wasn't long before the word on the street --literally-- was, "The man is burning! The man is burning!" It took us a while to get up and go see what all the hullabaloo was about, as we were sure it was just some pranksters playing a practical joke. But sure enough, the man was on fire. On the first official night of Burning Man week.
At one point it occurred to me that maybe I should take some pictures of this rather 'unexpected' event, so I grabbed my camera, hopped on my bike, and rode out to the playa in time to catch the firefighters putting out the blaze...with two illuminated arcs of water.
I thought the premature immolation was kind of exciting. And while I don't necessarily condone the act, it was definitely reflective of the spirit of anarchy that started this whole Burning Man thing in the first place. Food for thought for BMORG, perhaps...?
*at least not by me
RISE OF THE BLACK FLAME # 1 (OF 5)
The bizarre origin of the BPRD’s greatest foe.
Young girls are going missing from the cities of Siam, and the trail leads to the jungle hideout of a bloodthirsty cult wielding ancient evil power—the Cult of the Black Flame.
* Christopher Mitten joins the Mignolaverse!
ECLIPSE # 1
Imagine if sunlight burned you alive. In the near future, a mysterious solar event has transformed the sun’s light into deadly immolating rays. The world’s few survivors now live in nocturnal cities. But a killer emerges who uses sunlight to burn his victims, and when he targets the daughter of a solar power mogul, it falls to a disillusioned solar engineer to protect her.
GLITTERBOMB # 1
Farrah Durante is a middle-aged actress hunting for her next gig in an industry where youth trumps experience. Her frustrations become an emotional lure for something horrifying out beyond the water… something ready to exact revenge on the shallow celebrity-obsessed culture that's led her astray. Fan-favorite JIM ZUB (WAYWARD, Thunderbolts) and newcomer DJIBRIL MORISSETTE-PHAN tear into the heart of Hollywood in GLITTERBOMB, a dramatic horror story about fame and failure. “A gut-punch of glitz and blood and starf**ked culture. You want to read this.”—Chuck Wendig (Blackbirds)
MIGHTY MORPHIN POWER RANGERS 2016 ANNUAL # 1
Comics creators come together to celebrate their mutual love of the Mighty Morphin Power Rangers!
From short stories like "The Origin of Goldar" to "What Would Happen If Bulk and Skull Became Rangers?", this oversized, anthology collection features contributions from creators like Terry Moore (Strangers in Paradise), Rob Guillory (Chew), James Kochalka (Monkey vs Robot), and more!
Antara Gange hill situated in the Shathashrunga mountain range in the state of Karnataka.
The Antharagange hill is associated with Lord Parasurama and Jamadagni. According to Hindu mythology, the killing of Kartaviryaarjuna by Parasurama followed by Jamadagni’s murder by sons of Kartaviryaarjuna and the self-immolation of Renuka was on this hill.
Now available in-world and at market.
Short Story:
"The three demon lords promised the village three years of bountiful harvests, asking for nothing but simple offerings in return. Thrice the grain yields flowed seemingly evermore, the lords true to their word. Though time passed, it turned out the village fool's prophecy foretold was real all along, and in the end, the entire village was folly.
First, the Lord of the Sea surfaced wreathed with their horns that shone like seashells, yet its ember glow betrayed any illusion of innocence. Next, the Lord of Bones arose from the village graveyard, and with that foul creature was our most ancient of warriors. Lastly, the Lord of Ash erupted from the mountains alongside brimstone before their hooves immolated the village’s crops, striding adorned with onyx horns first mistaken for a crown.
And that my students are the lessons to be learned when asking demons for favors. We will learn more about the ruins tomorrow, do not forget to bring your banishment spells!"
Part of a memorial to Jan Palach, a 20 year old Czech student who self-immolated in January 1969 as a political protest against the Soviet Union's invasion and occupation of Czechoslovakia. The memorial, which consists of two sculptures, is called "The House of the Suicide and The House of the Mother of the Suicide." It is the work of an American sculptor and architect of Czech origin, John Hejduk (1929-2000).
"I am I
Apothosis crowned with a black sun nimbus
Of seven Immolating rays
Risen from a sea of cacophony and darkness
And invested within starless night
With the left hand stir the serpent
Who slumbers before the throne of Ariemanios
Awaken!
Seven storm clouds of Typhonian winds
Ten horns to rend!
Poison for poison
Confound hymn of praise
Omega, Upsilon, Omicron, Iota, Eta, Epsilon, Alpha
From this sphere shines black illumination!
From this sphere comes wrathful fire!
Ebon Izevaot
Rush towards the children of man with the hand of Gadriel
And with the stroke Kasyade, strike the womb
of the genetrix
I am I."
