The adult humpback whale is generally 14–15 m (46–49 ft) long, though individuals up to 16–17 m (52–56 ft) long have been recorded. Females are usually 1–1.5 m (3 ft 3 in – 4 ft 11 in) longer than males.

 

The species can reach body masses of 40 metric tons (44 short tons). Calves are born at around 4.3 m (14 ft) long with a mass of 680 kg (1,500 lb)] The species has a bulky body with a thin rostrum and proportionally long flippers, each around one-third of its body length. It has a short dorsal fin that varies from nearly nonexistent to somewhat long and curved.

 

Like other rorquals, the humpback has grooves between the tip of the lower jaw and the navel. The grooves are relatively few in number in this species, ranging from 14 to 35. The upper jaw is lined with baleen plates, which number 540–800 in total and are black in color.

 

The dorsal or upper side of the animal is generally black; the ventral or underside has various levels of black and white coloration. Whales in the southern hemisphere tend to have more white pigmentation. The flippers can vary from all-white to white only on the undersurface. Some individuals may be all white, notably Migaloo who is a true albino. The varying color patterns and scars on the tail flukes distinguish individual animals.[

 

The end of the genital slit of the female is marked by a round feature, known as the hemispherical lobe, which visually distinguishes males and females.

 

Unique among large whales, humpbacks have bumps or tubercles on the head and front edge of the flippers; the tail fluke has a jagged trailing edge. The tubercles on the head are 5–10 cm (2.0–3.9 in) thick at the base and protrude up to 6.5 cm (2.6 in).

 

They are mostly hollow in the center, often containing at least one fragile hair that erupts 1–3 cm (0.39–1.18 in) from the skin and is 0.1 mm (0.0039 in) thick. The tubercles develop early in gestation and may have a sensory function, as they are rich in nerves. Sensory nerve cells in the skin are adapted to withstand the high water pressure of diving.

 

In one study, a humpback whale brain measured 22.4 cm (8.8 in) long and 18 cm (7.1 in) wide at the tips of the temporal lobes, and weighed around 4.6 kg (10 lb). The humpback's brain has a complexity similar to that of the brains of smaller whales and dolphins.

 

The structure of the eye indicates that eyesight is relatively poor, being only able to see silhouettes over long distances and finer details relatively close. Computer models of the middle ear suggest that the humpback can hear at frequencies between 15 Hz and 3 kHz "when stimulated at the tympanic membrane", and between 200 Hz and 9 kHz "if stimulated at the thinner region of the tympanic bone adjacent to the tympanic membrane". These ranges are consistent with their vocalization ranges.

 

As in all cetaceans, the respiratory tract of the humpback whale is connected to the blowholes and not to the mouth, although the species appears to be able to unlock the epiglottis and larynx and move them towards the oral cavity, allowing humpbacks to blow bubbles from their mouths. The vocal folds of the humpback are more horizontally positioned than those of land mammals which allows them to produce underwater calls. These calls are amplified by a laryngeal sac.

 

This image was taken at Isafjordur, Iceland

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FOR IMMEDIATE RELEASE

MANIFESTO GLEITZEIT 2015

BY STELLY RIESLING

Featured below is another original art work of mine in homage to THE PIONEER OF INVISIBLE ART — PAUL JAISINI. Forget all the copycats that came after him — Master Paul Jaisini was the *FIRST* of a totally original concept and the *BEST*. My favorite thing about him is that he’s a voice, not an echo, which is quite rare.

DISCLAIMER: This is for anyone who is a hater OR wishes to better understand me, what I’m all about, so you can decide whether I’m weird or normal enough for you — a kind of very loose manifesto, rushed and unrevised, full of raw uncut emotion that I don’t like to be evident in my writing as lately I prefer a more professional, formal style, so we can consider this a rough draft of the more polished writing to come when I have extra time. I might return to this text later and clean it up or break it into separate parts. Right now it’s a long-winded hot mess, so if you manage to make any sense of it, BIG PROPS TO YOU. lol …and if you manage to read it ALL, you have my solemn respect!!! in a day when reading has been reduced to just catchy headliners and short captions of images once in a while. The consequence of this one-liner internet culture is non-linear, tunnel thinking, which is baaaaaad.

There lives among us a most enigmatic and charismatic creature named Paul Jaisini who led me into the wonderful world of art, not personally, but through descriptions of his artworks in essays written and published online by his friend, which painted the most fascinating images in my mind. Early on as a kiddo, I experimented with photography, simple point and shoot whatever looked attractive to me. Digital manipulation of my photographs with computer software followed… and somehow I learned useful drawing techniques along the way to combine existing elements with nonexistent ones, which allowed me to elevate the context for my ideas. Later, I started creating my own digital art from scratch for my friends and family as a favorite pastime. They would shower me with praise and repeatedly encouraged me to share my “different” vision with the rest of the world… it took a while and wasn’t easy to overcome the insecurity of not being good enough along with a gripping fear of being harshly criticized, but one day I woman-ed up and started publishing my work on the web, reminding myself that my livelihood didn’t depend on a positive reception.

Paul Jaisini’s role in all this has been to not disgrace myself, even if what I do is just a hobby. And I would never do him and other genius artists the disservice of calling myself a professional because I know I’ll never be as good as any of the GIANTS of pre-modern history. Be the best or be nothing, no middle ground.

People’s jealousy in the past, future and present over my obsessive love of Paul Jaisini, which they are well aware is purely plutonic, has caused them to despise the man and has made many relationships/friendships impossible for me. I refuse to have such people in my life because by harboring any negativity towards Paul, they unknowingly feel that way about me and express it to me. It’s their own problem for not realizing this. Paul’s new art movement, Gleitzeit, shaped me into the allegedly awesome girl I am today, giving my art more edge, more “sexy” because it refined my vision of the world and propelled me to attain the skills necessary to not dishonor my family name through tenacious pursuit of perfection. Since the beginning of my life, I attempted to depict what I saw in visual, musical and literal forms, but continuously failed without adequate training and determination. Paul Jaisini’s Gleitzeit was the answer to my prayers. Who I am today I owe mostly to him and his selfless ideals of the artverse that I’ve given unconditional loyalty to (he has this cool ability for hyper-vision to see whole universes, not itty bitty worlds, hence I call it an artverse instead of art world, with him in mind). So again, anyone who hates Paul Jaisini hates ME because, regardless of what he means to you, he is the most important person in my life for making me ME. The way a famous actor, dancer or singer inspires others to act, dance or sing, Paul inspired me to become a better artist, better writer, better everything. More people would understand if he was a household name because they’re wired to in society. But we’re inspiring each other all the time in our own little communities without being famous, so if someone has the ability to change even ONE person’s life immensely with creativity, it is a massive achievement. And passionate folks like myself are compelled to scream it from the cyber rooftops. So here I am. It’s whatever.

Furthermore, I’d like to address here a few pressing matters in light of some recent drama brought on by both strangers and former friends. To start, I never judge the passions, interests or likes of others, which are often in my face all over the place, so likewise they have no right to judge any of mine. It is quite unfortunate and frustrating how very little understanding and education the majority of people have or want to have. Their logic is as primitive as a chipmunk when it comes to promotion of fine art on the web: “spamming, advertising, report!” It’s their own problem that they fail to understand what it’s about due to the distorted lens through which they see the world or inability to think for themselves; an inherent lack of perception or inquisitiveness. Well, guess what? Every single image, every animation, every video, every post dedicated to Mr. Paul Jaisini and “Gleitziet” (to elaborate: a revolutionary new art movement Paul founded with his partner in crime and personal friend, EYKG, who discovered him and believed in him more than anyone) has an important purpose. Every one of those things you run across is a piece of a puzzle, a move in a game, an inch down a rabbit hole; the deeper you go, the more interesting it gets; the more levels you pass, the more clues unfold, the greater the suspense and nearer the conclusion (yet further). You earn awesome rewards like enlightenment, spiritual revelations, truths, knowledge, wisdom and the most profound reward of all: the drive to improve yourself to the absolute maximum, so an unending, unshakable drive. People often make a wrong turn in this cyber game and go back a few levels or get stuck. Those that keep on pushing, however, will come to find the effort has been worth it. And what awaits you in the end of it all? The greatest challenge to beating the game: YOUR OWN MIND. You will be forced to let go of every belief you held before you had reached the last level, to completely alter your mindset and perception of the world, of life, of yourself. But by the time you’ve gotten to that point, it will be as easy as falling off a cliff! (It is a kind of suicide after all — death and rebirth of spirit.)

Paul Jaisini does NOT, *I repeat* does NOT use mystery and obscurity to his advantage as a clever marketing ploy, no, he’s too next level for that with a consciousness so rich, he should wear a radioactive warning sign (he’ll melt your brain, best wear a tinfoil hat in his presence as I certainly would.) The statement he makes is loud and clear, hidden in plain site for those who take the time to connect the dots and have enough curiosity to fuel their journey into unknown territory (an open mind and flexible perception helps a lot). Actually, anyone with an IQ above 90 is sure to figure it out sooner or later. Hint: You don’t have to SEE an extraordinary thing with your eyes to know it exists, to understand it and realize its greatness — you can only feel it in your bone marrow, your spinal fluid, your heart and soul. The moment you do figure it out, as the skeleton key of the human soul, it will unlock the greatness and massive potential buried deep within, changing the doomed direction humanity is undoubtedly headed. I don’t speak in riddles, I speak in a clear direct way that intelligent humans will understand, so I’m counting on them.

GIG is an international group of artists and writers that support Paul Jaisini’s Gleitzeit. We started off as an unofficial fan club of Jaisini in 1996, comprised of only 6 individuals spanning 3 countries, and eventually escalated in status to an official fan group across the entire globe. A decade later it had grown to hundreds of fans. Nearly another decade later, there are thousands. Let’s not leave out another delightful group of vicious haters that have been around for nearly as long as us since the late 90s and have also grown in impressive numbers. Now, for the record (and please write this one down because I’m sick of repeating myself), Paul Jaisini himself is not part of our group and has nothing to do with us. He loves and hates us equally for butchering his name and making him appear as a narcissistic nut-job in his own words. He casts hexes on us for the blinding flash we layer over the art that members contribute to GIG — “disgusting-police-lights, seizure-inducing-laser-lightshow, bourgeois-myspace-effects retarded-raver shit” in Paul’s words. Ahh, how we love his sweet-talking us. In a desperate attempt to please him, those among us who make the art and animations have spent countless hours and sleepless nights trying to solve a crazy-complex quantum-physics type of equation = how to not create tacky or tasteless content. He does fancy some of it now, we got better, that’s something! In the reason stated below, our mission just got out of hand at some point.

What little is known about Paul Jaisini, even in all this time, is he’s a horrible perfectionist who slaughtered hundreds of innocent babies — I mean — artworks of remarkable beauty created by his own right hand (mostly paintings, some watercolors and drawings). He’s a fierce recluse who wants nothing to do with anyone or anything in life. But those few of us who know of an incredible talent he possesses (one could go as far as calling it a superpower), could not allow him to live his life without the recognition he FUCKING DESERVES more than any artist out there living today and, arguably, yesterday. We use whatever means necessary to reach more people, lots of flash and razzle-dazzle to lure them into our sinister trap of a higher awareness. Mwahaha! The visual boom you’ve witnessed in both cyber and real worlds, that is GIG’s doing — two damn decades of spreading an art virus — IVA. InVisibleArtitis… or a drug as in Intravenous Art. It’s whatever you want it to be, honey.

Our Gleitzeit International Group (GIG) started off innocently enough and gradually spiraled out of control to fight the haters, annoying the hell out of them as much as humanly possible. They don’t like what we do? WE DO MORE AND MORE OF IT. But never without purpose, without a carefully executed plan in mind collectively. If we have to tolerate an endless tidal wave of everyone’s vomit — e.g., idiotic memes and comics; dumbed-down one-liner quotes; selfies; so-called “art photography” passed through one-click app filters; mindless scribbles or random splatters by regular folks who have the nerve to call themselves serious/pro artists; primitive images of pets, babies, landscapes, random objects, etc… then people sure as shit are gonna tolerate what we put out, our animated and non-animated visual art designed for our beloved master, Paul Jaisini, who has shown us the light, the right path to follow, taught us great things and done so much for us — and so in our appreciation of him, we stamp his name on everything, for the sacrifices he has made in the name of art, to save our art verse, he’s a goddamn hero. There’s a book being written in his dedication where little will be left to the imagination about him.

If Paul Jaisini was as famous as Koons or Hirst, for example, people would know it’s not him posting stuff online with his name on it but fans creating fanart like myself among others. But noooooo, such a thing is unfathomable to most people - the promotion of another artist. Like, what’s in it for us? Uhh, nothing?? This is all NON-PROFIT bitches, the way art should be. It’s a passion FIRST, a commodity/commercial product/marketable item LAST and least. Its been that way for us since the early 90s to this day. Not a single member of GIG has sold an art work (neither has Paul Jaisini who’s a true professional) and we want to keep it that way. We do it for reasons far beyond ego. So advertising? Really? How the hell do you advertise or sell thin air, you know, invisible paintings, invisible anything? Ha ha, very funny indeed. The idea here is so simple, your neighbor’s dog can grasp it. Our motives: replace fast food for the mind with fine art, actual fine art. You know, creativity? Conscious thought? Talent? Skill? Knowledge? All that good stuff rolled into one to bring viewers more than a momentary ooohand aaahh reaction. Replace the recycled images ad nauseum; repetitious, worn-out ideas; disposable, gimmicky, money-driven fast art for simpletons. Stick with the highest of ideals and save the whole bloody planet.

Fine art is often confused with craft-making. This often creates bad blood between classically trained artists who put out paintings that leave a lasting impression, that make strong conversation pieces, that are thought-provoking and deep… and trained craftspeople whose skills are adequate to create decorative pieces for homely environments — landscapes, still lifes, animals, pretty fairies, common things of fantasy, and other simplicity. Skills alone are not enough for high art, you need a vision, a purpose, the ability to tell a story with every stroke of your brush that will both fascinate and terrify the viewers, arousing powerful emotions, illuminating. I have yet to see a visible painting in my generation that does anything at all for me, other than evoke sheer outrage and disgust. What a terrible waste of space and valuable resources it all is.

Paul Jaisini leads, we follow. He wishes to remain unknown - so do most of us. I’m next in line, slipping into recluse mode, no longer wanting to attach my face, my human image to my art stuff. I wish to be a nameless, faceless artist as well, invisible like P.J., and in his footsteps I too have destroyed thousands of my own artistic photography and digital art made with tedious, labor-intensive handwork. The whole point of this destruction is achieving the finest results possible by letting go of the imperfect, purging it on a regular basis, to make way for the perfect. I love what I do so it doesn’t matter, I know I’ll keep producing as much as I’m discarding, keeping the balance. Hoarding is an enemy of progress, especially the digital kind as there’s absolutely no limit to it. It’s like carrying a load of bricks on your back you’ll never use or need.

The watering down of creativity that digital pack ratting has caused as observed over the years is most tragic. For the creative individual, relying on terabytes of stock photos or OSFAP as I call them (Once Size Fits All Photos) instead of making your own as you used to when you had no choice, being 100% original, is a splinter in the conscience. It’s not evil to use stock of, say, things you don’t have access to (outer space, deep sea, Antarctica, etc.), but many digital artists I know today can’t take their own shot of a pencil ‘cause they “ain’t got no time for that!” How did they have time before? Did time get so compressed in only a decade?

Ohhhhh, and the edits, textures, filters, plug-ins and what-have-you available out there to everyone and their cats… are responsible for the tidal wave of rubbish that eclipses the magnificent light of the real talents.

I can tell you with utmost sincerity there is no better feeling on earth than knowing your creation is ALL yours, every pixel and dot, from the first to the last. It’s not always possible to make it so, but definitely the most rewarding endeavor. I’m most proud of myself when I can accomplish that.

Back to Paul Jaisini, from the start there have been a number of theories floating around on what his real story is. One of my own theories is that he stands for the unknowns of the world who can’t get representation, can’t get exhibited at a decent gallery because highly gifted/trained artists aren’t good enough - those kind of establishments prefer bananas, balloon dogs, feces, gigantic dicks/cunts, and all kinds of what-the-fucks…

So again, you don’t get the Paul Jaisini thing? That’s your problem. Don’t hate others for getting it. People are good, very good, at making baseless assumptions and impulsively spewing it as truth. They criticize and judge as if they’re high authorities on the subject yet they clearly lack education in fine art or art history and possess little to no talent or skill to back up their bullshit. My little “credibility radar” never fails. When they say I know this or I know that, I reply don’t say “I know” or state things as fact as a general rule of thumb - instead say “I assume/believe” and state the reasons you feel thus to appear less immature, especially about a controversial topic like invisible art. I have zero respect or tolerance for egomaniacs who think they know it all and act accordingly like arrogant pricks. Who can stand those, right? Once again, a good example would be: I, Stelly Riesling, believe everything I’ve written in this little manifesto to be correct based on personal experience and observation from multiple angles, thorough research and sufficient data collected from verifiable sources (and don’t go copying-pasting my own words back at me, be original). Just because you or I say so doesn’t make it so. Just because you or me think or believe so doesn’t make it true or right. I only ask that my opinions are regarded respectfully and whoever opposes them does so in a mature, civilized manner. We should only be entitled to opinions that don’t bring out the worst in us.

I don’t normally take such a position, but the time has come to stand up for what I believe in! It’s quite amusing and comical how haters think calling me names, attacking me or my interests or members of the project I’m part of for years is going to change something. It only makes more evident the importance of what I’m doing so I push on harder still.

Words of advise to those who can identify with me, with my frustrations over people’s reluctance to change their miserable ways, with our declining art world…

DON’T waste time on people who sweat the small stuff, whose actions are consistently inconsistent with their words. DO waste time on people who always keep their eye on the ball—the bigger picture of life.

Paul Jaisini’s invisible paintings are more than hype, more than your lame assumptions. Here’s one I got that’s pure gold: a cult! It started out as A JOKE OF MINE that was used against me. I told a then-good friend that he should come join our little “art cult” in a clearly lighthearted manner, and later he takes this idea I put in his head first and accuses me of being in an (imaginary) cult—the jokes on me eh?. But wait, aren’t cults religious? Our group consists of people around the world of different faiths (or none at all) so how could that ever work? If religion was about making fine (non-pop) art mainstream and bringing awesome, fresh, futuristic concepts to the collective consciousness, the world would not be so fucked up today because talent, creativity, originality and individuality would be the main focus, not superficial poppycock; those things would be praised and encouraged and supported in society by all institutions, not demonized and stigmatized.

Here is one thing I CAN state as solid fact: only one person close to Paul Jaisini knows the TRUE story, or at least some of it: EYKG. Everything else that has ever been said about him is myth, legend, gossip, speculation, the worst of which is said by jealous non-artists (wannabes, clones, posers, hang-ons, unoriginal ppl in general) and anti-artists (religious psychos, squares, losers and -duh- stupid ppl). Sadly, people are unable to see the bigger picture by letting their egos run their lives or repeating after others as parrots.

Commercial art, consumerism, and ignorance of the masses truly makes me want to curl up in a ball, not eat or drink or move until I die, just die in my sleep while dreaming of a better world, a world where real fine artists rule it with real fine art as they used to and life is beautiful once again….

Well I hope that settled THAT for now, or perhaps inadvertently made matters worse. I hope I didn’t sound too pissed from all these issues that keep popping up like penises on ChatRoulette… just got to me already! Can you tell? I had to put my foot down, stomp ‘em all!

To be continued, still lots more ignorance and pettiness to battle… Till then peace out my bambini. MWAH!

  

FOR IMMEDIATE RELEASE

MANIFESTO GLEITZEIT 2015

PROLOGUE

Paul Jaisini was like a messiah, as you wish, who saw/understood the impending end and complete degeneration of Fine art or Art become and investment nothing more than that. He predicted the bubble pops art when everybody would eventually become an artist, including dogs cats and horses, because they as kids followed the main rule: express yourself without skills or knowledge or any aesthetic concerns. J. Pollack started pouring paints onto canvases; Julian Schnabel, former cab driver from NY, suddenly decided he could do better than what he saw displayed in galleries, so he started gluing dishes on canvases; A.Warhol, an industrial artist who made commercial silk-screen for the factories he worked in, started to exhibit "Campbell's soup" used for commercial adds... and later the thing that made him an "American Idol": by copying and pasting Hollywood celebrities (same type of posters he made before for movie theaters).

