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“The successful adept must be endowed with a knowledge of the material of the Great Work; also with faith, silence, purity of heart, and prayerfulness. After passing through the gate surmounted with the hieroglyph of philosophic mercury he traverses the seven angles of the citadel, representing the chief operations of the Great Work - calcination, dissolution, purification, introduction into the sealed Vase of Hermes, transference of the Vase to the Athanor [furnace], coagulation, putrefaction, ceration, multiplication and projection. And even upon reaching the Petra Philosophalis, he finds it is held in custody by a formidable dragon.”
Amphitheatrum sapientiae aeternae, Heinrich Khunrath
Saturn is related to Mercury in alchemical text, and is given the same ambiguous sexuality, or androgyny, and named it ‘Mercurius senex’.In Tiphareth, the geometric symbol is the interlaced triangles of water and fire, or the Star of David. When expanded to connect the planetary sepheroth of the Tree (with Saturn being attributed to Daath), the Triangle of Water connects the spheres of Mars, Jupiter, and Luna. The Triangle of Fire connects Saturn, Venus, and Mercury.
Just as Ouroboros is cosmic energy (the serpent) limiting itself (Saturn), Venus is the creative cosmic force multiplying itself in life (its vegetative nature) as a prism splits the light of the sun. Mercury, like Saturn in many respects, is androgynous, and controls the fire of creation, directing it in the creation of the Philosopher’s Stone. Mercury holds the Caduceus, or winged staff with two serpents intertwined around it. The Wings represent sublimation, the serpents the basic forces of creation. There crossing over is the psychic centers, often given as seven in number, here representing the colors in the spectrum, plus white (Venus). Central to the diagram is Sol, which is the cosmic creative forces which unify, enliven, and harmonize creation, and which we can hope to contact. It is central, and directs and controls all of the other planets, psychic centers, or aspects of Cosmic energy.By contacting the fire of the Sun, we can open the fire of the other psychic centers (via Venus), and more easily direct the restrictive and enlightening energy of Saturn, through the powers of the Mind, or Mercury.To understand these multi-faceted aspects of the planets, particularly Venus and Mercury, it is important to have done the Pathworkings up to Tiphareth. While this is not required to perform the techniques later in this monograph, it is a help for an understanding of the theoretical part.However, we can begin to understand the relationship of the Spheres to each other by undertaking a series of meditations based on the following idea:Venus is the regenerating, sensual, active life force in its vegetative and unconscious manner. It responds to heat, light, and emotion. On the Path of the Decent, Venus splits the singular rays of the Sun into the many facets of the color spectrum, and as such, can lead us to a better understanding of the relationship between multiplicity and unity, the psychic centers and planets, and their unique natures. On the Path of Ascent, Venus re-unites the divergent energies, both planetary and personal (psychic centers) and harmonizes it into a singular force, although still multi-colored, until it returns to the Sun as pure light.
“This Stone rises in growing, greening things. Wherefore when the Green is reduced to its former nature, whereby things sprout and come forth in due time, it must be decocted and putrefied in the way of our secret art.” Splendor solis, Trismosin.The Stone is made through the greening of nature (Netzach) and it returning to its source (Tipahreth) by putrefaction (Death card of the path connecting them).Mercury gives form and meaning to the diverse energies made by the splitting actions of Venus, and re-unites them as fundamental forces, symbolized by the Caduceus. Mercury is Psychopomp, or Guide of the Soul, and directs the energies that Venus represents. Since both Venus and Mercury sit at the base of the Pillars of kabbalah, they access the material, astral, and mental realms, and can influence all three to some degree. On the Descent, Mercury creates form and structure, for the body, the mind, or the soul, and on the ascent, Mercury helps free us from the limitations of form, without forgetting its lessons.The serpent is primordial force or energy, fire and water being the principle two of creation, with air and earth following them. Because it shed it’s skin, it is seen as a symbol of regeneration and renewal. It is also dangerous, deadly, can be found often in ‘guardian’ roles near springs or water as well as deserts. When controlled or mastered, it is seen as mastering a powerful and deadly, yet regenerating force, basic to creation, or possibly from which creation came.