The Chattri Memorial on the South Downs above Patching commemorates the spot where fatally injured WWI Indian soldiers where immolated after death before their ashes were scattered at sea.
A mark of England's gratitude for the lives given by soldiers form The Empire.
The car in which Quảng Đức traveled to his self-immolation; Huế, Thiên Mụ Pagoda.
Thích Quảng Đức (1897—11 June 1963, born Lâm Văn Túc), was a Vietnamese Mahayana Buddhist monk who burned himself to death at a busy Saigon road intersection on 11 June 1963.
Quang Duc was protesting the persecution of Buddhists by the South Vietnamese government led by Ngô Đình Diệm. Photographs of his self-immolation were circulated widely across the world and brought attention to the policies of the Diệm government. John F. Kennedy said in reference to a photograph of Duc on fire, "No news picture in history has generated so much emotion around the world as that one." Malcolm Browne won a Pulitzer Prize for his photograph of the monk's death.
Quảng Đức's act increased international pressure on Diệm and led him to announce reforms with the intention of mollifying the Buddhists. However, the promised reforms were not implemented, leading to a deterioration in the dispute. With protests continuing, the ARVN Special Forces loyal to Diệm's brother, Ngô Đình Nhu, launched nationwide raids on Buddhist pagodas, seizing Quảng Đức's heart and causing deaths and widespread damage. Several Buddhist monks followed Quảng Đức's example, also immolating themselves. Eventually, an Army coup toppled Diệm, who was assassinated on 2 November 1963.
From "One day in Prague" series
Pictures of 3 years old visit is here flic.kr/s/aHskqi9nD7
Jan Palach Memorial as a contemporary sculpture is more an abstract formed of geometry shapes. But the idea of the monument is more than simple.
John Hejduk’s pair of architectural structures, The House of the Suicide (on the picture) and the House of the Mother of the Suicide, are once again on view in Prague as an ephemeral memorial in tribute to the 1969 self-immolation of the Czech dissident Jan Palach whose death was in protest against the end of the Prague Spring of 1968. Located on Alšovo nábřeží (waterfront) next to Mánesův bridge.
This unique sculpture sited near the Faculty of Arts is devoted to the faculty’s student Jan Palach, commemorated for his self-immolation of 16 January 1969 in protest against the Soviet occupation. The sculptural pair called in the original ‘The House of the Suicide and The House of the Mother of the Suicide’ is a work of art by the American sculptor and architect of Czech origin, John Hejduk. The Son’s House, in a paler hue, represents Jan Palach. The Mother’s House is darker, as if corroded, representing Palach’s desperate mother. The installation with its symbolic flames is augmented by a plaque with the poem ‘The Funeral of Jan Palach’ by American writer David Shapiro.
(source: wikipedia)
A young Tibetan monk from monastery Wutong Si in the province Qinghai blows into the glow in an insence bowl. Wutong Si is famous for its artists in painting Thankas - on fabric painted traditional pictures with motives of the Tibetan Buddhism. Wutong Si is also known of the tragical fact of some self-immolations with fire.
I made the picture with a Leica M6, Summicron f 2,0/50 mm, 1/500sec and f 2, Kodak E100S, scanned with Nikon Supercoolscan 8000 ED.
ALL RIGHT RESERVED
All material in my gallery MAY NOT be reproduced, copied, edited, published, transmitted or uploaded in any way without my permission.
Excerpt from the brochure:
The Sanctuary and Altarpiece: The central theme is the Eucharist as a sacrifice.
The Crucifixion is in the middle of the altarpiece, with Christ depicted as dead on the Cross, the Virgin Mary and Saint John standing on either side and Saint Mary Magdalene kneeling at his feet. Four scenes from the Old Testament foretelling the sacrifice of the Cross and the Mass are shown around the Crucifixion: Moses gives the laws about offering animal sacrifices on the altar; Melchizedek offers bread and wine; Aaron, the high priest immolates a lamb according to tradition; Abraham sacrifices his son, Isaac.
The altarpiece’s central axis presents the Calvary, above the high altar. Beneath this altar, a wood carving of the Last Supper according to Leonardo da Vinci shows the institution of the Eucharist on the eve of Christ’s death.
In the highest recess of the altarpiece is a depiction of the crowning of the Virgin Mary. In resurrection, the crowned Christ (Messiah) is the conqueror of death. He places a crown on his mother’s head.
The visual composition directed toward the vault shows angels and stars leading the way to heavenly bliss, against a deep blue background. This path, which is a symbol of life, is charted through the sacrifice of Christ and the Mass.