When Paul Jaisini stood out against the Me culture in the US by burning all of his own 120 brilliant paintings (according to the then-new director of Fort Worth MoMa Museum, who offered hin an exhibition of his art in 1992, and later the Metropolitan Museum curator, Phillippe de Montebello, in 1994).Paul probably assumed all fellow true fine artists would join him or stand by him against corruption of the art world.

And after 20 years of his stand-off...the time has finally come today. Many artists and humanitarians around the world took a place beside him. His invisible Paintings became a synonym for the future reincarnation of fine art and long lost harmony. The establishment is in panic! The "moneybags" (as Paul Jaisini named them) are in panic, because they invested BILLIONS of dollars in real crap made by

craftsmen. Now they realize that the reputation of American legends of expressionism was nothing but a copy of Russian avant-garde" Kazimir Malevich, Vasiliy Kandinsky and tens of others from France and Germany.. US tycoon investors were spending billions on "Me more original, than you". "Artist Shit" is a 1061 artwork by the Italian artist Piero Manzoni. The work consists of 90 tin cans, filled with feces. A tin can was sold for £124,000, 180,000 at Sothebys, 2007.

EPILOGUE

Before I resume promoting and admiring a very important art persona on today's international art arena, I'd like to clear up some BIG questions; people ask continuously and subconsciously, directly & indirectly: "Why does the name Paul Jaisini, flood the Internet in such "obnoxious" quantities that it's started suppressing some other activities that my friends might share with the rest of the Internet's Ego Me only Me www society? I can't just answer this... so I'll try to explain why I'm writing this: Jaisini's followers keep posting art and info about,

He IMHO the only hope in quickly decomposing visual fine art. "Paul Jaisini realized many years ago, in 1994, when he declared (at that time to himself only) the start of a New era, a New vision, that he is trying to redirect from the rat race, started by an establishment in post-war New York, long before the Internet culture.

Sub related information: Adolf Gottlieb, Mart Rothko, etc (after visiting Paris France in 1933):

"We must forget analytical art, we must express ourselves, as a 5 year old child would, without a developed consciousness. Forget about results - do what you feel, EXPRESS yourself with your own unique style"

With this statement Mark Rothko starts to teach his students, degeneration of fine art begins, and the generation of war of styles took a start signal of the material race, greatly rewarded by establishment "individual" - eccentric craftsmen - show business clowns.

Sub related Information: In the summer of 1936, Adolf Gottlieb painted more than 800 paintings, which was 20X more than he created in his whole art career as a painter, starting from the time of Gottlieb becomes a founding member of "The Ten" group in NYC "Group of Ten" was a very peculiar, enigmatic group... Based on a religious point of view;(where a human figure was prohibited from being created)

GLOSSARY

IN 1997, Paul Jaisini's best friend Ellen Y.K.Gottlieb started a cyber campaign by promoting on a very young Internet, back then, Paul Jaisini's burned paintings as Invisible Paintings, visible only through poetic essays. She and a handful of people saw his originals and were devastated that nobody could ever see them again. "We, his fans, believe that someday Paul will recreate his 120 burned paintings if he has any decency and moral obligation to his fans, who have dedicated decades to make it happen, for their Phoenix to rise from the ashes and the whole world will witness that all these years we spent to get him back to re-paint the Visuals again were not in vain," - said E.Y.K.Gottlieb in 2014 during the 20th anniversary celebration of Invisible Paintings to GIGroup in NYCity. So now, hopefully, this clears up why I and others do what we do - our "cyber terrorism" of good art, dedicated to Paul Jaisini's return, which is & and was our mission & our goal. We post good art to fight "troll art" which is worthless pics, after being passed through 1-click filters of free web apps. We are, in fact, against this www pops pollution, done with "bubble art" by the out of control masses with 5 billon pics a day: Pics of cats, memes, quotes,national geographic sunsets and waterfalls, not counting their own daily "selfies: and whatever self-indulging Me-ego-Me affairs, sponsored happily by photo gadget companies like Canon, Nikon, Sony...who churn out higher quality madness tools at lower cost.

This way Government taking away attention from the real world crisis of lowest morality & economical devastation. The masses are too easily re-engineered/manipulated by the Establishment PopsStyle delivered to them by pop music and Hollywood "super" stars. In 1992 Paul Jaisini's Gleitzeit theory predict such a massive, pops self-entertain madness, following technologicalexplosion, but not in illusive scales.

Uber Aless @2015 NYC USA

NOTE Date's numbers and events can be slightly inaccurate.

#gleitzeit #paul-jaisini #invisible #painting #art #futurism #art-news,

 

John Powell photo.

 

An interesting scene here. I did buy a handful of BMW photos, but it was the general mix of cars that I liked here. However, it does seem like the BMW is a real oddity that Mr Powell was lucky to capture on film.

 

As I understand it, this model started life as a Glas 1700. When BMW took Glas over in 1966 they inherited this saloon which competed with their own 1800, so they stopped production in 1967 and shipped the tooling off to South Africa. They continued to make it there until the late 1970s, and it apparently sold well in Zimbabwe (then Rhodesia) where it was called Cheetah. In the mid '70s it was restyled with a more typical BMW front grille and double headlights arrangement. Good info here bimmerin.net/articles/bmw_2000SA_in_Rhodesia.php and here hooniverse.com/2010/08/24/rare-bmw-glas-so-rare-its-pract...

 

But how/why did one end up in the UK? Perhaps bought here by an ex-pat returning home? Thinking about, the M-reg on it probably just relates to when it was first registered here. Back then they didn't bother with issuing age-related plates, so it could be a bit older.

 

What I then realised in looking at the photo is that it appears to be taken outside a taxi office (in Cheltenham). Of course it could just so happen to be stopped there, but there's a sign or sticker in the window which matches that in the Volvo next to it, making me wonder if it was actually a taxi itself?

 

Sadly no trace of it on DVLA.

 

The Volvo registered KCJ656P to the right was a 1975 244DL Automatic. DVLA says it lasted only until 1982, backing up the thought that it was also a taxi? I suspect fuel economy on an automatic version must have been pretty dire.

 

A bit of a mixture parked-up in the background, and I think some of these were taxis too. Certainly the Marina and Datsun 200L appear to have signs on their roof (it was the latter car that got me particularly interested in this photo). Maybe the Vauxhall Victor FE was as well?

 

On the right there's a Volvo 144 or 145, something a bit lower and sportier behind that, an Austun FX4 taxi then in the background what appears to be a Bedford HA van with windows (Beagle?).

 

So much to ponder in just one photo!

 

Taken in Cheltenham on 25/11/79.

“Aerial view of Orbiter "Columbia" as you look into the Sun, taken by Erik Simonsen, Rockwell International, 11/16/1982.

1. STS-5 - LANDING (INTO THE SUN) EAFB, CA”

 

Unexpectedly, the above is at the online “NASA Image and Video Library”, being the caption for a photo probably taken just before this one. Even with that, it’s a rank amateur's description, more like what someone scribbles on the back of a personal photograph stored in a shoebox. However, it’s better than the usual paltry, irrelevant or nonexistent results. And, for the individual that may have been wondering, possibly since 1983, the identity of the photographer is revealed. 👍

 

This & too many other gross errors, omissions, deficiencies, ...for whatever reason(s), although a reality, are unsatisfactory.

Not a responsible, competent or conscientious way to record and preserve some visually spectacular & technically impressive accomplishments.

 

At:

 

images.nasa.gov/details-S83-27456

 

So, why does a photograph taken November 16, 1982, have an official NASA photo ID of “S83-27456”?

Although I don’t recommend it, read on:

 

So, it’s also at the defunct “KSC Science, Technology and Engineering” website, possibly where the identification (online at least) originated?

Based on its number, it certainly fits within the STS-6 photo index numbering ‘sequence’. Probably safe to surmise that this is yet another careless and/or clueless blunder:

 

science.ksc.nasa.gov/mirrors/images/html/STS6.htm

 

specifically:

 

science.ksc.nasa.gov/mirrors/images/images/pao/STS6/10061...

 

science.ksc.nasa.gov/mirrors/images/images/pao/STS6/10061...

 

However, it does have a much better caption, other than the ‘glaring’ goof of it being sunrise, NOT sunset. Good enough for government/contractor work I guess. And…it is indeed the sun. Good job there. 👍

 

“View of the Space Shuttle Columbia making its approach for landing at sunset at the end of the STS-5 mission. In front of the orbiter is a T-38 chase plane.”

 

They’re really nice photographs by Mr. Simonsen though.

 

Speaking of...wow:

 

fineartamerica.com/profiles/erik-simonsen/art/photographs

Credit: FINE ART AMERICA website

 

To sort of come full circle: STS-5 was prematurely, recklessly, irresponsibly and…arrogantly? touted by NASA as the first operational mission of the Shuttle Program.

FL63DXB is seen on the 724 in Hertford with the now nonexistent Greenline route branding.

 

Vehicle Details

 

Operator: Arriva Herts and Essex

 

Fleet Number: 3771

 

Registration: FL63DXB

 

Vehicle: VDL SB200 Wright Eclipse 2

Took a day trip by train to Strasbourg, France (versus Straßburg, Austria). We almost didn't make it back because of a railway strike. Strasbourg is a delightful university town encircled by a river and very pedestrian friendly (but watch out for the bikes!).

 

The old city is well maintained, very walkable (there's also a modern tram system), and most of the bridges are adorned with lots of beautiful flowers. The cathedral is very impressive, especially the exterior and contains an interesting astronomical clock with a number of moving figures that come to life on the hour.

 

There are even free, very clean public toilets on the cathedral square - a rarity in France (although we have seen an improvement this year) and nonexistent in Italy. Strasbourg also has an abundance of upscale shops, so they must be doing well economically, perhaps because the city is the official seat of the European Parliament.

Managed to put these side-by-side. There is a difference (honest!) and it's not to do with color/tint/exposure.

 

I want to wish all my amazing friends on Flickr the best for a peaceful, safe and restorative summer! It's a time to cherish family, relax, and let the warm weather work its recuperative magic!

 

With all that said, I've been buried in an avalanche of work, so the opportunity to get out as Leanna has been nonexistent.

This photo was taken a couple of months ago, and represents - for me, at least - a point in time where everything seemed to fall into place, as well as portend a future filled with promise.

 

While I continue to enjoy all your beautiful photos, I can't wait to once again share my own in the spirit of our unique and precious sisterhood.

 

May your days be bright, your evenings balmy, and your hearts filled with love!

  

FOR IMMEDIATE RELEASE

MANIFESTO GLEITZEIT 2015

BY STELLY RIESLING

Featured below is another original art work of mine in homage to THE PIONEER OF INVISIBLE ART — PAUL JAISINI. Forget all the copycats that came after him — Master Paul Jaisini was the *FIRST* of a totally original concept and the *BEST*. My favorite thing about him is that he’s a voice, not an echo, which is quite rare.

DISCLAIMER: This is for anyone who is a hater OR wishes to better understand me, what I’m all about, so you can decide whether I’m weird or normal enough for you — a kind of very loose manifesto, rushed and unrevised, full of raw uncut emotion that I don’t like to be evident in my writing as lately I prefer a more professional, formal style, so we can consider this a rough draft of the more polished writing to come when I have extra time. I might return to this text later and clean it up or break it into separate parts. Right now it’s a long-winded hot mess, so if you manage to make any sense of it, BIG PROPS TO YOU. lol …and if you manage to read it ALL, you have my solemn respect!!! in a day when reading has been reduced to just catchy headliners and short captions of images once in a while. The consequence of this one-liner internet culture is non-linear, tunnel thinking, which is baaaaaad.

There lives among us a most enigmatic and charismatic creature named Paul Jaisini who led me into the wonderful world of art, not personally, but through descriptions of his artworks in essays written and published online by his friend, which painted the most fascinating images in my mind. Early on as a kiddo, I experimented with photography, simple point and shoot whatever looked attractive to me. Digital manipulation of my photographs with computer software followed… and somehow I learned useful drawing techniques along the way to combine existing elements with nonexistent ones, which allowed me to elevate the context for my ideas. Later, I started creating my own digital art from scratch for my friends and family as a favorite pastime. They would shower me with praise and repeatedly encouraged me to share my “different” vision with the rest of the world… it took a while and wasn’t easy to overcome the insecurity of not being good enough along with a gripping fear of being harshly criticized, but one day I woman-ed up and started publishing my work on the web, reminding myself that my livelihood didn’t depend on a positive reception.

Paul Jaisini’s role in all this has been to not disgrace myself, even if what I do is just a hobby. And I would never do him and other genius artists the disservice of calling myself a professional because I know I’ll never be as good as any of the GIANTS of pre-modern history. Be the best or be nothing, no middle ground.

People’s jealousy in the past, future and present over my obsessive love of Paul Jaisini, which they are well aware is purely plutonic, has caused them to despise the man and has made many relationships/friendships impossible for me. I refuse to have such people in my life because by harboring any negativity towards Paul, they unknowingly feel that way about me and express it to me. It’s their own problem for not realizing this. Paul’s new art movement, Gleitzeit, shaped me into the allegedly awesome girl I am today, giving my art more edge, more “sexy” because it refined my vision of the world and propelled me to attain the skills necessary to not dishonor my family name through tenacious pursuit of perfection. Since the beginning of my life, I attempted to depict what I saw in visual, musical and literal forms, but continuously failed without adequate training and determination. Paul Jaisini’s Gleitzeit was the answer to my prayers. Who I am today I owe mostly to him and his selfless ideals of the artverse that I’ve given unconditional loyalty to (he has this cool ability for hyper-vision to see whole universes, not itty bitty worlds, hence I call it an artverse instead of art world, with him in mind). So again, anyone who hates Paul Jaisini hates ME because, regardless of what he means to you, he is the most important person in my life for making me ME. The way a famous actor, dancer or singer inspires others to act, dance or sing, Paul inspired me to become a better artist, better writer, better everything. More people would understand if he was a household name because they’re wired to in society. But we’re inspiring each other all the time in our own little communities without being famous, so if someone has the ability to change even ONE person’s life immensely with creativity, it is a massive achievement. And passionate folks like myself are compelled to scream it from the cyber rooftops. So here I am. It’s whatever.

Furthermore, I’d like to address here a few pressing matters in light of some recent drama brought on by both strangers and former friends. To start, I never judge the passions, interests or likes of others, which are often in my face all over the place, so likewise they have no right to judge any of mine. It is quite unfortunate and frustrating how very little understanding and education the majority of people have or want to have. Their logic is as primitive as a chipmunk when it comes to promotion of fine art on the web: “spamming, advertising, report!” It’s their own problem that they fail to understand what it’s about due to the distorted lens through which they see the world or inability to think for themselves; an inherent lack of perception or inquisitiveness. Well, guess what? Every single image, every animation, every video, every post dedicated to Mr. Paul Jaisini and “Gleitziet” (to elaborate: a revolutionary new art movement Paul founded with his partner in crime and personal friend, EYKG, who discovered him and believed in him more than anyone) has an important purpose. Every one of those things you run across is a piece of a puzzle, a move in a game, an inch down a rabbit hole; the deeper you go, the more interesting it gets; the more levels you pass, the more clues unfold, the greater the suspense and nearer the conclusion (yet further). You earn awesome rewards like enlightenment, spiritual revelations, truths, knowledge, wisdom and the most profound reward of all: the drive to improve yourself to the absolute maximum, so an unending, unshakable drive. People often make a wrong turn in this cyber game and go back a few levels or get stuck. Those that keep on pushing, however, will come to find the effort has been worth it. And what awaits you in the end of it all? The greatest challenge to beating the game: YOUR OWN MIND. You will be forced to let go of every belief you held before you had reached the last level, to completely alter your mindset and perception of the world, of life, of yourself. But by the time you’ve gotten to that point, it will be as easy as falling off a cliff! (It is a kind of suicide after all — death and rebirth of spirit.)

Paul Jaisini does NOT, *I repeat* does NOT use mystery and obscurity to his advantage as a clever marketing ploy, no, he’s too next level for that with a consciousness so rich, he should wear a radioactive warning sign (he’ll melt your brain, best wear a tinfoil hat in his presence as I certainly would.) The statement he makes is loud and clear, hidden in plain site for those who take the time to connect the dots and have enough curiosity to fuel their journey into unknown territory (an open mind and flexible perception helps a lot). Actually, anyone with an IQ above 90 is sure to figure it out sooner or later. Hint: You don’t have to SEE an extraordinary thing with your eyes to know it exists, to understand it and realize its greatness — you can only feel it in your bone marrow, your spinal fluid, your heart and soul. The moment you do figure it out, as the skeleton key of the human soul, it will unlock the greatness and massive potential buried deep within, changing the doomed direction humanity is undoubtedly headed. I don’t speak in riddles, I speak in a clear direct way that intelligent humans will understand, so I’m counting on them.

GIG is an international group of artists and writers that support Paul Jaisini’s Gleitzeit. We started off as an unofficial fan club of Jaisini in 1996, comprised of only 6 individuals spanning 3 countries, and eventually escalated in status to an official fan group across the entire globe. A decade later it had grown to hundreds of fans. Nearly another decade later, there are thousands. Let’s not leave out another delightful group of vicious haters that have been around for nearly as long as us since the late 90s and have also grown in impressive numbers. Now, for the record (and please write this one down because I’m sick of repeating myself), Paul Jaisini himself is not part of our group and has nothing to do with us. He loves and hates us equally for butchering his name and making him appear as a narcissistic nut-job in his own words. He casts hexes on us for the blinding flash we layer over the art that members contribute to GIG — “disgusting-police-lights, seizure-inducing-laser-lightshow, bourgeois-myspace-effects retarded-raver shit” in Paul’s words. Ahh, how we love his sweet-talking us. In a desperate attempt to please him, those among us who make the art and animations have spent countless hours and sleepless nights trying to solve a crazy-complex quantum-physics type of equation = how to not create tacky or tasteless content. He does fancy some of it now, we got better, that’s something! In the reason stated below, our mission just got out of hand at some point.

What little is known about Paul Jaisini, even in all this time, is he’s a horrible perfectionist who slaughtered hundreds of innocent babies — I mean — artworks of remarkable beauty created by his own right hand (mostly paintings, some watercolors and drawings). He’s a fierce recluse who wants nothing to do with anyone or anything in life. But those few of us who know of an incredible talent he possesses (one could go as far as calling it a superpower), could not allow him to live his life without the recognition he FUCKING DESERVES more than any artist out there living today and, arguably, yesterday. We use whatever means necessary to reach more people, lots of flash and razzle-dazzle to lure them into our sinister trap of a higher awareness. Mwahaha! The visual boom you’ve witnessed in both cyber and real worlds, that is GIG’s doing — two damn decades of spreading an art virus — IVA. InVisibleArtitis… or a drug as in Intravenous Art. It’s whatever you want it to be, honey.

Our Gleitzeit International Group (GIG) started off innocently enough and gradually spiraled out of control to fight the haters, annoying the hell out of them as much as humanly possible. They don’t like what we do? WE DO MORE AND MORE OF IT. But never without purpose, without a carefully executed plan in mind collectively. If we have to tolerate an endless tidal wave of everyone’s vomit — e.g., idiotic memes and comics; dumbed-down one-liner quotes; selfies; so-called “art photography” passed through one-click app filters; mindless scribbles or random splatters by regular folks who have the nerve to call themselves serious/pro artists; primitive images of pets, babies, landscapes, random objects, etc… then people sure as shit are gonna tolerate what we put out, our animated and non-animated visual art designed for our beloved master, Paul Jaisini, who has shown us the light, the right path to follow, taught us great things and done so much for us — and so in our appreciation of him, we stamp his name on everything, for the sacrifices he has made in the name of art, to save our art verse, he’s a goddamn hero. There’s a book being written in his dedication where little will be left to the imagination about him.

If Paul Jaisini was as famous as Koons or Hirst, for example, people would know it’s not him posting stuff online with his name on it but fans creating fanart like myself among others. But noooooo, such a thing is unfathomable to most people - the promotion of another artist. Like, what’s in it for us? Uhh, nothing?? This is all NON-PROFIT bitches, the way art should be. It’s a passion FIRST, a commodity/commercial product/marketable item LAST and least. Its been that way for us since the early 90s to this day. Not a single member of GIG has sold an art work (neither has Paul Jaisini who’s a true professional) and we want to keep it that way. We do it for reasons far beyond ego. So advertising? Really? How the hell do you advertise or sell thin air, you know, invisible paintings, invisible anything? Ha ha, very funny indeed. The idea here is so simple, your neighbor’s dog can grasp it. Our motives: replace fast food for the mind with fine art, actual fine art. You know, creativity? Conscious thought? Talent? Skill? Knowledge? All that good stuff rolled into one to bring viewers more than a momentary ooohand aaahh reaction. Replace the recycled images ad nauseum; repetitious, worn-out ideas; disposable, gimmicky, money-driven fast art for simpletons. Stick with the highest of ideals and save the whole bloody planet.