The Secret Fire is directly linked to the sexual, (i.e. principle and most basic creative forces) in humanity. Here, the relationship between ‘bliss’ ‘ecstasy’ and the erotic impulse can be clearly seen and experienced. The development of a host of ‘sexual yogas’ and ‘sex magic(k)’ practices bear this out to some degree. However, it is the sexual desire in humanity that acts as its basic drive and evolutionary force. It also suggests that the ability and need for mystical experience is biologically rooted. Only by ignoring the most basic of pleasures, sex, can we ignore the drive to ecstatic union on some level. The ‘little death’ or petite morte, is a forerunner of the ‘big death’ as we let go and experience divine oblivion.Sexual power, linked to our innate drive for mystical experiences, is also linked to human evolution, and some kind of predetermined point or state to which we are being directed.This is a significant point, in that almost all of modern Western societies psychological illnesses are focused around sexual repression and obsession.If the Secret Fire flows freely, or with greater strength than before, without the proper purification of the Vital Energy of the physical body, it is possible that it will result in what appears to be extreme physical, but more likely psychological, illness in the form of schizophrenia and psychosis, instead of psychic gifts, genius, and either transpersonal states, or simply altered states of consciousness.Wilhelm Reich, the father of Orgon Therapy states that the basis for all mental-emotional disturbances are anchored in the physical body, and that these anchors can be released through breathing techniques, somewhat similar to pranayamana. Since the body is the “Salt” of alchemy, and partially composed of accessible unconscious elements through its “Watery Element” all of our emotional and physical experiences become indelibly marked, associated, or stored in our physical body. If these blocks, or energy concentrations of emotional and physical trauma (composed of Vital Energy) are not removed before the Secret Fire begins to flow more intensely, the so-called negative side effects of ‘Kundalini phenomena’ will appear.
Abuse of drugs, alcohol, and sexual extremes only worsen the condition in that they inadvertently release the Secret Fire by weakening the physical body and its link to the astral, thereby damaging the etheric substructure, and create energy blocks in the end rather than diminish them, when the mind and body attempt to make repairs.A nervous system damaged by substance abuse makes a tricky vehicle for the clear, clean, and powerful expression of the Secret Fire. It is through our nervous system (under the domain of Yesod-Luna) that we engage both the physical world, as well as out interior world. It links the body (Malkooth) with the Mind-Intellect (Hod) as well as instinctual, creative, and sensual urges (Netzach). If it is damaged, our ability to relate fully, creatively, and productively to these psyhco-physical-spiritual parts of our self becomes endangered. If it is damaged, then our most direct and important link to our Holy Guardian Angel, and means of releasing the Secret Fire safely (via Tiphareth) is threatened in this incarnation.
“Listen, then while I make known the Grand Arcanum of this wonder-working Stone, which at the same time is not a stone, which exists in every man, and may be found in its own place at all times…. It is called a stone, not because it is like a stone, but only because by virtue of its fixed nature, it resists the action of fire as successfully as any stone….If we say that its nature is spiritual, it would be no more than the truth; if we describe it as corporeal, the expression would be equally correct; for it is subtle, penetrative, glorified, spiritual gold. It is the noblest of all created things…it is a spirit or quintessence.”
hermetic.com/stavish/essays/secret-fire.html
The American artist Mark Dion invests Fine Arts in Paris which he is invited in 2016. It offers a labyrinthine exhibition consisting of works from the heritage collection of fine arts, contemporary works and his own productions. The theme of the supernatural, they open to a reinterpretation of the collections and the historic site of Fine Arts.Extending the exhibition, two exceptional nocturnal journey in the Fine Arts in Paris will be offered during the night of the opening (Tuesday May 17) and as part of the Museum Night (Saturday 21 May).Since the 1990s, Mark Dion speaks regularly at the heart of cultural and scientific institutions such as museums and natural history museums which it involves typologies and scenic codes. In his speech to the Fine Arts, he will hold a series of works chosen for their report more or less allegorical in the supernatural.Extranatural, large immersive installation, will engage older pieces (drawings, prints, photographs, sculptures ...) and contemporary works, some produced by students and graduates of Fine Arts in Paris, which will result in an original narrative form close of the investigation.Chosen for their enigmatic power, and the power of suggestion, not reducible to a genus, the works assembled by Mark Dion is an opportunity to probe the report to the strange and the supernatural, which passes through art and creation: magic and alchemy, hybrid, and grotesque monsters, witches and sabbaths, unusual objects, morphological elements ...The issue of representation, that of anthropological works and their resonance, form the issues of the work of Mark Dion, whose scenography thwarts the traditional codes, sometimes diverting objects from their original meaning and function.The central device, the Palace of Fine Arts, each room corresponds to one of the four elements (earth, water, air, fire), will mingle including Dürer and Goya, and Kawanabe Goltzius and contemporary works by Jimmie Durham , Extra Lucid, Matt Mullican, morgane tschiember ...Both nocturnal journey to the heart of Beaux-Arts in Paris will allow visitors to discover surprising places, some of which opened for the first time to the public. From the room Melpomene, the course will provide access to lounges and hotel garden Chimay, library, collections, to the cellars of the Palace of studies.Extranatural result of a collaborative process of reflection and research, conducted in close collaboration with the curators of collections of Fine Arts. Particularly significant in the eyes of the artist, the historical continuity of the collection, closely linked to his vocation of transmitting artistic practices, echoes his visual approach and the fact archaeologist museum. The choice of institution and venues that will host this specific work, then makes sense.The works collected by Mark Dion invite the viewer to renew his experience of curiosity through 500 years of history.