Fine art is often confused with craft-making. This often creates bad blood between classically trained artists who put out paintings that leave a lasting impression, that make strong conversation pieces, that are thought-provoking and deep… and trained craftspeople whose skills are adequate to create decorative pieces for homely environments — landscapes, still lifes, animals, pretty fairies, common things of fantasy, and other simplicity. Skills alone are not enough for high art, you need a vision, a purpose, the ability to tell a story with every stroke of your brush that will both fascinate and terrify the viewers, arousing powerful emotions, illuminating. I have yet to see a visible painting in my generation that does anything at all for me, other than evoke sheer outrage and disgust. What a terrible waste of space and valuable resources it all is.

Paul Jaisini leads, we follow. He wishes to remain unknown - so do most of us. I’m next in line, slipping into recluse mode, no longer wanting to attach my face, my human image to my art stuff. I wish to be a nameless, faceless artist as well, invisible like P.J., and in his footsteps I too have destroyed thousands of my own artistic photography and digital art made with tedious, labor-intensive handwork. The whole point of this destruction is achieving the finest results possible by letting go of the imperfect, purging it on a regular basis, to make way for the perfect. I love what I do so it doesn’t matter, I know I’ll keep producing as much as I’m discarding, keeping the balance. Hoarding is an enemy of progress, especially the digital kind as there’s absolutely no limit to it. It’s like carrying a load of bricks on your back you’ll never use or need.

The watering down of creativity that digital pack ratting has caused as observed over the years is most tragic. For the creative individual, relying on terabytes of stock photos or OSFAP as I call them (Once Size Fits All Photos) instead of making your own as you used to when you had no choice, being 100% original, is a splinter in the conscience. It’s not evil to use stock of, say, things you don’t have access to (outer space, deep sea, Antarctica, etc.), but many digital artists I know today can’t take their own shot of a pencil ‘cause they “ain’t got no time for that!” How did they have time before? Did time get so compressed in only a decade?

Ohhhhh, and the edits, textures, filters, plug-ins and what-have-you available out there to everyone and their cats… are responsible for the tidal wave of rubbish that eclipses the magnificent light of the real talents.

I can tell you with utmost sincerity there is no better feeling on earth than knowing your creation is ALL yours, every pixel and dot, from the first to the last. It’s not always possible to make it so, but definitely the most rewarding endeavor. I’m most proud of myself when I can accomplish that.

Back to Paul Jaisini, from the start there have been a number of theories floating around on what his real story is. One of my own theories is that he stands for the unknowns of the world who can’t get representation, can’t get exhibited at a decent gallery because highly gifted/trained artists aren’t good enough - those kind of establishments prefer bananas, balloon dogs, feces, gigantic dicks/cunts, and all kinds of what-the-fucks…

So again, you don’t get the Paul Jaisini thing? That’s your problem. Don’t hate others for getting it. People are good, very good, at making baseless assumptions and impulsively spewing it as truth. They criticize and judge as if they’re high authorities on the subject yet they clearly lack education in fine art or art history and possess little to no talent or skill to back up their bullshit. My little “credibility radar” never fails. When they say I know this or I know that, I reply don’t say “I know” or state things as fact as a general rule of thumb - instead say “I assume/believe” and state the reasons you feel thus to appear less immature, especially about a controversial topic like invisible art. I have zero respect or tolerance for egomaniacs who think they know it all and act accordingly like arrogant pricks. Who can stand those, right? Once again, a good example would be: I, Stelly Riesling, believe everything I’ve written in this little manifesto to be correct based on personal experience and observation from multiple angles, thorough research and sufficient data collected from verifiable sources (and don’t go copying-pasting my own words back at me, be original). Just because you or I say so doesn’t make it so. Just because you or me think or believe so doesn’t make it true or right. I only ask that my opinions are regarded respectfully and whoever opposes them does so in a mature, civilized manner. We should only be entitled to opinions that don’t bring out the worst in us.

I don’t normally take such a position, but the time has come to stand up for what I believe in! It’s quite amusing and comical how haters think calling me names, attacking me or my interests or members of the project I’m part of for years is going to change something. It only makes more evident the importance of what I’m doing so I push on harder still.

Words of advise to those who can identify with me, with my frustrations over people’s reluctance to change their miserable ways, with our declining art world…

DON’T waste time on people who sweat the small stuff, whose actions are consistently inconsistent with their words. DO waste time on people who always keep their eye on the ball—the bigger picture of life.

Paul Jaisini’s invisible paintings are more than hype, more than your lame assumptions. Here’s one I got that’s pure gold: a cult! It started out as A JOKE OF MINE that was used against me. I told a then-good friend that he should come join our little “art cult” in a clearly lighthearted manner, and later he takes this idea I put in his head first and accuses me of being in an (imaginary) cult—the jokes on me eh?. But wait, aren’t cults religious? Our group consists of people around the world of different faiths (or none at all) so how could that ever work? If religion was about making fine (non-pop) art mainstream and bringing awesome, fresh, futuristic concepts to the collective consciousness, the world would not be so fucked up today because talent, creativity, originality and individuality would be the main focus, not superficial poppycock; those things would be praised and encouraged and supported in society by all institutions, not demonized and stigmatized.

Here is one thing I CAN state as solid fact: only one person close to Paul Jaisini knows the TRUE story, or at least some of it: EYKG. Everything else that has ever been said about him is myth, legend, gossip, speculation, the worst of which is said by jealous non-artists (wannabes, clones, posers, hang-ons, unoriginal ppl in general) and anti-artists (religious psychos, squares, losers and -duh- stupid ppl). Sadly, people are unable to see the bigger picture by letting their egos run their lives or repeating after others as parrots.

Commercial art, consumerism, and ignorance of the masses truly makes me want to curl up in a ball, not eat or drink or move until I die, just die in my sleep while dreaming of a better world, a world where real fine artists rule it with real fine art as they used to and life is beautiful once again….

Well I hope that settled THAT for now, or perhaps inadvertently made matters worse. I hope I didn’t sound too pissed from all these issues that keep popping up like penises on ChatRoulette… just got to me already! Can you tell? I had to put my foot down, stomp ‘em all!

To be continued, still lots more ignorance and pettiness to battle… Till then peace out my bambini. MWAH!

 

Name: Marina

Age: 34

Star Sign: Aquarius

Profession: Lawyer

Marital Status: Single ("actually...dating. is it how you call it on Earth?")

Family: "Sorry, that is too complicated for me to answer"

 

Marina Von Ribentropp is probably the most famous criminal lawyer of the Milky Way. Over the years, she defended hundreds of high profile men and women, both victims and offenders.

Her origins, though, have often proceeded her sure formidable career highlights, especially when it comes to mere gossip.

Born in La Superba, Marina is the daughter of the controversial man whose talent with words and notions started one of the most shocking political revolutions of the Colonial Earth years.

Heinrich Von Ribentropp was the quintessential ordinary man. He used to work as an employer in a German insurance company, he still lived with his parents and with little to none love life...but he was probably smarter than everyone gave him credit for. One day he decided to try and enter a tv quiz show called Crosswords to finally show what he could achieve. He was sure that was the right path for him, and so it was.

Heinrich found his audition smooth and simple, as his time on the show, which was the longest ever recorded on earthling television. Mr Von Ribentropp also broke every winning record, becoming a multimillionaire in the span of just a few months, and when he lost his title to a new champion and quit the show everyone was shocked and saddened. But Heinrich was content with what had just happened. He didn't care about fame, he wanted something else, something else to invest his winning in.

Space colonisation had always fascinated him, so when the department formerly known as NASA needed some investors for new colonial explorations, he was one the one who offered the most conspicuous sum of money for something that NASA itself hadn't even ever planned: a personal area for an earthling to colonize.

At the time, La Superba was a tiny young star, still not livable and in need of all the necessary chemical treatments to become a habitable place.

This unprecedented colonization began in a very naive way, with no rules and fears from NASA and Earth. Heinrich was a smart man, very beloved and very well known, everyone trusted him, especially with such a thrilling experiment in which nothing could really was wrong. Every aspect of this project was going to be controlled and monitored by NASA, so he could own a Star, of course. And he did. In a few years, La Superba became fully inhabited (mostly by german people, as Heinrich himself wished). Heinrich was soon elected emperor of that newfound land, and he began his empire always acting kind, generous and modern.

"I am one of us!" he often shouted from the huge balcony of his baroque castle.

"What is this empire you talk about? We are just a bunch of friends. An enormous bunch of friends!"

Heinrich got married, he had children, he was acclaimed. But things gradually shifted from dream to nightmare, until the friendly emperor became a pale memory buried in the past.

Marina rarely talks about his father. She rarely talks about his bigger sister, Zoe, she never mentions the anarchist who shot Heinrich Von Ribentropp and the joyful roar and the applause exploding in La Superba city at the news that the emperor, the quiz champion who started a kingdom and then went crazy, had been assassinated by someone who had cheered for him in the past. Everything beautiful and terrible happened on that Star in less than thirty years, and Marina never even fully lived those years there. She had always been far from Zoe, far from her father, far from her nonexistent mother. She was only close to Florence, her little sister, who had never put a single foot on La Superba, unlike Marina.

With a story like hers, one could imagine Marina as a fragile soul. Yet she has never shown any fragility throughout her life. Or any emotion, as many still rumour to this day.

She was born there, after all. She inhaled those very same substances that changed a Star into a human-like place. That must have changed her too, right?

There is still no scientific evidence of the effects such substances have on human or humanoid creatures, but Marina has always been far from an emotional person.

Years ago, her therapist defined her as incapable of showing affection towards other people, and she was working on changing that when she decided to leave Pluto, the planet where she worked and lived, for London, coming back to the same Earth she spent her teen years on.

She also left her equally cold boyfriend, Giles, to fully start a new life, far from her old self.

And then, one day, she met someone. Someone named Keanu Pritchard. Someone who taught her the meaning of the word "affection".

medium.com/art-submissions/invisible-art-manifesto-haters...

Invisible Art manifesto - HATERS, FANS, & COOL PPL ONLY!!!!!!

March 21, 2015 at 8:31pm

Featured below is another original art work of mine in homage to THE PIONEER OF INVISIBLE ART - PAUL JAISINI. Forget all the copycats that came after him — Master Paul Jaisini was the *FIRST* of a totally original concept and the *BEST*. My favorite thing about him is that he’s a voice, not an echo, which is quite rare.

DISCLAIMER: This is for anyone who is a hater OR wishes to better understand me, what I’m all about, so you can decide whether I’m weird or normal enough for you — a kind of very loose manifesto, rushed and unrevised, full of raw uncut emotion that I don’t like to be evident in my writing as lately I prefer a more professional, formal style, so we can consider this a rough draft of the more polished writing to come when I have extra time. I might return perhaps to this text later and clean it up or break it into separate parts. Right now it’s a long-winded hot mess, so if you manage to make any sense of it, BIG PROPS TO YOU. lol …and if you manage to read it ALL, you have my solemn respect!!! in a day when reading has been reduced to just catchy headliners and short captions of images once in a while. The consequence of this one-liner internet culture is non-linear, tunnel thinking, which is baaaaaad.

  

There lives among us a most enigmatic and charismatic creature named Paul Jaisini who led me into the wonderful world of art, not personally, but through descriptions of his artworks in essays written and published online by his friend, which painted the most fascinating images in my mind. Early on as a kiddo, I experimented with photography, simple point and shoot whatever looked attractive to me. Digital manipulation of my photographs with computer software followed… and somehow I learned useful drawing techniques along the way to combine existing elements with nonexistent ones, which allowed me to elevate the context for my ideas. Later, I started creating my own digital art from scratch for my friends and family as a favorite pastime. They would shower me with praise and repeatedly encouraged me to share my “different” vision with the rest of the world… it took a while and wasn’t easy to overcome the insecurity of not being good enough along with a gripping fear of being harshly criticized, but one day I woman-ed up and started publishing my work on the web, reminding myself that my livelihood didn’t depend on a positive reception.

  

Paul Jaisini’s role in all this has been to not disgrace myself, even if what I do is just a hobby. And I would never do him and other genius artists the disservice of calling myself a professional because I know I’ll never be as good as any of the GIANTS of pre-modern history. Be the best or be nothing, no middle ground.

  

People’s jealousy in the past, future and present over my obsessive love of Paul Jaisini, which they are well aware is purely plutonic, has caused them to despise the man and has made many friendships/relationships impossible for me, melting the glorious ice sculpture of my social life into a sad little puddle. I refuse to have those spiteful, jealous people in my life because by harboring any negativity towards someone like Paul, they unknowingly feel that way about me and express it to me. It’s their own problem for not realizing this. Paul’s new art movement, Gleitzeit, shaped me into the allegedly awesome gal I am today, giving my art more edge, more “sexy” because it refined my vision of the world and propelled me to attain the skills necessary to not dishonor my family name through tenacious pursuit of perfection. Since the beginning of my life, I attempted to depict what my eyes showed me in visual, musical and literal forms, but continuously failed without adequate training and determination. Paul Jaisini’s Gleitzeit was the answer to my prayers. Who I am today I owe mostly to him and his selfless ideals of the artverse that I’ve given unconditional loyalty to (he has this cool ability for hyper-vision to see whole universes, not itty bitty worlds, hence I call it an artverse instead of art world, with him in mind). So again, anyone who hates Paul Jaisini hates ME because, regardless of what he means to you, he is the most important person in my life for making me ME. The way a famous actor, dancer or singer inspires others to act, dance or sing, Paul inspired me to become a better artist, better writer, bettereverything. More people would understand if he was a household name because they’re wired to in society. But we’re inspiring each other all the time in our own little communities without being famous, so if someone has the ability to change even ONE person’s life immensely with creativity, it is a massive achievement. And passionate folks like myself are compelled to scream it from the cyber rooftops. So here I am. It’s whatever.

  

Furthermore, I’d like to address here a few pressing matters in light of some recent drama brought on by both strangers and former friends. To start, I never judge the passions, interests or likes of others, which are often in my face all over the place, so likewise they have no right to judge anything of mine. It is quite unfortunate and frustrating how very little understanding and education the majority of people have or want to have. Their logic is as primitive as a chipmunk when it comes to promotion of fine art on the web: “spamming, advertising, report!” It’s their own problem that they fail to understand what it’s about due to the distorted lens through which they see the world or inability to think for themselves; an inherent lack of perception or inquisitiveness. Well, guess what? Every single image, every animation, every video, every post dedicated to Mr. Paul Jaisini and “Gleitziet” (to elaborate: a revolutionary new art movement Paul founded with his partner in crime and personal friend, EYKG, who discovered him and believed in him more than anyone) has an important purpose. Every one of those things you run across is a piece of a puzzle, a move in a game, an inch down a rabbit hole; the deeper you go, the more interesting it gets; the more levels you pass, the more clues unfold, the greater the suspense and nearer the conclusion, though further really. You earn awesome rewards like enlightenment, spiritual revelations, truths, knowledge, wisdom and the most profound reward of all: the drive to improve yourself to the absolute maximum—an unending, unshakable drive to reach your highest self. People often make a wrong turn in this cyber game and go back a few levels or get stuck. Those that keep pushing on, however, will come to find the effort has been worth it. And what awaits you in the end of it all? The greatest challenge to beating the game:YOUR OWN MIND. You will be forced to let go of every belief you held before you had reached the last level, to completely alter your mindset and perception of the world, of life, of yourself. But by the time you’ve gotten to that point, it will be as easy as falling off a cliff! (It is a kind of suicide after all - death and rebirth of spirit.)

  

Paul Jaisini does NOT, *I repeat* does NOT use mystery and obscurity to his advantage as a clever marketing ploy, no, he’s too next level for that with a consciousness so rich, he should be required to wear a radioactive warning sign (his energy field will melt your brain - best wear your tinfoil hats in his presence). The statement he makes is loud and clear, hidden in plain site for those who take the time to connect the dots and have enough curiosity to fuel their journey into unknown territory (an open mind and flexible perception helps a lot). Actually, anyone with an IQ above 90 is sure to figure it out sooner or later… Hint: You don’t have to SEE an extraordinary thing with your eyes to know it exists, to understand it and realize its greatness - you can feel it in your bone marrow, your spinal fluid, your heart and soul. The moment you do figure it out, as the skeleton key of the human soul, it will unlock the greatness and massive potential buried deep within, changing the doomed direction humanity is undoubtedly headed towards. I don’t speak in riddles, I speak to a specific audience of intelligent humans who will understand perfectly, so I’m counting only on them, the ones, the “Awesomes.”.

GIG is an international group of artists and writers that support Paul Jaisini’s Gleitzeit. We started off as an unofficial fan club of Jaisini in 1996, comprised of only 6 individuals spanning 3 countries, and eventually escalated in status to an official fan group across the entire globe. A decade later it had grown to hundreds of fans. Nearly another decade later, there are thousands. Let’s not leave out another delightful group of vicious haters that have been around for nearly as long as us since the late 90s and have also grown in impressive numbers. Now, for the record (and please write this one down because I’m sick of repeating myself), Paul Jaisini himself is not part of our group and has nothing to do with us. He loves and hates us equally for “butchering his name and making him appear as a narcissistic nut-job” in his words. He casts hexes on us for the blinding flash we layer over the art that members contribute to GIG - “disgusting-police-lights, seizure-inducing-laser-lightshow, bourgeois-myspace-effects retarded-raver shit” in Paul’s words. Ahh, how we love his sweet-talking us. In a desperate attempt to please him, those among us who make the art and animations have spent countless hours and sleepless nights trying to solve a crazy-complex quantum-physics type of equation = how to not create tacky or tasteless content. He does fancy some of it now, we got better, that’s something! In the reason stated below, our mission just got out of hand at some point.

  

What little is known about Paul Jaisini, even in all this time, is he’s a horrible perfectionist who slaughtered hundreds of innocent babies—I mean—artworks of remarkable beauty created by his own right hand (mostly paintings, some watercolors and drawings). He’s a fierce recluse who wants nothing to do with anyone or anything in life. But those few of us who know of an incredible talent he possesses (one could go as far as calling it a superpower), could not allow him to live his life without the recognition he FUCKING DESERVES more than any artist out there living today and, arguably, yesterday. We use whatever means necessary to reach more people, lots of flash and razzle-dazzle to lure them into our sinister trap of a higher awareness. Mwahaha! The visual boom you’ve witnessed in both cyber and real worlds, that is GIG’s doing - two damn decades of spreading an art virus - IVA. InVisibleArtitis… or a drug as in Intravenous Art. It’s whatever you want it to be, honey. In reality, IVA simply stands for Invisible Art.

Our Gleitzeit International Group (GIG) started off innocently enough and gradually spiraled out of control to fight the haters, annoying the hell out of them as much as humanly possible. They don’t like what we do? WE DO MORE AND MORE OF IT. But never without purpose, without a carefully executed plan in mind collectively. If we have to tolerate an endless tidal wave of everyone’s vomit - e.g., idiotic memes and comics; dumbed-down one-liner quotes; selfies; so-called art photography passed through one-click app filters; mindless scribbles or random splatters by regular folks who have the nerve to call themselves serious/pro artists; primitive images of pets, babies, landscapes, random objects, etc… then people sure as shit are gonna tolerate what we put out, our animated and non-animated visual art designed for our beloved master, Paul Jaisini, who has shown us the light, the right path to follow, taught us great things and done so much for us - and so in our appreciation of him, we stamp his name on everything, for the sacrifices he has made in the name of art, to save our artverse, he’s a goddamn hero. There’s a book being written in his dedication where little will be left to the imagination about him.

  

If Paul Jaisini was as famous as Koons or Hirst, for example, people would know it’s not him posting stuff online with his name on it but fans creating fanart like myself among others. But noooooo, such a thing is unfathomable to most people - the promotion of another artist. Like, what’s in it for us? Uhh, nothing?? This is all NON-PROFIT bitches, the way art should be. It’s a passion FIRST, a commodity/commercial product/marketable item LAST and least. Its been that way for us since the early 90s to this day. Not a single member of GIG has sold an art work (neither has Paul Jaisini who’s a true professional) and we want to keep it that way. We do it for reasons far beyond ego. So advertising? Really? How the hell do you advertise or sell thin air, you know, invisible paintings, invisible anything? Ha ha, very funny indeed. The idea here is so simple, your neighbor’s dog can grasp it. Our motives: replace fast food for the mind with fine art, actual fine art. You know, creativity? Conscious thought? Talent? Skill? Knowledge? All that good stuff… rolled into one to bring viewers more than a momentary oooh and aaahh reaction. Replace the recycled images ad nauseum; repetitous, worn-out ideas; disposable, gimmicky, money-driven fast art for simpletons. Stick with the highest of standards and save the whole bloody planet.

  

Fine art is often confused with craft-making. This often elicits bad blood between classically trained artists who can create unique works that leave a lasting impression, that make strong conversation pieces, that are thought-provoking and deep… and trained craftspeoplewhose skills are adequate enough to create decorative fillers for homely environments — landscapes, still lifes, animals, pretty fairies, common themes of fantasy, and other simple things. Skills alone are not enough for high art - you need a vision, a purpose, the ability to tell a story with every stroke of your brush that will both fascinate and terrify, attract and repel, arousing powerful emotions in viewers, illuminating, mystifying. I have yet to see a visible painting in my generation that does anything at all for me, other than evoke sheer outrage and disgust. What a terrible waste of space and valuable resources it all is.

Paul Jaisini leads, we follow. He wishes to remain unknown - so do most of us. I’m next in line, slipping into recluse mode, no longer wanting to attach my face, my human image to my art stuff. I wish to be a nameless, faceless artist as well, invisible like P.J., and in his footsteps I too have destroyed thousands of my own artistic photography and digital art made with tedious, labor-intensive handwork. The whole point of this destruction is achieving the finest results possible by letting go of the imperfect, purging it on a regular basis, to make way for the perfect. I love what I do so it doesn’t matter, I know I’ll keep producing as much as I’m discarding, keeping the balance. Hoarding is an enemy of progress, especially the digital kind as there’s absolutely no limit to it. It’s like carrying a massive load of bricks on your back you’ll never use or need.

The watering down of creativity that digital packratting has caused as observed over the years is most tragic. For the creative individual, relying on terabytes of stock photos or OSFAP as I call them (Once Size Fits All Photos) instead of making your own as you used to when you had no choice, being 100% original, is a splinter in the conscience. It’s not evil to use stock of, say, things you don’t have access to (outer space, deep sea, Antarctica, etc.), but many digital artists I know today can’t take their own shot of a pencil ‘cause they “ain’t got no time for that!” How did they have time before? Did time get so compressed in only a decade?

Ohhhhh, and the edits, textures, filters, plug-ins and what-have-you available out there to everyone and their cats… are responsible for the tidal wave of rubbish that eclipses the magnificent light of the real talents.

I can tell you with utmost sincerity there is no better feeling on earth than knowing your creation is ALL yours, every pixel and dot, from the first to the last. It’s not always possible to make it so, but definitely the most rewarding endeavor. I’m most proud of myself when I can accomplish that.

Back to Paul Jaisini, from the start there have been a number of theories floating around on what his real story is. One of my own theories is that he stands for the unknowns of the world who can’t get representation, can’t get exhibited at a decent gallery because highly gifted/trained artists aren’t good enough - those kind of establishments prefer bananas, balloon dogs, feces, gigantic dicks/cunts, and all kinds of what-the-fucks… businessmen highly trained in entrepreneurship disguised as artists.

So again, you don’t get the Paul Jaisini or Gleitzeit or Invisible Art thing? That’s your problem. Don’t hate others for getting it. People are good, very good, at making baseless assumptions and impulsively spewing it as truth. They criticize and judge as if they’re high authorities on the subject while they clearly lack education in fine art or art history and possess little to no talent or skill to back up their loud assertions. My BS detector seldom fails on such things as credibility. When they say I know this or I know that, I reply don’t say “I know” or state things as fact as a general rule of thumb - instead say “I assume/believe” and state the reasons you feel thus to avoid looking the pompous fool, especially about a controversial topic like invisible art. I have zero respect or tolerance for egomaniacs who think they know it all and act accordingly with more concern over *who* is right than *what* is right. Who in their right mind can stand them? Once again, a good example would be: I, Stelly Riesling, believe everything I’ve written in this little manifesto to be correct based on personal experience, observation from different angles, thorough research and sufficient data collected from verifiable sources (and don’t go copying-pasting my own words back at me, be original). Just because you or I say so doesn’t make it so. Just because you or me think or believe so doesn’t make it true or right. I only ask that my opinions be regarded respectfully and whoever opposes them does so in a mature, civilized manner. We should only be entitled to opinions that don’t bring out the worst in us.

I don’t normally take such a position, but the time has come to stand up for what I believe in! It’s quite amusing and comical how haters think calling me names, attacking me or my interests or members of the project I’m part of for years is going to change something. It only makes more evident the importance of what I’m doing so I must push harder.

Words of advise to those who can identify with me, with my frustrations over people’s reluctance to change their miserable ways, with our declining art world… DON’T waste time on people who sweat the small stuff, whose actions are consistently inconsistent with their words. DO waste time on people who always keep their eye on the ball—the bigger picture of life—and prove themselves worthy as a good, positive influence. Avoid dark clouds, attention whores and idle, bored people - they are all energy vampires. Practice control over your emotions and block out distractions others place on you, block out pity completely.

Paul Jaisini’s invisible paintings are more than hype, more than your lame assumptions. Here’s one I got that’s pure gold: a cult! It started out as A JOKE OF MINE that was used against me. I told a then-good friend that he should come join our little “art cult” in a clearly lighthearted manner, and later he takes this idea I put in his head first and accuses me of being in an (imaginary) cult—the jokes on me eh?. But wait, aren’t cults religious? Our group consists of people around the world of different faiths (or none at all) so how could that ever work? If religion was about making fine (non-pop) art mainstream and bringing awesome, fresh, futuristic concepts to the collective consciousness, the world would not be so fucked up today because talent, creativity, originality and individuality would be the main focus, not superficial poppycock; those things would be praised and encouraged and supported in society by all institutions, not demonized and stigmatized.

Here is one thing I CAN state as solid fact: only one person close to Paul Jaisini knows the TRUE story, or at least some of it: EYKG. Everything else that has ever been said about him is myth, legend, gossip, speculation, the worst of which is said by jealous non-artists (wannabes, clones, posers, hang-ons, unoriginal ppl in general) and anti-artists (religious psychos, squares, losers and -duh- stupid ppl). Sadly, people are unable to see the bigger picture by letting their egos run their lives or repeating after others as parrots.

Commercial art, consumerism, and ignorance of the masses truly makes me want to curl up in a ball, not eat or drink or move until I die, just die in my sleep while dreaming of a better world, a world where real fine artists rule it with real fine art as they used to and life is beautiful once again….

Well I hope that settled THAT for now, or perhaps inadvertently made matters worse. I hope I didn’t sound too pissed from all these issues that keep popping up like penises on ChatRoulette… just got to me already! Can you tell? I had to put my foot down, stomp ‘em all!

Now don’t judge me, I’m young and still learning, but I’m glad to have these strong convictions and aspirations already. It truly feels at times like a supernatural power is guiding me. Something unexplainable out of nowhere possesses me to write these half-crazed mini-novels and make strange art.

To be continued, still lots more ignorance and pettiness to battle… Till then peace out my bambini. MWAH!

These cruisers are the spearhead of any planet assault staged by the Federal Collective. They are armed with 4 'Incinerator' cannons, which can render any target nonexistent. They are also equipped with numerous countermeasures throughout the hull for protection from any kind of weaponry.

Crew: 30-45

Length: 90 meters ~ 296 feet

 

Did these for fun for ourselves and immediate family .... may have to add them to my as yet nonexistent "line" for next year.

FOR IMMEDIATE RELEASE

MANIFESTO GLEITZEIT 2015

BY STELLY RIESLING

Featured below is another original art work of mine in homage to THE PIONEER OF INVISIBLE ART — PAUL JAISINI. Forget all the copycats that came after him — Master Paul Jaisini was the *FIRST* of a totally original concept and the *BEST*. My favorite thing about him is that he’s a voice, not an echo, which is quite rare.

DISCLAIMER: This is for anyone who is a hater OR wishes to better understand me, what I’m all about, so you can decide whether I’m weird or normal enough for you — a kind of very loose manifesto, rushed and unrevised, full of raw uncut emotion that I don’t like to be evident in my writing as lately I prefer a more professional, formal style, so we can consider this a rough draft of the more polished writing to come when I have extra time. I might return to this text later and clean it up or break it into separate parts. Right now it’s a long-winded hot mess, so if you manage to make any sense of it, BIG PROPS TO YOU. lol …and if you manage to read it ALL, you have my solemn respect!!! in a day when reading has been reduced to just catchy headliners and short captions of images once in a while. The consequence of this one-liner internet culture is non-linear, tunnel thinking, which is baaaaaad.

There lives among us a most enigmatic and charismatic creature named Paul Jaisini who led me into the wonderful world of art, not personally, but through descriptions of his artworks in essays written and published online by his friend, which painted the most fascinating images in my mind. Early on as a kiddo, I experimented with photography, simple point and shoot whatever looked attractive to me. Digital manipulation of my photographs with computer software followed… and somehow I learned useful drawing techniques along the way to combine existing elements with nonexistent ones, which allowed me to elevate the context for my ideas. Later, I started creating my own digital art from scratch for my friends and family as a favorite pastime. They would shower me with praise and repeatedly encouraged me to share my “different” vision with the rest of the world… it took a while and wasn’t easy to overcome the insecurity of not being good enough along with a gripping fear of being harshly criticized, but one day I woman-ed up and started publishing my work on the web, reminding myself that my livelihood didn’t depend on a positive reception.

Paul Jaisini’s role in all this has been to not disgrace myself, even if what I do is just a hobby. And I would never do him and other genius artists the disservice of calling myself a professional because I know I’ll never be as good as any of the GIANTS of pre-modern history. Be the best or be nothing, no middle ground.

People’s jealousy in the past, future and present over my obsessive love of Paul Jaisini, which they are well aware is purely plutonic, has caused them to despise the man and has made many relationships/friendships impossible for me. I refuse to have such people in my life because by harboring any negativity towards Paul, they unknowingly feel that way about me and express it to me. It’s their own problem for not realizing this. Paul’s new art movement, Gleitzeit, shaped me into the allegedly awesome girl I am today, giving my art more edge, more “sexy” because it refined my vision of the world and propelled me to attain the skills necessary to not dishonor my family name through tenacious pursuit of perfection. Since the beginning of my life, I attempted to depict what I saw in visual, musical and literal forms, but continuously failed without adequate training and determination. Paul Jaisini’s Gleitzeit was the answer to my prayers. Who I am today I owe mostly to him and his selfless ideals of the artverse that I’ve given unconditional loyalty to (he has this cool ability for hyper-vision to see whole universes, not itty bitty worlds, hence I call it an artverse instead of art world, with him in mind). So again, anyone who hates Paul Jaisini hates ME because, regardless of what he means to you, he is the most important person in my life for making me ME. The way a famous actor, dancer or singer inspires others to act, dance or sing, Paul inspired me to become a better artist, better writer, better everything. More people would understand if he was a household name because they’re wired to in society. But we’re inspiring each other all the time in our own little communities without being famous, so if someone has the ability to change even ONE person’s life immensely with creativity, it is a massive achievement. And passionate folks like myself are compelled to scream it from the cyber rooftops. So here I am. It’s whatever.

Furthermore, I’d like to address here a few pressing matters in light of some recent drama brought on by both strangers and former friends. To start, I never judge the passions, interests or likes of others, which are often in my face all over the place, so likewise they have no right to judge any of mine. It is quite unfortunate and frustrating how very little understanding and education the majority of people have or want to have. Their logic is as primitive as a chipmunk when it comes to promotion of fine art on the web: “spamming, advertising, report!” It’s their own problem that they fail to understand what it’s about due to the distorted lens through which they see the world or inability to think for themselves; an inherent lack of perception or inquisitiveness. Well, guess what? Every single image, every animation, every video, every post dedicated to Mr. Paul Jaisini and “Gleitziet” (to elaborate: a revolutionary new art movement Paul founded with his partner in crime and personal friend, EYKG, who discovered him and believed in him more than anyone) has an important purpose. Every one of those things you run across is a piece of a puzzle, a move in a game, an inch down a rabbit hole; the deeper you go, the more interesting it gets; the more levels you pass, the more clues unfold, the greater the suspense and nearer the conclusion (yet further). You earn awesome rewards like enlightenment, spiritual revelations, truths, knowledge, wisdom and the most profound reward of all: the drive to improve yourself to the absolute maximum, so an unending, unshakable drive. People often make a wrong turn in this cyber game and go back a few levels or get stuck. Those that keep on pushing, however, will come to find the effort has been worth it. And what awaits you in the end of it all? The greatest challenge to beating the game: YOUR OWN MIND. You will be forced to let go of every belief you held before you had reached the last level, to completely alter your mindset and perception of the world, of life, of yourself. But by the time you’ve gotten to that point, it will be as easy as falling off a cliff! (It is a kind of suicide after all — death and rebirth of spirit.)

Paul Jaisini does NOT, *I repeat* does NOT use mystery and obscurity to his advantage as a clever marketing ploy, no, he’s too next level for that with a consciousness so rich, he should wear a radioactive warning sign (he’ll melt your brain, best wear a tinfoil hat in his presence as I certainly would.) The statement he makes is loud and clear, hidden in plain site for those who take the time to connect the dots and have enough curiosity to fuel their journey into unknown territory (an open mind and flexible perception helps a lot). Actually, anyone with an IQ above 90 is sure to figure it out sooner or later. Hint: You don’t have to SEE an extraordinary thing with your eyes to know it exists, to understand it and realize its greatness — you can only feel it in your bone marrow, your spinal fluid, your heart and soul. The moment you do figure it out, as the skeleton key of the human soul, it will unlock the greatness and massive potential buried deep within, changing the doomed direction humanity is undoubtedly headed. I don’t speak in riddles, I speak in a clear direct way that intelligent humans will understand, so I’m counting on them.

GIG is an international group of artists and writers that support Paul Jaisini’s Gleitzeit. We started off as an unofficial fan club of Jaisini in 1996, comprised of only 6 individuals spanning 3 countries, and eventually escalated in status to an official fan group across the entire globe. A decade later it had grown to hundreds of fans. Nearly another decade later, there are thousands. Let’s not leave out another delightful group of vicious haters that have been around for nearly as long as us since the late 90s and have also grown in impressive numbers. Now, for the record (and please write this one down because I’m sick of repeating myself), Paul Jaisini himself is not part of our group and has nothing to do with us. He loves and hates us equally for butchering his name and making him appear as a narcissistic nut-job in his own words. He casts hexes on us for the blinding flash we layer over the art that members contribute to GIG — “disgusting-police-lights, seizure-inducing-laser-lightshow, bourgeois-myspace-effects retarded-raver shit” in Paul’s words. Ahh, how we love his sweet-talking us. In a desperate attempt to please him, those among us who make the art and animations have spent countless hours and sleepless nights trying to solve a crazy-complex quantum-physics type of equation = how to not create tacky or tasteless content. He does fancy some of it now, we got better, that’s something! In the reason stated below, our mission just got out of hand at some point.

What little is known about Paul Jaisini, even in all this time, is he’s a horrible perfectionist who slaughtered hundreds of innocent babies — I mean — artworks of remarkable beauty created by his own right hand (mostly paintings, some watercolors and drawings). He’s a fierce recluse who wants nothing to do with anyone or anything in life. But those few of us who know of an incredible talent he possesses (one could go as far as calling it a superpower), could not allow him to live his life without the recognition he FUCKING DESERVES more than any artist out there living today and, arguably, yesterday. We use whatever means necessary to reach more people, lots of flash and razzle-dazzle to lure them into our sinister trap of a higher awareness. Mwahaha! The visual boom you’ve witnessed in both cyber and real worlds, that is GIG’s doing — two damn decades of spreading an art virus — IVA. InVisibleArtitis… or a drug as in Intravenous Art. It’s whatever you want it to be, honey.

Our Gleitzeit International Group (GIG) started off innocently enough and gradually spiraled out of control to fight the haters, annoying the hell out of them as much as humanly possible. They don’t like what we do? WE DO MORE AND MORE OF IT. But never without purpose, without a carefully executed plan in mind collectively. If we have to tolerate an endless tidal wave of everyone’s vomit — e.g., idiotic memes and comics; dumbed-down one-liner quotes; selfies; so-called “art photography” passed through one-click app filters; mindless scribbles or random splatters by regular folks who have the nerve to call themselves serious/pro artists; primitive images of pets, babies, landscapes, random objects, etc… then people sure as shit are gonna tolerate what we put out, our animated and non-animated visual art designed for our beloved master, Paul Jaisini, who has shown us the light, the right path to follow, taught us great things and done so much for us — and so in our appreciation of him, we stamp his name on everything, for the sacrifices he has made in the name of art, to save our art verse, he’s a goddamn hero. There’s a book being written in his dedication where little will be left to the imagination about him.

If Paul Jaisini was as famous as Koons or Hirst, for example, people would know it’s not him posting stuff online with his name on it but fans creating fanart like myself among others. But noooooo, such a thing is unfathomable to most people - the promotion of another artist. Like, what’s in it for us? Uhh, nothing?? This is all NON-PROFIT bitches, the way art should be. It’s a passion FIRST, a commodity/commercial product/marketable item LAST and least. Its been that way for us since the early 90s to this day. Not a single member of GIG has sold an art work (neither has Paul Jaisini who’s a true professional) and we want to keep it that way. We do it for reasons far beyond ego. So advertising? Really? How the hell do you advertise or sell thin air, you know, invisible paintings, invisible anything? Ha ha, very funny indeed. The idea here is so simple, your neighbor’s dog can grasp it. Our motives: replace fast food for the mind with fine art, actual fine art. You know, creativity? Conscious thought? Talent? Skill? Knowledge? All that good stuff rolled into one to bring viewers more than a momentary ooohand aaahh reaction. Replace the recycled images ad nauseum; repetitious, worn-out ideas; disposable, gimmicky, money-driven fast art for simpletons. Stick with the highest of ideals and save the whole bloody planet.

Fine art is often confused with craft-making. This often creates bad blood between classically trained artists who put out paintings that leave a lasting impression, that make strong conversation pieces, that are thought-provoking and deep… and trained craftspeople whose skills are adequate to create decorative pieces for homely environments — landscapes, still lifes, animals, pretty fairies, common things of fantasy, and other simplicity. Skills alone are not enough for high art, you need a vision, a purpose, the ability to tell a story with every stroke of your brush that will both fascinate and terrify the viewers, arousing powerful emotions, illuminating. I have yet to see a visible painting in my generation that does anything at all for me, other than evoke sheer outrage and disgust. What a terrible waste of space and valuable resources it all is.

Paul Jaisini leads, we follow. He wishes to remain unknown - so do most of us. I’m next in line, slipping into recluse mode, no longer wanting to attach my face, my human image to my art stuff. I wish to be a nameless, faceless artist as well, invisible like P.J., and in his footsteps I too have destroyed thousands of my own artistic photography and digital art made with tedious, labor-intensive handwork. The whole point of this destruction is achieving the finest results possible by letting go of the imperfect, purging it on a regular basis, to make way for the perfect. I love what I do so it doesn’t matter, I know I’ll keep producing as much as I’m discarding, keeping the balance. Hoarding is an enemy of progress, especially the digital kind as there’s absolutely no limit to it. It’s like carrying a load of bricks on your back you’ll never use or need.

The watering down of creativity that digital pack ratting has caused as observed over the years is most tragic. For the creative individual, relying on terabytes of stock photos or OSFAP as I call them (Once Size Fits All Photos) instead of making your own as you used to when you had no choice, being 100% original, is a splinter in the conscience. It’s not evil to use stock of, say, things you don’t have access to (outer space, deep sea, Antarctica, etc.), but many digital artists I know today can’t take their own shot of a pencil ‘cause they “ain’t got no time for that!” How did they have time before? Did time get so compressed in only a decade?

Ohhhhh, and the edits, textures, filters, plug-ins and what-have-you available out there to everyone and their cats… are responsible for the tidal wave of rubbish that eclipses the magnificent light of the real talents.

I can tell you with utmost sincerity there is no better feeling on earth than knowing your creation is ALL yours, every pixel and dot, from the first to the last. It’s not always possible to make it so, but definitely the most rewarding endeavor. I’m most proud of myself when I can accomplish that.