This is an olive tree in the patio of the Church of Multiplication, in Tabgha, on the shore of Sea of Galilee, Israel. Probably, the olive tree is the most beautiful tree in the world.
Tabgha (Arabic: الطابغة, al-Tabigha; Hebrew: עין שבע, Ein Sheva which means "spring of seven") is an area situated on the north-western shore of the Sea of Galilee in Israel. It is traditionally accepted as the place of the miracle of the multiplication of the loaves and fishes (Mark 6:30–46) and the fourth resurrection appearance of Jesus (John 21:1–24) after his Crucifixion. Between the Late Muslim period and 1948, it was the site of a Palestinian Arab village. source: en.wikipedia.org/wiki/Tabgha
was going through some previous photos and guess what I found......
I used a van and drove it to light up the area and made her move to the two positions
Exposure Time 88 Sec
Aperture F/8
"This is truly the Prophet, the one who is to come into the world" (John 6:13).
Stained glass from Baltimore Cathedral.
Killing two birds with one stone.
She has to brush up on her 12 times tables, and lord knows I have to brush up on my lighting. What better way to "trap" my subject than by getting her to study in one place? Two lights here. One on the wall and one on the student :)
This image was part of my Prague Workshop, where we tried among other things, multiplication technique. Having more time, different fittings, props etc., more complex and interesting compositions can be made. Multiplicity is great fun, because it combines photo storyboard in a single frame. Kind of comics in a single photo.
Don't know how on earth I managed to do this but however I did it, it most certainly worked!
MSH March 2014 - Everything is Illuminated
Tabgha is the name of a site on the northwestern shore of the Sea of Galilee where Jesus appeared after his resurrection (John 21), and where he multiplied loaves and fishes to feed the crowds gathered to hear him teach.
The name, Tabgha, has its roots in the Greek term for “seven springs" (see it on a map here). The place used to be the site of a Palestinian village and was important from ancient times because of its fresh water; trees that grew near the springs gave shade. It is not hard to imagine why Jesus might have gathered followers here to teach them for a day.
The present church preserves within some of its walls remains of a church that stood here in the late 300s. When that earlier church was excavated in 1936, archeologists discovered a mosaic around a block of naked limestone. The mosaic depicted two fish and a basket of loaves. Ancient accounts identify the block of limestone as the place where Jesus broke and blessed the bread that was multiplied and shared with the crowds. The new, modern church preserves this rock below its altar (pictured above).
It is difficult to tell if this was actually the exact place where Jesus multiplied the loaves, but it is clear that at least since 425, Christians have thought so.
The modern church replicates the style of the Byzantine church that would have been built after St. Helen’s visit to the Holy Land, even using some of the same stones from the original church. The only imagery in the church is found in two icons stationed near the sanctuary—one of Mary and one of Jesus.
The story of the multiplication of the loaves is the only miracle (aside from Jesus’ resurrection) that is recorded in all four Gospels. The story has captured the imagination of the Christian community because it reveals a deep truth about our lives of faith: God feeds us abundantly
These trees are in the park near the Church of Multiplication, in Tabgha, on the shore of Sea of Galilee, Israel. In the forefront, a Poinciana tree.
Tabgha (Arabic: الطابغة, al-Tabigha; Hebrew: עין שבע, Ein Sheva which means "spring of seven") is an area situated on the north-western shore of the Sea of Galilee in Israel. It is traditionally accepted as the place of the miracle of the multiplication of the loaves and fishes (Mark 6:30–46) and the fourth resurrection appearance of Jesus (John 21:1–24) after his Crucifixion. Between the Late Muslim period and 1948, it was the site of a Palestinian Arab village. source: en.wikipedia.org/wiki/Tabgha
Originally posted on Ipernity: Multiplication Table of Simple Numbers from 1 to 12, 1891.