Back to Paul Jaisini, from the start there have been a number of theories floating around on what his real story is. One of my own theories is that he stands for the unknowns of the world who can’t get representation, can’t get exhibited at a decent gallery because highly gifted/trained artists aren’t good enough - those kind of establishments prefer bananas, balloon dogs, feces, gigantic dicks/cunts, and all kinds of what-the-fucks…

So again, you don’t get the Paul Jaisini thing? That’s your problem. Don’t hate others for getting it. People are good, very good, at making baseless assumptions and impulsively spewing it as truth. They criticize and judge as if they’re high authorities on the subject yet they clearly lack education in fine art or art history and possess little to no talent or skill to back up their bullshit. My little “credibility radar” never fails. When they say I know this or I know that, I reply don’t say “I know” or state things as fact as a general rule of thumb - instead say “I assume/believe” and state the reasons you feel thus to appear less immature, especially about a controversial topic like invisible art. I have zero respect or tolerance for egomaniacs who think they know it all and act accordingly like arrogant pricks. Who can stand those, right? Once again, a good example would be: I, Stelly Riesling, believe everything I’ve written in this little manifesto to be correct based on personal experience and observation from multiple angles, thorough research and sufficient data collected from verifiable sources (and don’t go copying-pasting my own words back at me, be original). Just because you or I say so doesn’t make it so. Just because you or me think or believe so doesn’t make it true or right. I only ask that my opinions are regarded respectfully and whoever opposes them does so in a mature, civilized manner. We should only be entitled to opinions that don’t bring out the worst in us.

I don’t normally take such a position, but the time has come to stand up for what I believe in! It’s quite amusing and comical how haters think calling me names, attacking me or my interests or members of the project I’m part of for years is going to change something. It only makes more evident the importance of what I’m doing so I push on harder still.

Words of advise to those who can identify with me, with my frustrations over people’s reluctance to change their miserable ways, with our declining art world…

DON’T waste time on people who sweat the small stuff, whose actions are consistently inconsistent with their words. DO waste time on people who always keep their eye on the ball—the bigger picture of life.

Paul Jaisini’s invisible paintings are more than hype, more than your lame assumptions. Here’s one I got that’s pure gold: a cult! It started out as A JOKE OF MINE that was used against me. I told a then-good friend that he should come join our little “art cult” in a clearly lighthearted manner, and later he takes this idea I put in his head first and accuses me of being in an (imaginary) cult—the jokes on me eh?. But wait, aren’t cults religious? Our group consists of people around the world of different faiths (or none at all) so how could that ever work? If religion was about making fine (non-pop) art mainstream and bringing awesome, fresh, futuristic concepts to the collective consciousness, the world would not be so fucked up today because talent, creativity, originality and individuality would be the main focus, not superficial poppycock; those things would be praised and encouraged and supported in society by all institutions, not demonized and stigmatized.

Here is one thing I CAN state as solid fact: only one person close to Paul Jaisini knows the TRUE story, or at least some of it: EYKG. Everything else that has ever been said about him is myth, legend, gossip, speculation, the worst of which is said by jealous non-artists (wannabes, clones, posers, hang-ons, unoriginal ppl in general) and anti-artists (religious psychos, squares, losers and -duh- stupid ppl). Sadly, people are unable to see the bigger picture by letting their egos run their lives or repeating after others as parrots.

Commercial art, consumerism, and ignorance of the masses truly makes me want to curl up in a ball, not eat or drink or move until I die, just die in my sleep while dreaming of a better world, a world where real fine artists rule it with real fine art as they used to and life is beautiful once again….

Well I hope that settled THAT for now, or perhaps inadvertently made matters worse. I hope I didn’t sound too pissed from all these issues that keep popping up like penises on ChatRoulette… just got to me already! Can you tell? I had to put my foot down, stomp ‘em all!

To be continued, still lots more ignorance and pettiness to battle… Till then peace out my bambini. MWAH!

 

“APOLLO 16 LANDING SITE-----An artist’s concept illustrating an eastward view of the Apollo 16 Descartes landing site. The white overlay indicates the scheduled traverses by the Apollo 16 astronauts in the Lunar Roving Vehicle. The Roman numerals are the EVAs: and the Arabic numbers are the station stops along the traverses. The Descartes landing area is generally west of the Sea of Nectar and southwest of the Sea of Tranquility. The LRV traverses extend northward to the Smokey Mountains near Station 14 and southward to Stone Mountain near Station 4. Astronauts John W. Young, commander, and Charles M. Duke Jr., lunar module pilot, will descend in the Lunar Module to the lunar surface to explore the Descartes landing site, while Astronaut Thomas K. Mattingly II, command module pilot, will remain with the Command and Service Modules in lunar orbit.”

 

Let’s face it, out of the Apollo “J” missions, the Apollo 16 Descartes Highlands landing site was by far the least visually interesting. Other than ‘House Rock’ & North Ray crater, it was pretty dull.

Did that contribute to this being basically nonexistent online? Although it is buried & languishing at the following decremented long-defunct website. Although grateful, I’m appalled that, pathetically, THIS is still the only place I find low-resolution images, with their ID numbers. In fact, multiple nice images ‘exist’ within this untended gravesite. Sad:

 

science.ksc.nasa.gov/mirrors/images/images/pao/AS16/10075...

 

science.ksc.nasa.gov/mirrors/images/images/pao/AS16/10075...

 

Although I assume there was one, I don’t even remember the Tang poster for this landing site…or that I even had it…whereas I clearly recall having Apollo 15 & 17. That’s pretty bad…I feel sorta guilty.

 

Very nice artwork by NASA artist Jerry L. Elmore, responsible for the Apollo 15 & 17 depictions as well.

Salon-la-Tour is a commune in the Corrèze department in central France.

 

Violette Szabo, a 22-year-old British agent who was parachuted a second time into France, on 7 June 1944 (where she was to try to help obstructing the movement of German SS units from the south of France to Normandy), was captured near Salon-la-Tour.

---

Violette Reine Elizabeth Szabo GC (née Bushell; 26 June 1921 – c. 5 February 1945) was a British-French Special Operations Executive (SOE) agent during the Second World War and a posthumous recipient of the George Cross. On her second mission into occupied France, Szabo was captured by the German army, interrogated, tortured and deported to Ravensbrück concentration camp in Germany, where she was executed.

 

Violette Szabo was born on 26 June 1921 in Paris, France, of parents Charles George Bushell and Reine Blanche Leroy, as the second child of five and the only daughter.

 

Szabo's father, son of a publican from Hampstead Norreys, was serving as a British Army driver in France during the First World War when he met her mother, a dressmaker originally from Pont-Remy, Somme. After the war the couple lived in London, where Charles worked as a taxi-driver, car salesman and shopkeeper.

 

During the early 1930s, as a result of the Great Depression, Violette and her youngest brother, Dickie, lived with their maternal aunt in Picardy, northern France. The family was reunited in South London when Violette was 11 years old. She was an active and lively girl, enjoying gymnastics, long-distance bicycling and ice-skating with four brothers and several male cousins. Violette was regarded as a tomboy, especially after being taught to shoot by her father; her shooting was reputedly very accurate.

 

While she had temporarily lost the ability to speak English in Picardy, Violette quickly relearned the language while attending school in Brixton. There she was reportedly popular and regarded as exotic owing to her ability to speak another language. Her home life was loving, though she often clashed with her strict father and once ran away to France after an argument. The family, except her monolingual father, would often converse in French.

 

At the age of 14, Violette went to work for a French corsetière in South Kensington and later worked at retailer Woolworths in Oxford Street. At the outbreak of World War II she was working at Le Bon Marché, a Brixton department store.

 

In early 1940 Violette joined the Women's Land Army and was sent to carry out strawberry picking in Fareham, Hampshire, but she soon returned to London to work in an armaments factory in Acton. She met Étienne Szabo, a decorated non-commissioned officer in the French Foreign Legion of Hungarian descent, at the Bastille Day parade in London in 1940, where Violette had been sent by her mother, accompanied by her friend Winnie Wilson, to bring home a homesick French soldier for dinner. They married at Aldershot Register Office in Manor Park on 21 August 1940 after a 42-day romance; Violette was 19, Étienne was 31. They enjoyed a week's honeymoon before Étienne set off from Liverpool to fight in the abortive Free French attack on Dakar, Senegal. From there, he went to South Africa before seeing action, again against the Vichy French, in the successful Anglo-Free French campaigns in Eritrea and Syria in 1941. He returned to the UK for a brief leave later in the year.

 

After her marriage, Violette became a switchboard operator for the General Post Office in central London, working throughout the Blitz. Bored by the job, she enlisted in the Auxiliary Territorial Service (ATS) on 11 September 1941. She was posted to Leicester for initial training before being sent to one of the first mixed anti-aircraft batteries of the 7th Heavy Anti-Aircraft Training Regiment, Royal Artillery in Oswestry, Shropshire for specialised instruction as a predictor and then to the 481st Heavy (Mixed) Anti-Aircraft Battery. After further training in Anglesey, Gunner Szabo and her unit were posted to Frodsham, Cheshire, near Warrington, from December 1941 to February 1942. Szabo found within weeks that she was pregnant, so she left the ATS to return to London for the birth.

 

Szabo took a flat in Notting Hill, which was to be her home until she left for her second mission to France in June 1944. On 8 June 1942, she gave birth to Tania Damaris Desiree Szabo at St Mary's Hospital while Étienne was stationed at Bir Hakeim in North Africa. The following day, he took part in a valiant defence against the Afrika Korps, escaping with his battalion from the assault of the 15th Panzer Division on 10 June.

 

Violette sent her baby to childminders while she worked at the South Morden aircraft factory where her father was stationed. During this period, she was informed of her husband's death in action. Étienne had died on 24 October 1942 from chest wounds received while leading his men in a diversionary attack on Qaret el Himeimat, at the beginning of the Second Battle of El Alamein; he had never seen his daughter. It was Étienne's death that made Violette accept an offer to train as a field agent in the British Special Operations Executive (SOE) as her best way of fighting the enemy that killed her husband.

 

Special Operations Executive

 

It is unclear how or why Szabo was recruited by F-Section, as her surviving official file is thin, but her fluency in French and her previous service in the ATS probably brought her to the attention of SOE. She would have been invited to an interview regarding war work with E. Potter, the alias of Selwyn Jepson, a detective novelist and the F-Section recruiter. Szabo was given security clearance on 1 July 1943 and selected for training as a field agent on 10 July. She was commissioned as a section leader in the First Aid Nursing Yeomanry, a civilian service often used by SOE as a cover for female agents.

 

After an assessment for fluency in French and a series of interviews, Szabo was sent from 7–27 August to STS 4, a training school at Winterfold House, and after a moderately favourable report, to Special Training School 24 of Group A at Arisaig in the Scottish Highlands in September and October. Szabo received intensive instruction in fieldcraft, night and daylight navigation, weapons and demolition. Again her reports were mixed, but she passed the course and moved on to Group B.

 

Szabo was sent to the SOE "finishing school" at Beaulieu, Hampshire, where she learnt escape and evasion, uniform recognition, communications and cryptography, and had further training in weaponry. The final stage in training was parachute jumping, which was taught at Ringway Airport near Manchester. On her first attempt, Szabo badly sprained her ankle and was sent home for recuperation, spending some time in Bournemouth (it was this ankle that was to fail her later in France). She was able to take the parachuting course again and passed with a second class in February 1944. On 24 January 1944, Szabo made her will, witnessed by Vera Atkins and Major R. A. Bourne Paterson of SOE, naming her mother, Reine, as executrix and her daughter Tania as sole beneficiary.

 

In 2012 Max Hastings wrote that Szabo was "adored by the men and women of SOE both for her courage and endless infectious Cockney laughter", while Leo Marks remembered her as "A dark-haired slip of mischief....She had a Cockney accent which added to her impishness".

 

First mission

 

Due to the ankle injury, Szabo's first deployment was delayed, but it was during her second course at Ringway that she first met Philippe Liewer (d. c. 1948). While in London she also socialised with Bob Maloubier, so SOE decided she would work as a courier for Liewer's Salesman circuit. However, the mission was postponed when F Section received a signal from Harry Peulevé's (codename Jean) Author circuit warning that several members of the Rouen-Dieppe group had been arrested, including Claude Malraux (codename Cicero; brother of novelist Andre Malraux) and radio operator Isidore Newman. This extra time meant Szabo could be sent for a refresher course in wireless operation in London, and it was then that Leo Marks, SOE's cryptographer, seeing her struggle with her original French nursery rhyme, gave Szabo his own composition, The Life That I Have as her code poem.

 

On 5 April 1944, Szabo and Liewer were flown from RAF Tempsford in Bedfordshire in a US B-24 Liberator bomber and parachuted into German-occupied France, near Cherbourg. Her cover was that she was a commercial secretary named Corinne Reine Leroy (the latter two names being her mother's first and maiden names), who was born on 26 June 1921 (her real birthdate) in Bailleul, and who was a resident of Le Havre, which gave her reason to travel to the Restricted Zone of German occupation on the coast.

 

Under the code name "Louise", which happened to be her nickname (she was also nicknamed "La P'tite Anglaise", as she stood only 5'3" tall), she and SOE colleague Philippe Liewer (under the name "Major Charles Staunton"), organiser of the Salesman circuit, tried to assess the damage made by the German arrests, with Szabo travelling to Rouen, where Liewer could not go as a wanted man (both he and Maloubier were on wanted posters with their codenames), and to Dieppe to gather intelligence and carry out reconnaissance. It soon became clear that the circuit, which originally involved over 120 members (80 in Rouen and 40 on the coast) had been exposed beyond repair. Szabo returned to Paris to brief Liewer, and in the two days, before they were due to depart, she bought a dress for Tania, three frocks and a yellow sweater for herself, and perfume for her mother and herself. While the destruction of Salesman was a heavy blow to SOE, her reports on the local factories producing war materials for the Germans were important in establishing Allied bombing targets.

 

She returned to England by Lysander, piloted by Bob Large, DFC, of the RAF, on 30 April 1944, landing after a stressful flight in which the plane was hit by anti-aircraft fire over Chateaudun, and Szabo was thrown about the body of the plane. Large had turned off the intercom when attacked and did not turn it back on for the rest of the flight, so when the plane landed heavily due to a burst tyre, and he went to get Szabo out, she (thinking they had been shot down and not having seen her blond pilot) let Large have a volley of abuse in French, mistaking him for a German. When she realised what had really happened, he was rewarded with a kiss. Philippe Liewer returned at the same time in another Lysander. On 24 May 1944 Szabo was promoted to Ensign in the FANY.

 

After two aborted attempts, due to stormy weather on the night of 4/5 June and the abandonment of the intended landing ground on 5/6 June by the Resistance reception committee because of German patrols, Szabo and three colleagues were dropped by parachute from a USAAF Liberator flown from RAF Harrington in Northamptonshire onto a landing field near Sussac on the outskirts of Limoges early on 8 June 1944 (immediately following D-Day, and Tania Szabo's second birthday).

Szabo was part of a four-person team sent to operate in the department of Haute Vienne with the circuit codename 'Salesman II', led by her SOE commander Philippe Liewer (now codenamed Hamlet), whose rolled-up Rouen circuit had been 'Salesman', and including Second Lieutenant Jean-Claude Guiet (codenames Claude and Virgile) of the US Army as wireless operator (W/O), and Bob Maloubier (alias Robert 'Bob' Mortier; codenames Clothaire and Paco), Violette and Liewer's friend and comrade of SOE who was to act as military instructor to the local Maquis, and who had worked as weapons instructor and explosives officer for Liewer on the original Salesman I circuit. For this mission, Szabo's cover was that she was a Mme Villeret, the young widow of an antiques dealer from Nantes. It is possible Szabo had twisted an ankle on landing.

 

Upon arrival, she was sent to co-ordinate the activities of the local maquis in sabotaging communication lines during German attempts to stem the Normandy landings. When he arrived in the Limousin, Philippe Liewer found the local maquis to be poorly led and less prepared for action than he expected. To better co-ordinate Resistance activity against the Germans, he decided to send his courier, Szabo, as his liaison officer to the more active Maquis of Correze and the Dordogne, led by Jacques Poirier (SOE), head of the renamed Digger circuit, who had taken over from Harry Peulevé of the Author circuit, upon the latter's arrest. However, due to poor intelligence gathering by the local Resistance, Liewer was unaware that the 2nd SS Panzer Division was making its slow journey north to the Normandy battlefields through his area.

 

At 9.30 am on 10 June Szabo set off on her mission, not inconspicuously by bicycle as Liewer would have preferred, but in a Citroen driven by a young maquis section leader, Jacques Dufour ('Anastasie'). He had insisted upon using the car, even though the Germans had forbidden the use of cars by the French after D-Day, to drive her half of the 100 kilometres (62 mi) of her journey. At her request to Liewer, Szabo was armed with a Sten gun and eight magazines of ammunition. She was dressed in a light suit, flat-heeled shoes and no stockings. On their way across the sunlit fields of south-central France they picked up Jean Bariaud, a 26-year-old Resistance friend of Dufour, who was meant to accompany them on the return journey.

 

Their car raised the suspicions of German troops at an unexpected roadblock outside of Salon-la-Tour that had been set up to find Sturmbannführer Helmut Kämpfe, a battalion commander of the 2nd SS Panzer Division, who had been captured by the local resistance. When Dufour slowed the car, the unarmed Bariaud was able to escape and later warn the Salesman team of the arrest of his two companions.

 

According to Minney and Vickers, when they had stopped, Szabo and Dufour leapt from the car, he to the left and she to the right and the cover of a tree, as Dufour opened fire. A gun battle ensued during which a woman emerging from a barn was killed by the Germans. As armoured cars arrived at the scene, Szabo crossed the road to join Dufour, and they leapt a gate, before running across a field towards a small stream. They then ran up a hill towards some trees, when Szabo fell and severely twisted an ankle. She refused Dufour's offer of help, urging him to flee, and, dragging herself to the edge of the cornfield, she struggled to an apple tree. Standing behind the tree, she then provided Dufour with covering fire, allowing him to make his escape to hide in a friend's barn. Szabo fought the Germans for thirty minutes, killing a corporal, possibly more, and wounding some others. Eventually, she ran out of ammunition and was captured by two men who dragged her up the hill to a bridge over a railway. She was hot, dishevelled, and in pain. Szabo was questioned by a young officer whose armoured car had drawn up nearby. She was then taken away. Szabo's captors were most likely from the 1st Battalion of 3rd SS Panzer Grenadier Regiment Deutschland (Das Reich Division) whose commanding officer was the missing Sturmbannführer Kämpfe.

 

In R.J. Minney's biography, as above, she is described as putting up fierce resistance with her Sten gun, although German documents of the incident record no German injuries or casualties. A recent biography of Vera Atkins, the intelligence officer for the French section of SOE, notes that there was a great deal of confusion about what happened to Szabo—the story was revised four times—and states that the Sten gun incident "was probably a fabrication". Szabo's most recent biographer, Susan Ottaway, includes the battle in her book, as does Tania Szabo in hers, and Philip Vickers in his book on Das Reich. Authors Sarah Helm and Max Hastings express doubt about the story of the battle.

 

Violette Szabo was transferred to the custody of the Sicherheitsdienst (SD, the SS Security Service) in Limoges, where she was interrogated for four days by SS-Sturmbannführer Kowatch. She gave her name as "Vicky Taylor", the name she had intended to use if she needed to return to England via Spain. (Her reason for choosing this name is unknown, but it may have been a play on szabo being the Hungarian word for "tailor".) From there, she was moved to Fresnes Prison in Paris and brought to Gestapo headquarters at 84 Avenue Foch for interrogation and torture by the Sicherheitsdienst, who by now knew of her true identity and activities as an SOE agent.

 

With the Allies driving deep into France and George Patton's Third US Army heading towards Paris, the decision was taken by the Germans to send their most valuable French prisoners to Germany. On 8 August 1944, Szabo, shackled to SOE wireless operator Denise Bloch, was entrained with other male and female prisoners, including several SOE agents she knew, for transfer. At some point in the journey, probably outside Chalons-sur-Marne, an Allied air raid caused the guards to temporarily abandon the train, allowing Szabo and Bloch to get water from a lavatory to the caged male prisoners in the next carriage, the two women both providing inspiration and a morale boost to the suffering men. When the train reached Reims, the prisoners were taken by lorries to a large barn for two nights, where Szabo, still tied at the ankle to Bloch, who was in good spirits, was able to wash some of her clothes in a rudimentary fashion and to speak about her experiences to her SOE colleague Harry Peulevé.

 

From Reims, via Strasbourg, the prisoners went by train to Saarbrücken and a transit camp in the suburb of Neue Bremm, where hygiene facilities were nonexistent, and food was only indigestible bread crusts. After about ten days, Szabo and most of the other women were sent on to Ravensbrück concentration camp, where over 92,000 women were to die during the war. The exhausted women arrived at this notorious place of disease, starvation, and violence on 25 August 1944 after a terrible eighteen-day journey.

 

Although she endured hard labour and malnutrition, she helped save the life of Belgian resistance courier Hortense Daman, kept up the spirits of her fellow detainees, and, according to fellow inmate American Virginia d'Albert-Lake, constantly planned to escape. While at Ravensbrück, Szabo, Denise Bloch, Lilian Rolfe and Lake were among 1,000 French women sent to the Heinkel factory at the sub-camp of Torgau. Here they protested and refused to make munitions, and were forced to work in the vegetable cellar outside the camp walls and then to dig potatoes. The British women also made contact with French prisoners at a nearby POW camp who, being better fed, provided them with extra rations and offered to send messages to London with a transmitter they had built (there is no evidence they were successful).

 

After the Torgau incident, Szabo, Bloch, Rolfe and Lake were part of a group of around 250 prisoners sent back to Ravensbrück on 6 October, where Violette was put to work in the fabric store. In late October 1944, the protest women were transferred to a punishment camp at Königsberg, where they were forced into harsh physical labour felling trees, clearing rock-hard icy ground for the construction of an airfield and digging a trench for a narrow-gauge railway. Violette volunteered for tree-felling in the forest, where the trees gave some shelter from the bitter winds (Lilian and Denise were too ill to join her). In the bitter East Prussian winter of 1944, each day the women were forced to stand for Appell (roll-call) in the early morning for up to five hours before being sent to work, many of them freezing to death. Szabo was dressed only in the summer clothes she had been wearing when sent to Germany and the women received barely any food and slept in frozen barracks without blankets. According to Christine Le Scornet, a seventeen-year-old French girl whom Violette befriended, and Jeannie Rousseau, the co-leader of the Torgau revolt, she maintained her morale, was optimistic about liberation and continued to plan to escape. On 19 or 20 January 1945, the three British agents were recalled to Ravensbrück and sent first to the Strafblock, where they were possibly brutally assaulted and then to the punishment bunker, where they were kept in solitary confinement. The women were already in poor physical condition—Rolfe could barely walk—and the abuse finally weakened Szabo's morale.

 

Szabo was killed in the execution alley at Ravensbrück, aged 23, on or before 5 February 1945. She was shot in the back of the head while kneeling down, by SS-Rottenführer Schult in the presence of camp commandant Fritz Suhren (who pronounced the death penalty), camp overseer and deputy commandant Johann Schwarzhuber, SS-Scharführer Zappe, SS-Rottenführer Schenk (responsible for the crematorium), chief camp doctor Dr Trommer and dentist Dr Martin Hellinger, from the deposition of Schwarzhuber recorded by Vera Atkins 13 March 1946. Denise Bloch and Lilian Rolfe – neither of whom could walk and were carried on stretchers – were shot at the same time, by order of the highest Nazi authorities; the bodies were disposed of in the camp crematorium. Their clothes were not returned to the camp Effektenkammer (property store) as usually happened after executions.

 

Along with Szabo, Bloch, and Rolfe, one other member of the SOE was also executed at Ravensbrück: Cecily Lefort. She was killed in the gas chamber sometime in February 1945. Forty-one female Section F SOE agents served in France, some for more than two years, most for only a few months. Twenty-six of them survived World War II. Twelve were executed including Szabo, one was killed when her ship was sunk, two died of disease while imprisoned, and one died of natural causes. Female agents ranged in age from 20 to 53 years.

 

While there is some confusion about the precise circumstances of her execution, Szabo, along with her male and female colleagues who died in the concentration camps, is recorded by the War Office as having been killed in action. As an agent dressed in civilian clothes operating behind enemy lines, Szabo was regarded by the Germans as a franc-tireur not protected by the Geneva Convention and liable to summary execution. Though she was treated harshly at Ravensbrück, there is no conclusive proof that she was tortured or sexually assaulted by the Germans; her biographer, Susan Ottaway, thinks it unlikely.

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www.youtube.com/watch?app=desktop&v=A8Zrq6FHmt0

 

Black on flat water past the jonquil lawns

Riding, the black swan draws

A private chaos warbling in its wake,

Assuming, like a fourth dimension, splendor

That calls the child with white ideas of swans

Nearer to that green lake

Where every paradox means wonder.

 

From The Black Swan by James Merrill (1926 - 1995)

 

Best Viewed Large On Black

 

The term black swan was a Latin expression — its oldest known reference comes from the poet Juvenal's characterization of something being "rara avis in terris nigroque simillima cygno" (6.165).[1] In English, this Latin phrase means "a rare bird in the lands, and very like a black swan." When the phrase was coined, the black swan was presumed not to exist. Juvenal's phrase was a common expression in 16th century London as a statement of impossibility. The London expression derives from the Old World presumption that all swans must be white because all historical records of swans reported that they had white feathers. In that context, a black swan was impossible or at least nonexistent. After a Dutch expedition led by explorer Willem de Vlamingh on the Swan River in 1697, discovered black swans in Western Australia, the term metamorphosed to connote that a perceived impossibility might later be disproven.

It is really an extraordinary epoch in which so many men can be made to believe that a people is being given happiness by being reduced to subjection, by being robbed of all that is most precious to it, that is to say of its own civilization, by being forced to adopt manners and institutions that were made for a different race, and by being constrained to the most distasteful kinds of work, in order to make it acquire things for which it has not the slightest use. For that is what is taking place: the modern West cannot tolerate that men should prefer to work less and be content to live on little; as it is only quantity that counts, and as everything that escapes the senses is held to be nonexistent, it is taken for granted that anyone who is not in a state of agitation and who does not produce much in a material way must be 'lazy'. In evidence of this and without speaking of the opinions commonly expressed about Eastern peoples, it is enough to note how the contemplative orders are viewed, even in circles that consider themselves religious. In such a world, there is no longer any place for intelligence, or anything else that is purely inward, for these are things that can neither be seen nor touched, that can neither be counted nor weighed; there is a place only for outward action in all its forms, even those that are the most completely meaningless. For this reason it should not be a matter for surprise that the Anglo-Saxon mania for sport gains ground day by day: the ideal of the modern world is the 'human animal' who has developed his muscular strength to the highest pitch; its heroes are athletes, even though they be mere brutes; it is they who awaken popular enthusiasm, and it is their exploits that command the passionate interest of the crowd. A world in which such things are seen has indeed sunk low and seems near its end.

 

Let us consider things for a moment from the standpoint of those whose ideal is material 'welfare', and who therefore rejoice at all the improvements to life furnished by modern 'progress'; are they quite sure they are not being duped? Is it true that, because they dispose of swifter means of communication and other things of the kind, and because of their more agitated and complicated manner of life, men are happier today than they were formerly? The very opposite seems to us to be true: disequilibrium cannot be a condition of real happiness. Moreover, the more needs a man has, the greater the likelihood that he will lack something, and thereby be unhappy; modern civilization aims at creating more and more artificial needs, and as we have already said, it will always create more needs than it can satisfy, for once one has started on this path, it is very hard to stop, and, indeed, there is no reason for stopping at any particular point. It was no hardship for men to do without things that did not exist and of which they had never dreamed; now, on the contrary, they are bound to suffer if they lack these things, since they have become accustomed to consider them as necessities, with the result that they have, in fact, really become necessary to them. Therefore men struggle in every possible way to obtain the means of procuring material satisfactions, the only ones that they are capable of appreciating: they are interested only in 'making money', because it is money that enables them to obtain these things, the more of which they have, the more they wish to have, as they go on discovering fresh needs; and this passion becomes for them the sole end in life. Hence the savage competition certain evolutionists have raised to the dignity of a scientific law under the name of 'the struggle for existence', whose logical consequence is that only the strongest, in the narrowly material sense of the word, have a right to exist. Hence also the envy and even hatred felt toward those who possess wealth by those who do not; how could men to whom egalitarian theories have been preached fail to revolt when they see all around them inequality in the most material order of things, the order to which they are bound to be the most sensitive? If modern civilization should some day be destroyed by the disordered appetites that it has awakened in the masses, one would have to be very blind not to see in this the just punishment of its basic vice - or, without resorting to the language of morality, the repercussion of its own action in the same domain in which this action has taken place. The Gospel says 'all they that take the sword

shall perish by the sword'; those who unchain the brute forces of matter will perish, crushed by these same forces, of which they will no longer be masters; having once imprudently set them in motion, they cannot hope to hold back indefinitely their fatal course. It is of little consequence whether it be the forces of nature or the forces of the human mob, or both together; in any case it is the laws of matter that are called into play, and that will inexorably destroy him who has aspired to dominate them without raising himself above matter. The Gospel also says: 'If a house be divided against itself, that house cannot stand'; this saying also applies fully to the modern world with its material civilization, which cannot fail, by its very nature, to cause strife and division everywhere. The conclusion is obvious and, even without appealing to other considerations, it is possible to predict with all certainty that this world will come to a tragic end, unless a change as radical as to amount to a complete reversal of direction should intervene, and that very soon.

  

René Guénon - The Crisis of the

Modern World

  

.- Fond memories of a nonexistent past .....

 

- Bonitos recuerdos..., de un pasado inexistente...

Cold winter morning, much like today, when the Bewick's Wren hopped out from under the leaf litter to get heat from a nonexistent sun. But I at least was thankful that I took my camera even under such conditions. The Bewick's Wren is a frequent visitor to our back yard ('cause I'm too lazy to rake up after our one Japanese maple), a very enjoyable little bird. But this one was at Old Borges Ranch in the Open Space.

Snakes are elongated, limbless, carnivorous reptiles of the suborder Serpentes Like all other squamates, snakes are ectothermic, amniote vertebrates covered in overlapping scales. Many species of snakes have skulls with several more joints than their lizard ancestors, enabling them to swallow prey much larger than their heads (cranial kinesis). To accommodate their narrow bodies, snakes' paired organs (such as kidneys) appear one in front of the other instead of side by side, and most have only one functional lung. Some species retain a pelvic girdle with a pair of vestigial claws on either side of the cloaca. Lizards have independently evolved elongate bodies without limbs or with greatly reduced limbs at least twenty-five times via convergent evolution, leading to many lineages of legless lizards. These resemble snakes, but several common groups of legless lizards have eyelids and external ears, which snakes lack, although this rule is not universal (see Amphisbaenia, Dibamidae, and Pygopodidae).

 

Living snakes are found on every continent except Antarctica, and on most smaller land masses; exceptions include some large islands, such as Ireland, Iceland, Greenland, the Hawaiian archipelago, and the islands of New Zealand, as well as many small islands of the Atlantic and central Pacific oceans. Additionally, sea snakes are widespread throughout the Indian and Pacific oceans. Around thirty families are currently recognized, comprising about 520 genera and about 3,900 species. They range in size from the tiny, 10.4 cm-long (4.1 in) Barbados threadsnake to the reticulated python of 6.95 meters (22.8 ft) in length. The fossil species Titanoboa cerrejonensis was 12.8 meters (42 ft) long. Snakes are thought to have evolved from either burrowing or aquatic lizards, perhaps during the Jurassic period, with the earliest known fossils dating to between 143 and 167 Ma ago. The diversity of modern snakes appeared during the Paleocene epoch (c. 66 to 56 Ma ago, after the Cretaceous–Paleogene extinction event). The oldest preserved descriptions of snakes can be found in the Brooklyn Papyrus.

 

Most species of snake are nonvenomous and those that have venom use it primarily to kill and subdue prey rather than for self-defense. Some possess venom that is potent enough to cause painful injury or death to humans. Nonvenomous snakes either swallow prey alive or kill by constriction.

 

Etymology

The English word snake comes from Old English snaca, itself from Proto-Germanic *snak-an- (cf. Germanic Schnake 'ring snake', Swedish snok 'grass snake'), from Proto-Indo-European root *(s)nēg-o- 'to crawl to creep', which also gave sneak as well as Sanskrit nāgá 'snake'. The word ousted adder, as adder went on to narrow in meaning, though in Old English næddre was the general word for snake. The other term, serpent, is from French, ultimately from Indo-European *serp- 'to creep', which also gave Ancient Greek ἕρπω (hérpō) 'I crawl' and Sanskrit sarpá ‘snake’.

 

The fossil record of snakes is relatively poor because snake skeletons are typically small and fragile making fossilization uncommon. Fossils readily identifiable as snakes (though often retaining hind limbs) first appear in the fossil record during the Cretaceous period. The earliest known true snake fossils (members of the crown group Serpentes) come from the marine simoliophiids, the oldest of which is the Late Cretaceous (Cenomanian age) Haasiophis terrasanctus from the West Bank, dated to between 112 and 94 million years old.

 

Based on comparative anatomy, there is consensus that snakes descended from lizards. Pythons and boas—primitive groups among modern snakes—have vestigial hind limbs: tiny, clawed digits known as anal spurs, which are used to grasp during mating The families Leptotyphlopidae and Typhlopidae also possess remnants of the pelvic girdle, appearing as horny projections when visible.

 

Front limbs are nonexistent in all known snakes. This is caused by the evolution of their Hox genes, controlling limb morphogenesis. The axial skeleton of the snakes' common ancestor, like most other tetrapods, had regional specializations consisting of cervical (neck), thoracic (chest), lumbar (lower back), sacral (pelvic), and caudal (tail) vertebrae. Early in snake evolution, the Hox gene expression in the axial skeleton responsible for the development of the thorax became dominant. As a result, the vertebrae anterior to the hindlimb buds (when present) all have the same thoracic-like identity (except from the atlas, axis, and 1–3 neck vertebrae). In other words, most of a snake's skeleton is an extremely extended thorax. Ribs are found exclusively on the thoracic vertebrae. Neck, lumbar and pelvic vertebrae are very reduced in number (only 2–10 lumbar and pelvic vertebrae are present), while only a short tail remains of the caudal vertebrae. However, the tail is still long enough to be of important use in many species, and is modified in some aquatic and tree-dwelling species.

 

Many modern snake groups originated during the Paleocene, alongside the adaptive radiation of mammals following the extinction of (non-avian) dinosaurs. The expansion of grasslands in North America also led to an explosive radiation among snakes. Previously, snakes were a minor component of the North American fauna, but during the Miocene, the number of species and their prevalence increased dramatically with the first appearances of vipers and elapids in North America and the significant diversification of Colubridae (including the origin of many modern genera such as Nerodia, Lampropeltis, Pituophis, and Pantherophis).

 

Fossils

There is fossil evidence to suggest that snakes may have evolved from burrowing lizards, during the Cretaceous Period. An early fossil snake relative, Najash rionegrina, was a two-legged burrowing animal with a sacrum, and was fully terrestrial. One extant analog of these putative ancestors is the earless monitor Lanthanotus of Borneo (though it also is semiaquatic). Subterranean species evolved bodies streamlined for burrowing, and eventually lost their limbs. According to this hypothesis, features such as the transparent, fused eyelids (brille) and loss of external ears evolved to cope with fossorial difficulties, such as scratched corneas and dirt in the ears. Some primitive snakes are known to have possessed hindlimbs, but their pelvic bones lacked a direct connection to the vertebrae. These include fossil species like Haasiophis, Pachyrhachis and Eupodophis, which are slightly older than Najash.

 

This hypothesis was strengthened in 2015 by the discovery of a 113-million-year-old fossil of a four-legged snake in Brazil that has been named Tetrapodophis amplectus. It has many snake-like features, is adapted for burrowing and its stomach indicates that it was preying on other animals. It is currently uncertain if Tetrapodophis is a snake or another species, in the squamate order, as a snake-like body has independently evolved at least 26 times. Tetrapodophis does not have distinctive snake features in its spine and skull. A study in 2021 places the animal in a group of extinct marine lizards from the Cretaceous period known as dolichosaurs and not directly related to snakes.

 

An alternative hypothesis, based on morphology, suggests the ancestors of snakes were related to mosasaurs—extinct aquatic reptiles from the Cretaceous—forming the clade Pythonomorpha. According to this hypothesis, the fused, transparent eyelids of snakes are thought to have evolved to combat marine conditions (corneal water loss through osmosis), and the external ears were lost through disuse in an aquatic environment. This ultimately led to an animal similar to today's sea snakes. In the Late Cretaceous, snakes recolonized land, and continued to diversify into today's snakes. Fossilized snake remains are known from early Late Cretaceous marine sediments, which is consistent with this hypothesis; particularly so, as they are older than the terrestrial Najash rionegrina. Similar skull structure, reduced or absent limbs, and other anatomical features found in both mosasaurs and snakes lead to a positive cladistical correlation, although some of these features are shared with varanids.

 

Genetic studies in recent years have indicated snakes are not as closely related to monitor lizards as was once believed—and therefore not to mosasaurs, the proposed ancestor in the aquatic scenario of their evolution. However, more evidence links mosasaurs to snakes than to varanids. Fragmented remains found from the Jurassic and Early Cretaceous indicate deeper fossil records for these groups, which may potentially refute either hypothesis.

 

Genetic basis of snake evolution

Main article: Limb development

Both fossils and phylogenetic studies demonstrate that snakes evolved from lizards, hence the question became which genetic changes led to limb loss in the snake ancestor. Limb loss is actually very common in extant reptiles and has happened dozens of times within skinks, anguids, and other lizards.

 

In 2016, two studies reported that limb loss in snakes is associated with DNA mutations in the Zone of Polarizing Activity Regulatory Sequence (ZRS), a regulatory region of the sonic hedgehog gene which is critically required for limb development. More advanced snakes have no remnants of limbs, but basal snakes such as pythons and boas do have traces of highly reduced, vestigial hind limbs. Python embryos even have fully developed hind limb buds, but their later development is stopped by the DNA mutations in the ZRS.

 

Distribution

There are about 3,900 species of snakes, ranging as far northward as the Arctic Circle in Scandinavia and southward through Australia. Snakes can be found on every continent except Antarctica, as well as in the sea, and as high as 16,000 feet (4,900 m) in the Himalayan Mountains of Asia. There are numerous islands from which snakes are absent, such as Ireland, Iceland, and New Zealand (although New Zealand's northern waters are infrequently visited by the yellow-bellied sea snake and the banded sea krait).

 

Taxonomy

All modern snakes are grouped within the suborder Serpentes in Linnean taxonomy, part of the order Squamata, though their precise placement within squamates remains controversial.

 

The two infraorders of Serpentes are Alethinophidia and Scolecophidia. This separation is based on morphological characteristics and mitochondrial DNA sequence similarity. Alethinophidia is sometimes split into Henophidia and Caenophidia, with the latter consisting of "colubroid" snakes (colubrids, vipers, elapids, hydrophiids, and atractaspids) and acrochordids, while the other alethinophidian families comprise Henophidia. While not extant today, the Madtsoiidae, a family of giant, primitive, python-like snakes, was around until 50,000 years ago in Australia, represented by genera such as Wonambi.

 

There are numerous debates in the systematics within the group. For instance, many sources classify Boidae and Pythonidae as one family, while some keep the Elapidae and Hydrophiidae (sea snakes) separate for practical reasons despite their extremely close relation.

 

Recent molecular studies support the monophyly of the clades of modern snakes, scolecophidians, typhlopids + anomalepidids, alethinophidians, core alethinophidians, uropeltids (Cylindrophis, Anomochilus, uropeltines), macrostomatans, booids, boids, pythonids and caenophidians.

 

Legless lizards

Main article: Legless lizard

While snakes are limbless reptiles, evolved from (and grouped with) lizards, there are many other species of lizards that have lost their limbs independently but which superficially look similar to snakes. These include the slowworm and glass snake.

 

Other serpentine tetrapods that are unrelated to snakes include caecilians (amphibians), amphisbaenians (near-lizard squamates), and the extinct aistopods (amphibians).

 

Biology

The now extinct Titanoboa cerrejonensis was 12.8 m (42 ft) in length. By comparison, the largest extant snakes are the reticulated python, measuring about 6.95 m (22.8 ft) long, and the green anaconda, which measures about 5.21 m (17.1 ft) long and is considered the heaviest snake on Earth at 97.5 kg (215 lb).

 

At the other end of the scale, the smallest extant snake is Leptotyphlops carlae, with a length of about 10.4 cm (4.1 in). Most snakes are fairly small animals, approximately 1 m (3.3 ft) in length.

 

Perception

Pit vipers, pythons, and some boas have infrared-sensitive receptors in deep grooves on the snout, allowing them to "see" the radiated heat of warm-blooded prey. In pit vipers, the grooves are located between the nostril and the eye in a large "pit" on each side of the head. Other infrared-sensitive snakes have multiple, smaller labial pits lining the upper lip, just below the nostrils.