"Multiplication Table from 1 to 12 of Simple Numbers. H. C. Barnhart, bookseller & stationer, 27 West Market St., York, Pa. Multiplication Table from 1 to 12. Designed and copy-righted 1891 by Richard Raby."
Handwritten note on the back: "Got from teacher H. D. Rebert. Jennie May Case."
A Victorian-era vovelle or wheel chart that rotates to provide students and others with a line-by-line version of a multiplication table for numbers from 1 to 12 (with calculations from 1 x 1 = 1 up to 12 x 12 = 144).
Henry C. Barnhart advertised his bookstore in York, Pa., by stamping his name and address on this wheel chart.
This detail from a late fourth-century sarcophagus depicts the miracle of the multiplication of the loaves and fishes. The image appears on the side of the sarcophagus. Christ stands at the center with an apostle on each side. All three are dressed in the style of philosophers.
This sarcophagus was discovered in the ancient cemetery known as the Alyscamps in Arles, France, a Roman-era burial ground that remained in use through late antiquity. The sarcophagus is currently housed in the Musée départemental Arles antique.
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Complete Set of math gnomes. Helps teach the four basic processes. The story that we use really helps my daughters understand the difference between the different proceses (addition, subtraction, multiplication, and division).
See my Flickr profile for the link to my Etsy shop. This set has sold, but I do custom orders. Contact me through Flickr or Etsy if you'd like a set of these math gnomes.
Virus replication
Viruses replicate only in living cells. The use of the term 'replicate' infers that the process of virus multiplication is different from that of micro-organisms and tissue cells which divide by binary fission with or without mitotic division of their genetic components. Whilst the mode of entering the host cell varies from virus to virus the mode of replication is considered to be similar for all and has been most completely worked out for bacteriophage. The viral nucleic acid upon entering the cell takes over control of the cellular metabolic processes and codes for the separate synthesis of viral nucleic acid and protein which later combine to form the mature virus particle. The virus yield from a cell infected with a single virus particle varies widely but often ranges from 10 to 100 particles.
The host cell must be capable of supporting this sequence of steps in viral replication. Many viruses have a single or limited host cell requirement; others may replicate in a range of different host cells but the quantity of virus produced in each cell type may differ widely.
Viruses may be propagated in susceptible animals, plants or micro-organisms, or in tissue cultures made from animal or plant tissues.
When using animals it is necessary to consider:
(1) their natural susceptibility to infection or immune status to the virus;
(2) the possibility of latent infection with the same or other virus (often the challenge of another virus stimulates a latent virus to become active, as occurs with herpes simplex in man, the cause of the common cold sore on the lips which often erupts when the patient is challenged by a common cold virus);
(3) the most suitable route of inoculation which is usually related to the affinity of the virus for particular tissues. Infection is recognized by characteristic signs and symptoms of disease.
VIRUS DISEASES OF VERTEBRATE ANIMALS
General considerations of virus infection
Unlike the majority of plant virus diseases most animal virus diseases cannot be diagnosed solely on their signs and symptoms. Viruses do not produce exotoxins and the diseases they cause are the direct result of their primary and secondary replication cycles within the various tissue cells of the animal body. An understanding of how this replication occurs in tissue cells provides an understanding of the disease processes taking place in the animal body as a whole. Replication is studied in in vitro systems of animal tissue cultures.
The replication of viruses in tissue cells leads to the biological malfunctioning of those cells and if large numbers of cells are involved malfunctioning of the organ generally follows. This may result in the death of the animal.
Some animal viruses replicate in a limited range of tissue cells, e.g., influenza virus replicates only in cells of the respiratory tract, while others replicate in a wide variety of tissue cells, e.g., smallpox virus in cells of the skin, lungs, and other internal tissues. The latter category of viruses can therefore spread to other susceptible tissues by blood-borne dissemination from a primary site of infection. The presence of virus in the blood stream is not necessarily an indication of wide tissue susceptibility since viruses with a limited tissue range may 'spill-over' into the blood stream following replication in the susceptible tissues.
As with other microbial diseases the severity of a virus disease depends upon the size of the infecting dose, the state of health of the animal, its age, sex, and degree of immunity. The various aspects of the epidemiology of animal virus diseases are considered elsewhere.