 

A snake tracks its prey using smell, collecting airborne particles with its forked tongue, then passing them to the vomeronasal organ or Jacobson's organ in the mouth for examination. The fork in the tongue provides a sort of directional sense of smell and taste simultaneously. The snake's tongue is constantly in motion, sampling particles from the air, ground, and water, analyzing the chemicals found, and determining the presence of prey or predators in the local environment. In water-dwelling snakes, such as the anaconda, the tongue functions efficiently underwater.

 

The underside of a snake is very sensitive to vibration, allowing the snake to detect approaching animals by sensing faint vibrations in the ground. Despite the lack of outer ears, they are also able to detect airborne sounds.

 

Snake vision varies greatly between species. Some have keen eyesight and others are only able to distinguish light from dark, but the important trend is that a snake's visual perception is adequate enough to track movements. Generally, vision is best in tree-dwelling snakes and weakest in burrowing snakes. Some have binocular vision, where both eyes are capable of focusing on the same point, an example of this being the Asian vine snake. Most snakes focus by moving the lens back and forth in relation to the retina. Diurnal snakes have round pupils and many nocturnal snakes have slit pupils. Most species possess three visual pigments and are probably able to see two primary colors in daylight. The annulated sea snake and the genus Helicops appears to have regained much of their color vision as an adaption to the marine environment they live in. It has been concluded that the last common ancestors of all snakes had UV-sensitive vision, but most snakes that depend on their eyesight to hunt in daylight have evolved lenses that act like sunglasses for filtering out the UV-light, which probably also sharpens their vision by improving the contrast.

 

Skin

The skin of a snake is covered in scales. Contrary to the popular notion of snakes being slimy (because of possible confusion of snakes with worms), snakeskin has a smooth, dry texture. Most snakes use specialized belly scales to travel, allowing them to grip surfaces. The body scales may be smooth, keeled, or granular. The eyelids of a snake are transparent "spectacle" scales, also known as brille, which remain permanently closed.

 

The shedding of scales is called ecdysis (or in normal usage, molting or sloughing). Snakes shed the complete outer layer of skin in one piece. Snake scales are not discrete, but extensions of the epidermis—hence they are not shed separately but as a complete outer layer during each molt, akin to a sock being turned inside out.

 

Snakes have a wide diversity of skin coloration patterns which are often related to behavior, such as the tendency to have to flee from predators. Snakes that are at a high risk of predation tend to be plain, or have longitudinal stripes, providing few reference points to predators, thus allowing the snake to escape without being noticed. Plain snakes usually adopt active hunting strategies, as their pattern allows them to send little information to prey about motion. Blotched snakes usually use ambush-based strategies, likely because it helps them blend into an environment with irregularly shaped objects, like sticks or rocks. Spotted patterning can similarly help snakes to blend into their environment.

 

The shape and number of scales on the head, back, and belly are often characteristic and used for taxonomic purposes. Scales are named mainly according to their positions on the body. In "advanced" (Caenophidian) snakes, the broad belly scales and rows of dorsal scales correspond to the vertebrae, allowing these to be counted without the need for dissection.

 

Molting

Molting (or "ecdysis") serves a number of purposes. It allows old, worn skin to be replaced and it can remove parasites such as mites and ticks that live in the skin. It has also been observed in snakes that molting can be synced to mating cycles. Shedding skin can release pheromones and revitalize color and patterns of the skin to increase attraction of mates. Renewal of the skin by molting supposedly allows growth in some animals such as insects, but this has been disputed in the case of snakes.

 

Molting occurs periodically throughout the life of a snake. Before each molt, the snake stops eating and often hides or moves to a safe place. Just before shedding, the skin becomes dull and dry looking and the snake's eyes turn cloudy or blue-colored. The inner surface of the old skin liquefies, causing it to separate from the new skin beneath it. After a few days, the eyes become clear and the snake "crawls" out of its old skin, which splits close to the snake's mouth. The snake rubs its body against rough surfaces to aid in the shedding of its old skin. In many cases, the cast skin peels backward over the body from head to tail in one piece, like pulling a sock off inside-out, revealing a new, larger, brighter layer of skin which has formed underneath.

 

A young snake that is still growing may shed its skin up to four times a year, but an older snake may shed only once or twice a year. The discarded skin carries a perfect imprint of the scale pattern, so it is usually possible to identify the snake from the cast skin if it is reasonably intact. This periodic renewal has led to the snake being a symbol of healing and medicine, as pictured in the Rod of Asclepius.

 

Scale counts can sometimes be used to identify the sex of a snake when the species is not distinctly sexually dimorphic. A probe is fully inserted into the cloaca, marked at the point where it stops, then removed and measured against the subcaudal scales. The scalation count determines whether the snake is a male or female, as the hemipenes of a male will probe to a different depth (usually longer) than the cloaca of a female.

 

Skeleton

The skeletons of snakes are radically different from those of most other reptiles (as compared with the turtle here, for example), consisting almost entirely of an extended ribcage.

The skeleton of most snakes consists solely of the skull, hyoid, vertebral column, and ribs, though henophidian snakes retain vestiges of the pelvis and rear limbs.

 

The skull consists of a solid and complete neurocranium, to which many of the other bones are only loosely attached, particularly the highly mobile jaw bones, which facilitate manipulation and ingestion of large prey items. The left and right sides of the lower jaw are joined only by a flexible ligament at the anterior tips, allowing them to separate widely, and the posterior end of the lower jaw bones articulate with a quadrate bone, allowing further mobility. The mandible and quadrate bones can pick up ground-borne vibrations; because the sides of the lower jaw can move independently of one another, a snake resting its jaw on a surface has sensitive stereo auditory perception, used for detecting the position of prey. The jaw–quadrate–stapes pathway is capable of detecting vibrations on the angstrom scale, despite the absence of an outer ear and the lack of an impedance matching mechanism—provided by the ossicles in other vertebrates—for receiving vibrations from the air.

 

The hyoid is a small bone located posterior and ventral to the skull, in the 'neck' region, which serves as an attachment for the muscles of the snake's tongue, as it does in all other tetrapods.

 

The vertebral column consists of between 200 and 400 vertebrae, or sometimes more. The body vertebrae each have two ribs articulating with them. The tail vertebrae are comparatively few in number (often less than 20% of the total) and lack ribs. The vertebrae have projections that allow for strong muscle attachment, enabling locomotion without limbs.

 

Caudal autotomy (self-amputation of the tail), a feature found in some lizards, is absent in most snakes. In the rare cases where it does exist in snakes, caudal autotomy is intervertebral (meaning the separation of adjacent vertebrae), unlike that in lizards, which is intravertebral, i.e. the break happens along a predefined fracture plane present on a vertebra.

 

In some snakes, most notably boas and pythons, there are vestiges of the hindlimbs in the form of a pair of pelvic spurs. These small, claw-like protrusions on each side of the cloaca are the external portion of the vestigial hindlimb skeleton, which includes the remains of an ilium and femur.

 

Snakes are polyphyodonts with teeth that are continuously replaced

 

Snakes and other non-archosaur (crocodilians, dinosaurs + birds and allies) reptiles have a three-chambered heart that controls the circulatory system via the left and right atrium, and one ventricle. Internally, the ventricle is divided into three interconnected cavities: the cavum arteriosum, the cavum pulmonale, and the cavum venosum. The cavum venosum receives deoxygenated blood from the right atrium and the cavum arteriosum receives oxygenated blood from the left atrium. Located beneath the cavum venosum is the cavum pulmonale, which pumps blood to the pulmonary trunk.

 

The snake's heart is encased in a sac, called the pericardium, located at the bifurcation of the bronchi. The heart is able to move around, owing to the lack of a diaphragm; this adjustment protects the heart from potential damage when large ingested prey is passed through the esophagus. The spleen is attached to the gall bladder and pancreas and filters the blood. The thymus, located in fatty tissue above the heart, is responsible for the generation of immune cells in the blood. The cardiovascular system of snakes is unique for the presence of a renal portal system in which the blood from the snake's tail passes through the kidneys before returning to the heart.

 

The vestigial left lung is often small or sometimes even absent, as snakes' tubular bodies require all of their organs to be long and thin.[71] In the majority of species, only one lung is functional. This lung contains a vascularized anterior portion and a posterior portion that does not function in gas exchange. This 'saccular lung' is used for hydrostatic purposes to adjust buoyancy in some aquatic snakes and its function remains unknown in terrestrial species. Many organs that are paired, such as kidneys or reproductive organs, are staggered within the body, one located ahead of the other.

 

Snakes have no lymph nodes.

 

Venom

Cobras, vipers, and closely related species use venom to immobilize, injure, or kill their prey. The venom is modified saliva, delivered through fangs. The fangs of 'advanced' venomous snakes like viperids and elapids are hollow, allowing venom to be injected more effectively, and the fangs of rear-fanged snakes such as the boomslang simply have a groove on the posterior edge to channel venom into the wound. Snake venoms are often prey-specific, and their role in self-defense is secondary.

 

Venom, like all salivary secretions, is a predigestant that initiates the breakdown of food into soluble compounds, facilitating proper digestion. Even nonvenomous snakebites (like any animal bite) cause tissue damage.

 

Certain birds, mammals, and other snakes (such as kingsnakes) that prey on venomous snakes have developed resistance and even immunity to certain venoms.Venomous snakes include three families of snakes, and do not constitute a formal taxonomic classification group.

 

The colloquial term "poisonous snake" is generally an incorrect label for snakes. A poison is inhaled or ingested, whereas venom produced by snakes is injected into its victim via fangs. There are, however, two exceptions: Rhabdophis sequesters toxins from the toads it eats, then secretes them from nuchal glands to ward off predators; and a small unusual population of garter snakes in the US state of Oregon retains enough toxins in their livers from ingested newts to be effectively poisonous to small local predators (such as crows and foxes).

 

Snake venoms are complex mixtures of proteins, and are stored in venom glands at the back of the head. In all venomous snakes, these glands open through ducts into grooved or hollow teeth in the upper jaw. The proteins can potentially be a mix of neurotoxins (which attack the nervous system), hemotoxins (which attack the circulatory system), cytotoxins (which attack the cells directly), bungarotoxins (related to neurotoxins, but also directly affect muscle tissue), and many other toxins that affect the body in different ways. Almost all snake venom contains hyaluronidase, an enzyme that ensures rapid diffusion of the venom.

 

Venomous snakes that use hemotoxins usually have fangs in the front of their mouths, making it easier for them to inject the venom into their victims. Some snakes that use neurotoxins (such as the mangrove snake) have fangs in the back of their mouths, with the fangs curled backwards. This makes it difficult both for the snake to use its venom and for scientists to milk them. Elapids, however, such as cobras and kraits are proteroglyphous—they possess hollow fangs that cannot be erected toward the front of their mouths, and cannot "stab" like a viper. They must actually bite the victim.

 

It has been suggested that all snakes may be venomous to a certain degree, with harmless snakes having weak venom and no fangs. According to this theory, most snakes that are labelled "nonvenomous" would be considered harmless because they either lack a venom delivery method or are incapable of delivering enough to endanger a human. The theory postulates that snakes may have evolved from a common lizard ancestor that was venomous, and also that venomous lizards like the gila monster, beaded lizard, monitor lizards, and the now-extinct mosasaurs, may have derived from this same common ancestor. They share this "venom clade" with various other saurian species.

 

Venomous snakes are classified in two taxonomic families:

Elapids – cobras including king cobras, kraits, mambas, Australian copperheads, sea snakes, and coral snakes.

Viperids – vipers, rattlesnakes, copperheads/cottonmouths, and bushmasters.

There is a third family containing the opistoglyphous (rear-fanged) snakes (as well as the majority of other snake species):

 

Colubrids – boomslangs, tree snakes, vine snakes, cat snakes, although not all colubrids are venomous.

 

Reproduction

Although a wide range of reproductive modes are used by snakes, all employ internal fertilization. This is accomplished by means of paired, forked hemipenes, which are stored, inverted, in the male's tail. The hemipenes are often grooved, hooked, or spined—designed to grip the walls of the female's cloaca. The clitoris of the female snake consists of two structures located between the cloaca and the scent glands.

 

Most species of snakes lay eggs which they abandon shortly after laying. However, a few species (such as the king cobra) construct nests and stay in the vicinity of the hatchlings after incubation. Most pythons coil around their egg-clutches and remain with them until they hatch. A female python will not leave the eggs, except to occasionally bask in the sun or drink water. She will even "shiver" to generate heat to incubate the eggs.

 

Some species of snake are ovoviviparous and retain the eggs within their bodies until they are almost ready to hatch. Several species of snake, such as the boa constrictor and green anaconda, are fully viviparous, nourishing their young through a placenta as well as a yolk sac; this is highly unusual among reptiles, and normally found in requiem sharks or placental mammals. Retention of eggs and live birth are most often associated with colder environments.

 

Sexual selection in snakes is demonstrated by the 3,000 species that each use different tactics in acquiring mates. Ritual combat between males for the females they want to mate with includes topping, a behavior exhibited by most viperids in which one male will twist around the vertically elevated fore body of its opponent and force it downward. It is common for neck-biting to occur while the snakes are entwined.

 

Facultative parthenogenesis

Parthenogenesis is a natural form of reproduction in which growth and development of embryos occur without fertilization. Agkistrodon contortrix (copperhead) and Agkistrodon piscivorus (cottonmouth) can reproduce by facultative parthenogenesis, meaning that they are capable of switching from a sexual mode of reproduction to an asexual mode. The most likely type of parthenogenesis to occur is automixis with terminal fusion, a process in which two terminal products from the same meiosis fuse to form a diploid zygote. This process leads to genome-wide homozygosity, expression of deleterious recessive alleles, and often to developmental abnormalities. Both captive-born and wild-born copperheads and cottonmouths appear to be capable of this form of parthenogenesis.

 

Reproduction in squamate reptiles is almost exclusively sexual. Males ordinarily have a ZZ pair of sex-determining chromosomes, and females a ZW pair. However, the Colombian Rainbow boa (Epicrates maurus) can also reproduce by facultative parthenogenesis, resulting in production of WW female progeny. The WW females are likely produced by terminal automixis.

 

Embryonic Development

Snake embryonic development initially follows similar steps as any vertebrate embryo. The snake embryo begins as a zygote, undergoes rapid cell division, forms a germinal disc, also called a blastodisc, then undergoes gastrulation, neurulation, and organogenesis. Cell division and proliferation continues until an early snake embryo develops and the typical body shape of a snake can be observed. Multiple features differentiate the embryologic development of snakes from other vertebrates, two significant factors being the elongation of the body and the lack of limb development.

 

The elongation in snake body is accompanied by a significant increase in vertebra count (mice have 60 vertebrae, whereas snakes may have over 300). This increase in vertebrae is due to an increase in somites during embryogenesis, leading to an increased number of vertebrae which develop. Somites are formed at the presomitic mesoderm due to a set of oscillatory genes that direct the somitogenesis clock. The snake somitogenesis clock operates at a frequency 4 times that of a mouse (after correction for developmental time), creating more somites, and therefore creating more vertebrae. This difference in clock speed is believed to be caused by differences in Lunatic fringe gene expression, a gene involved in the somitogenesis clock.

 

There is ample literature focusing on the limb development/lack of development in snake embryos and the gene expression associated with the different stages. In basal snakes, such as the python, embryos in early development exhibit a hind limb bud that develops with some cartilage and a cartilaginous pelvic element, however this degenerates before hatching. This presence of vestigial development suggests that some snakes are still undergoing hind limb reduction before they are eliminated. There is no evidence in basal snakes of forelimb rudiments and no examples of snake forelimb bud initiation in embryo, so little is known regarding the loss of this trait. Recent studies suggests that hind limb reduction could be due to mutations in enhancers for the SSH gene, however other studies suggested that mutations within the Hox Genes or their enhancers could contribute to snake limblessness. Since multiple studies have found evidence suggesting different genes played a role in the loss of limbs in snakes, it is likely that multiple gene mutations had an additive effect leading to limb loss in snakes.

 

Behavior

Snake coiled on a stick in Oklahoma. It was brumating in a large pile of wood chips, found by this landscaper after he bulldozed the pile in late autumn 2018.

In regions where winters are too cold for snakes to tolerate while remaining active, local species will enter a period of brumation. Unlike hibernation, in which the dormant mammals are actually asleep, brumating reptiles are awake but inactive. Individual snakes may brumate in burrows, under rock piles, or inside fallen trees, or large numbers of snakes may clump together in hibernacula.

 

Feeding and diet

All snakes are strictly carnivorous, preying on small animals including lizards, frogs, other snakes, small mammals, birds, eggs, fish, snails, worms, and insects. Snakes cannot bite or tear their food to pieces so must swallow their prey whole. The eating habits of a snake are largely influenced by body size; smaller snakes eat smaller prey. Juvenile pythons might start out feeding on lizards or mice and graduate to small deer or antelope as an adult, for example.

 

The snake's jaw is a complex structure. Contrary to the popular belief that snakes can dislocate their jaws, they have an extremely flexible lower jaw, the two halves of which are not rigidly attached, and numerous other joints in the skull, which allow the snake to open its mouth wide enough to swallow prey whole, even if it is larger in diameter than the snake itself. For example, the African egg-eating snake has flexible jaws adapted for eating eggs much larger than the diameter of its head.  This snake has no teeth, but does have bony protrusions on the inside edge of its spine, which it uses to break the shell when eating eggs.

 

The majority of snakes eat a variety of prey animals, but there is some specialization in certain species. King cobras and the Australian bandy-bandy consume other snakes. Species of the family Pareidae have more teeth on the right side of their mouths than on the left, as they mostly prey on snails and the shells usually spiral clockwise.

 

Some snakes have a venomous bite, which they use to kill their prey before eating it. Other snakes kill their prey by constriction, while some swallow their prey when it is still alive.

 

After eating, snakes become dormant to allow the process of digestion to take place; this is an intense activity, especially after consumption of large prey. In species that feed only sporadically, the entire intestine enters a reduced state between meals to conserve energy. The digestive system is then 'up-regulated' to full capacity within 48 hours of prey consumption. Being ectothermic ("cold-blooded"), the surrounding temperature plays an important role in the digestion process. The ideal temperature for snakes to digest food is 30 °C (86 °F). There is a huge amount of metabolic energy involved in a snake's digestion, for example the surface body temperature of the South American rattlesnake (Crotalus durissus) increases by as much as 1.2 °C (2.2 °F) during the digestive process. If a snake is disturbed after having eaten recently, it will often regurgitate its prey to be able to escape the perceived threat. When undisturbed, the digestive process is highly efficient; the snake's digestive enzymes dissolve and absorb everything but the prey's hair (or feathers) and claws, which are excreted along with waste.

 

Hooding and spitting

Hooding (expansion of the neck area) is a visual deterrent, mostly seen in cobras (elapids), and is primarily controlled by rib muscles.[98] Hooding can be accompanied by spitting venom towards the threatening object,[99] and producing a specialized sound; hissing. Studies on captive cobras showed that 13 to 22% of the body length is raised during hooding.

 

Locomotion

The lack of limbs does not impede the movement of snakes. They have developed several different modes of locomotion to deal with particular environments. Unlike the gaits of limbed animals, which form a continuum, each mode of snake locomotion is discrete and distinct from the others; transitions between modes are abrupt.

 

Lateral undulation

Lateral undulation is the sole mode of aquatic locomotion, and the most common mode of terrestrial locomotion In this mode, the body of the snake alternately flexes to the left and right, resulting in a series of rearward-moving "waves". While this movement appears rapid, snakes have rarely been documented moving faster than two body-lengths per second, often much less. This mode of movement has the same net cost of transport (calories burned per meter moved) as running in lizards of the same mass.

 

Terrestrial lateral undulation is the most common mode of terrestrial locomotion for most snake species. In this mode, the posteriorly moving waves push against contact points in the environment, such as rocks, twigs, irregularities in the soil, etc. Each of these environmental objects, in turn, generates a reaction force directed forward and towards the midline of the snake, resulting in forward thrust while the lateral components cancel out. The speed of this movement depends upon the density of push-points in the environment, with a medium density of about 8[clarification needed] along the snake's length being ideal. The wave speed is precisely the same as the snake speed, and as a result, every point on the snake's body follows the path of the point ahead of it, allowing snakes to move through very dense vegetation and small openings.

 

When swimming, the waves become larger as they move down the snake's body, and the wave travels backwards faster than the snake moves forwards. Thrust is generated by pushing their body against the water, resulting in the observed slip. In spite of overall similarities, studies show that the pattern of muscle activation is different in aquatic versus terrestrial lateral undulation, which justifies calling them separate modes. All snakes can laterally undulate forward (with backward-moving waves), but only sea snakes have been observed reversing the motion (moving backwards with forward-moving waves).

 

Sidewinding

Most often employed by colubroid snakes (colubrids, elapids, and vipers) when the snake must move in an environment that lacks irregularities to push against (rendering lateral undulation impossible), such as a slick mud flat, or a sand dune, sidewinding is a modified form of lateral undulation in which all of the body segments oriented in one direction remain in contact with the ground, while the other segments are lifted up, resulting in a peculiar "rolling" motion. This mode of locomotion overcomes the slippery nature of sand or mud by pushing off with only static portions on the body, thereby minimizing slipping. The static nature of the contact points can be shown from the tracks of a sidewinding snake, which show each belly scale imprint, without any smearing. This mode of locomotion has very low caloric cost, less than 1⁄3 of the cost for a lizard to move the same distance. Contrary to popular belief, there is no evidence that sidewinding is associated with the sand being hot.

 

Concertina

When push-points are absent, but there is not enough space to use sidewinding because of lateral constraints, such as in tunnels, snakes rely on concertina locomotion. In this mode, the snake braces the posterior portion of its body against the tunnel wall while the front of the snake extends and straightens. The front portion then flexes and forms an anchor point, and the posterior is straightened and pulled forwards. This mode of locomotion is slow and very demanding, up to seven times the cost of laterally undulating over the same distance. This high cost is due to the repeated stops and starts of portions of the body as well as the necessity of using active muscular effort to brace against the tunnel walls.

 

Arboreal

The movement of snakes in arboreal habitats has only recently been studied. While on tree branches, snakes use several modes of locomotion depending on species and bark texture. In general, snakes will use a modified form of concertina locomotion on smooth branches, but will laterally undulate if contact points are available. Snakes move faster on small branches and when contact points are present, in contrast to limbed animals, which do better on large branches with little 'clutter'.

 

Gliding snakes (Chrysopelea) of Southeast Asia launch themselves from branch tips, spreading their ribs and laterally undulating as they glide between trees. These snakes can perform a controlled glide for hundreds of feet depending upon launch altitude and can even turn in midair.

 

Rectilinear

The slowest mode of snake locomotion is rectilinear locomotion, which is also the only one where the snake does not need to bend its body laterally, though it may do so when turning. In this mode, the belly scales are lifted and pulled forward before being placed down and the body pulled over them. Waves of movement and stasis pass posteriorly, resulting in a series of ripples in the skin. The ribs of the snake do not move in this mode of locomotion and this method is most often used by large pythons, boas, and vipers when stalking prey across open ground as the snake's movements are subtle and harder to detect by their prey in this manner.

 

Interactions with humans

Snakes do not ordinarily prey on humans. Unless startled or injured, most snakes prefer to avoid contact and will not attack humans. With the exception of large constrictors, nonvenomous snakes are not a threat to humans. The bite of a nonvenomous snake is usually harmless; their teeth are not adapted for tearing or inflicting a deep puncture wound, but rather grabbing and holding. Although the possibility of infection and tissue damage is present in the bite of a nonvenomous snake, venomous snakes present far greater hazard to humans.  The World Health Organization (WHO) lists snakebite under the "other neglected conditions" category.

 

Documented deaths resulting from snake bites are uncommon. Nonfatal bites from venomous snakes may result in the need for amputation of a limb or part thereof. Of the roughly 725 species of venomous snakes worldwide, only 250 are able to kill a human with one bite. Australia averages only one fatal snake bite per year. In India, 250,000 snakebites are recorded in a single year, with as many as 50,000 recorded initial deaths. The WHO estimates that on the order of 100,000 people die each year as a result of snake bites, and around three times as many amputations and other permanent disabilities are caused by snakebites annually.

 

The treatment for a snakebite is as variable as the bite itself. The most common and effective method is through antivenom (or antivenin), a serum made from the venom of the snake. Some antivenom is species-specific (monovalent) while some is made for use with multiple species in mind (polyvalent). In the United States for example, all species of venomous snakes are pit vipers, with the exception of the coral snake. To produce antivenom, a mixture of the venoms of the different species of rattlesnakes, copperheads, and cottonmouths is injected into the body of a horse in ever-increasing dosages until the horse is immunized. Blood is then extracted from the immunized horse. The serum is separated and further purified and freeze-dried. It is reconstituted with sterile water and becomes antivenom. For this reason, people who are allergic to horses are more likely to have an allergic reaction to antivenom. Antivenom for the more dangerous species (such as mambas, taipans, and cobras) is made in a similar manner in South Africa, Australia , and India, although these antivenoms are species-specific.

 

Snake charmers

In some parts of the world, especially in India, snake charming is a roadside show performed by a charmer. In such a show, the snake charmer carries a basket containing a snake that he seemingly charms by playing tunes with his flutelike musical instrument, to which the snake responds. The snake is in fact responding to the movement of the flute, not the sound it makes, as snakes lack external ears (though they do have internal ears).

 

The Wildlife Protection Act of 1972 in India technically prohibits snake charming on the grounds of reducing animal cruelty. Other types of snake charmers use a snake and mongoose show, where the two animals have a mock fight; however, this is not very common, as the animals may be seriously injured or killed. Snake charming as a profession is dying out in India because of competition from modern forms of entertainment and environment laws proscribing the practice. Many Indians have never seen snake charming and it is becoming a folktale of the past.

 

Trapping

The Irulas tribe of Andhra Pradesh and Tamil Nadu in India have been hunter-gatherers in the hot, dry plains forests, and have practiced the art of snake catching for generations. They have a vast knowledge of snakes in the field. They generally catch the snakes with the help of a simple stick. Earlier, the Irulas caught thousands of snakes for the snake-skin industry. After the complete ban of the snake-skin industry in India and protection of all snakes under the Indian Wildlife (Protection) Act 1972, they formed the Irula Snake Catcher's Cooperative and switched to catching snakes for removal of venom, releasing them in the wild after four extractions. The venom so collected is used for producing life-saving antivenom, biomedical research and for other medicinal products. The Irulas are also known to eat some of the snakes they catch and are very useful in rat extermination in the villages.

 

Despite the existence of snake charmers, there have also been professional snake catchers or wranglers. Modern-day snake trapping involves a herpetologist using a long stick with a V-shaped end. Some television show hosts, like Bill Haast, Austin Stevens, Steve Irwin, and Jeff Corwin, prefer to catch them using bare hands.

 

Consumption

Although snakes are not commonly thought of as food, their consumption is acceptable in some cultures and may even be considered a delicacy. Snake soup is popular in Cantonese cuisine, consumed by locals in the autumn to warm their bodies. Western cultures document the consumption of snakes only under extreme circumstances of hunger, with the exception of cooked rattlesnake meat, which is commonly consumed in Texas and parts of the Midwestern United States.

 

In Asian countries such as China, Taiwan, Thailand, Indonesia, Vietnam, and Cambodia, drinking the blood of a snake—particularly the cobra—is believed to increase sexual virility. When possible, the blood is drained while the cobra is still alive, and it is usually mixed with some form of liquor to improve the taste.

 

The use of snakes in alcohol is accepted in some Asian countries. In such cases, one or more snakes are left to steep in a jar or container of liquor, as this is claimed to make the liquor stronger (as well as more expensive). One example of this is the Habu snake, which is sometimes placed in the Okinawan liqueur Habushu (ハブ酒), also known as "Habu Sake".

 

Snake wine (蛇酒) is an alcoholic beverage produced by infusing whole snakes in rice wine or grain alcohol. First recorded as being consumed in China during the Western Zhou dynasty, this drink is considered an important curative and is believed to reinvigorate a person according to traditional Chinese medicine

 

Pets

In the Western world, some snakes are kept as pets, especially docile species such as the ball python and corn snake. To meet the demand, a captive breeding industry has developed. Snakes bred in captivity are considered preferable to specimens caught in the wild and tend to make better pets. Compared with more traditional types of companion animal, snakes can be very low-maintenance pets; they require minimal space, as most common species do not exceed 5 feet (1.5 m) in length, and can be fed relatively infrequently—usually once every five to 14 days. Certain snakes have a lifespan of more than 40 years if given proper care.

 

Symbolism

In ancient Mesopotamia, Nirah, the messenger god of Ištaran, was represented as a serpent on kudurrus, or boundary stones. Representations of two intertwined serpents are common in Sumerian art and Neo-Sumerian artwork and still appear sporadically on cylinder seals and amulets until as late as the thirteenth century BC. The horned viper (Cerastes cerastes) appears in Kassite and Neo-Assyrian kudurrus and is invoked in Assyrian texts as a magical protective entity. A dragon-like creature with horns, the body and neck of a snake, the forelegs of a lion, and the hind-legs of a bird appears in Mesopotamian art from the Akkadian Period until the Hellenistic Period (323 BC–31 BC). This creature, known in Akkadian as the mušḫuššu, meaning "furious serpent", was used as a symbol for particular deities and also as a general protective emblem. It seems to have originally been the attendant of the Underworld god Ninazu, but later became the attendant to the Hurrian storm-god Tishpak, as well as, later, Ninazu's son Ningishzida, the Babylonian national god Marduk, the scribal god Nabu, and the Assyrian national god Ashur.

 

In Egyptian history, the snake occupies a primary role with the Nile cobra adorning the crown of the pharaoh in ancient times. It was worshipped as one of the gods and was also used for sinister purposes: murder of an adversary and ritual suicide (Cleopatra). The ouroboros was a well-known ancient Egyptian symbol of a serpent swallowing its own tail. The precursor to the ouroboros was the "Many-Faced", a serpent with five heads, who, according to the Amduat, the oldest surviving Book of the Afterlife, was said to coil around the corpse of the sun god Ra protectively. The earliest surviving depiction of a "true" ouroboros comes from the gilded shrines in the tomb of Tutankhamun. In the early centuries AD, the ouroboros was adopted as a symbol by Gnostic Christians and chapter 136 of the Pistis Sophia, an early Gnostic text, describes "a great dragon whose tail is in its mouth". In medieval alchemy, the ouroboros became a typical western dragon with wings, legs, and a tail.

 

In the Bible, King Nahash of Ammon, whose name means "Snake", is depicted very negatively, as a particularly cruel and despicable enemy of the ancient Hebrews.

 

The ancient Greeks used the Gorgoneion, a depiction of a hideous face with serpents for hair, as an apotropaic symbol to ward off evil. In a Greek myth described by Pseudo-Apollodorus in his Bibliotheca, Medusa was a Gorgon with serpents for hair whose gaze turned all those who looked at her to stone and was slain by the hero Perseus. In the Roman poet Ovid's Metamorphoses, Medusa is said to have once been a beautiful priestess of Athena, whom Athena turned into a serpent-haired monster after she was raped by the god Poseidon in Athena's temple. In another myth referenced by the Boeotian poet Hesiod and described in detail by Pseudo-Apollodorus, the hero Heracles is said to have slain the Lernaean Hydra, a multiple-headed serpent which dwelt in the swamps of Lerna.

 

The legendary account of the foundation of Thebes mentioned a monster snake guarding the spring from which the new settlement was to draw its water. In fighting and killing the snake, the companions of the founder Cadmus all perished – leading to the term "Cadmean victory" (i.e. a victory involving one's own ruin).

 

Three medical symbols involving snakes that are still used today are Bowl of Hygieia, symbolizing pharmacy, and the Caduceus and Rod of Asclepius, which are symbols denoting medicine in general.

 

One of the etymologies proposed for the common female first name Linda is that it might derive from Old German Lindi or Linda, meaning a serpent.

 

India is often called the land of snakes and is steeped in tradition regarding snakes. Snakes are worshipped as gods even today with many women pouring milk on snake pits (despite snakes' aversion for milk). The cobra is seen on the neck of Shiva and Vishnu is depicted often as sleeping on a seven-headed snake or within the coils of a serpent. There are also several temples in India solely for cobras sometimes called Nagraj (King of Snakes) and it is believed that snakes are symbols of fertility. There is a Hindu festival called Nag Panchami each year on which day snakes are venerated and prayed to. See also Nāga.

 

In India there is another mythology about snakes. Commonly known in Hindi as "Ichchhadhari" snakes. Such snakes can take the form of any living creature, but prefer human form. These mythical snakes possess a valuable gem called "Mani", which is more brilliant than diamond. There are many stories in India about greedy people trying to possess this gem and ending up getting killed.

 

The snake is one of the 12 celestial animals of Chinese zodiac, in the Chinese calendar.

 

Many ancient Peruvian cultures worshipped nature. They emphasized animals and often depicted snakes in their art.

 

Religion

Snakes are used in Hinduism as a part of ritual worship. In the annual Nag Panchami festival, participants worship either live cobras or images of Nāgas. Lord Shiva is depicted in most images with a snake coiled around his neck. Puranic literature includes various stories associated with snakes, for example Shesha is said to hold all the planets of the Universe on his hoods and to constantly sing the glories of Vishnu from all his mouths. Other notable snakes in Hinduism are Vasuki, Takshaka, Karkotaka, and Pingala. The term Nāga is used to refer to entities that take the form of large snakes in Hinduism and Buddhism.

 

Snakes have been widely revered in many cultures, such as in ancient Greece where the serpent was seen as a healer.[148] Asclepius carried a serpent wound around his wand, a symbol seen today on many ambulances. In Judaism, the snake of brass is also a symbol of healing, of one's life being saved from imminent death.

 

In religious terms, the snake and jaguar were arguably the most important animals in ancient Mesoamerica. "In states of ecstasy, lords dance a serpent dance; great descending snakes adorn and support buildings from Chichen Itza to Tenochtitlan, and the Nahuatl word coatl meaning serpent or twin, forms part of primary deities such as Mixcoatl, Quetzalcoatl, and Coatlicue." In the Maya and Aztec calendars, the fifth day of the week was known as Snake Day.

 

In some parts of Christianity, the redemptive work of Jesus Christ is compared to saving one's life through beholding the Nehushtan (serpent of brass). Snake handlers use snakes as an integral part of church worship, to demonstrate their faith in divine protection. However, more commonly in Christianity, the serpent has been depicted as a representative of evil and sly plotting, as seen in the description in Genesis of a snake tempting Eve in the Garden of Eden. Saint Patrick is purported to have expelled all snakes from Ireland while converting the country to Christianity in the 5th century, thus explaining the absence of snakes there.

 

In Christianity and Judaism, the snake makes its infamous appearance in the first book of the Bible when a serpent appears before Adam and Eve and tempts them with the forbidden fruit from the Tree of Knowledge. The snake returns in the Book of Exodus when Moses turns his staff into a snake as a sign of God's power, and later when he makes the Nehushtan, a bronze snake on a pole that when looked at cured the people of bites from the snakes that plagued them in the desert. The serpent makes its final appearance symbolizing Satan in the Book of Revelation: "And he laid hold on the dragon the old serpent, which is the devil and Satan, and bound him for a thousand years."

 

In Neo-Paganism and Wicca, the snake is seen as a symbol of wisdom and knowledge. Additionally, snakes are sometimes associated with Hecate, the Greek goddess of witchcraft.

 

Medicine

Several compounds from snake venoms are being researched as potential treatments or preventatives for pain, cancers, arthritis, stroke, heart disease, hemophilia, and hypertension, and to control bleeding (e.g. during surgery).

in manhattan, green is nonexistent aside from the parks.Now the High line has an artistic green space, surrealistically thin.

 

its probably for the shape & color, and not more.

 

Las Vegas International Lingerie Fashion Show

 

Right click link. Select "Open in New Window"

 

www.youtube.com/watch?v=GGPAv4TzBlc

 

this is all so shameful and downright evil ("like walking through hell") - i just had to bring attention to it. enjoy!

I took that image @ "Santa's Enchanted Forest"

Miami, Florida, USA.

December 26th/2009

 

Nikon D 5000

 

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Isaiah 9:6 (New International Version, ©2010)

 

For to us a child is born,

to us a son is given,

and the government will be on his shoulders.

And he will be called

Wonderful Counselor, Mighty God,

Everlasting Father, Prince of Peace.

 

The Real Meaning of Christmas

 

A Bethlehem Grotto from The First Christmas

by Dr. Paul L. Maier

  

While they were there, the time came for her to deliver her child. And she gave birth to her firstborn son and wrapped him in bands of cloth, and laid him in a manger, because there was no place for them in the inn. Luke 2:6-7

 

Some critics doubt that Jesus was born in Bethlehem and argue instead for Nazareth or elsewhere. Such opinions, however, are based only on scholarly conjecture, and no source has been discovered to date that disproves Jesus' birth in Bethlehem.

 

It is almost certain that Joseph and Mary reached Bethlehem in the late afternoon or early evening. Had they arrived earlier, lodging would not have been so difficult to find, although Bethlehem would have been crowded enough with the many descendants of King David returning to register at their ancestral home.

 

The picture of Joseph going from door to door, desperately begging shelter because Mary was in labor, has always struck a poignant chord amid the joy wreathing the rest of the Christmas story. And the nameless innkeeper who refused them refuge is usually associated with Judas Iscariot in the popular mind. But probably he - or was it his sympathetic wife? - remembered the cave behind the inn, where animals were sheltered, and he threw it open to the hapless couple. The hills around Bethlehem are perforated with such caverns, and they are still used to shelter cattle and sheep. Grateful for any refuge in the crisis of his wife's birth pangs, Joseph carefully led the donkey and its precious burden down a steep path behind the caravansary to the cave below it.

 

From all accounts of the Nativity, it seems that no one assisted Mary at the birth of Jesus - not even Joseph, for husbands were not to play the role of midwives. Self-delivery was by no means uncommon at the time. The women of Palestine, unlike neighboring mothers, prided themselves on delivering their babies rather easily and were quite able to take care of themselves in the absence of a midwife, though physicians and midwives were also regularly used. Luke simply relates that Mary gave birth to her firstborn son, wrapped him in bands of swaddling cloth, and laid him in a feeding trough, which must have had the sweetish, grainy smell of hay, barley, and oats.

 

And so the incredible paradox happened at Bethlehem: history's greatest figure was born, not in a palace or mansion, but in a cavern-stable. For Joseph and Mary, the holiest moment of all must have come before the shepherds paid their famous visit as they gazed at the extraordinary baby whose mission even they could scarcely comprehend. Small wonder that this has been the most familiar scene in all the florid history of art. Each generation, each school has attempted to portray the Nativity, with backgrounds ranging from Oriental to Italian to Flemish, and yet the tableau of the Holy Family in the Bethlehem grotto has remained an unconquered artistic challenge.

 

There is evidence that someone in Bethlehem relented and offered more normal accommodations to Joseph, Mary, and the newborn Jesus. For by the time the Wise Men arrived to present their gifts, the Holy Family seems to have been living in a "house" (Matt. 2:11). Or, as happens on any vacation trip today, the motel vacancies that are nonexistent on the night of arrival because the traveler failed to call ahead for reservations quickly materialize the next day.

 

All Bethlehem must have rustled with news about "that poor girl from Galilee" who had no sooner arrived in town than she bore a child, since the shepherds and, later, the Magi had no trouble finding the Holy Family. Clearly, they must have been directed by the townspeople.

 

Jesus' birth in this particular town had vast implications for the people of Palestine. Bethlehem, which means "House of Bread," was not only the setting for the story of Ruth, but it became the birthplace of David, and here the prophet Samuel anointed him King. Later it became the expected birthplace of that great "Son of David," or "Messiah," who was supposed to liberate the land from foreign control. It was no accident that over in Jerusalem, King Herod's priests came up with Bethlehem as the logical place to send the Wise Men for any newborn Christ, the Greek translation for the Hebrew Messiah.

 

(are nonexistent, there's only hunny bunny Thumper)

 

I was gonna put Darcy in the photo too, but I accidentally whacked his face with his mask and it left a tiny mark so I was all Σ(ﾟДﾟ|||) HEARTBROKEN for a bit.

 

Happy Halloween, everyone! The scariest thing I've heard today is that exams are a week away. \o/

....Here we are, standing at a door step of peace.

A war in which difference between a soldier and a civilian were nonexistent is now over.

This day, the 25th of September 2023 will be remembered as begging of a new age of humanity......

 

Overview without the car

 

Check out the full gallery: www.flickr.com/photos/angelo_s/sets/72157630763011096/

 

My newest MOC, I think it is the first time I do something bigger related to modern military theme.

 

I don't have nothing much to say, about the creation, I just hope you enjoy it ;)

 

Every comment and fave is highly appreciated, so don't be shy!

WEEK 25 – Southaven Walmart, 2015 Remodel (III)

 

Zoomed out to take a more overview-style shot of both the pharmacy box and its adjoining waiting area, alongside the hanging Cheap Impact-style “Pharmacy” sign above the department. Note that the pharmacy got wood-style flooring just like apparel: an unusual move for Walmart, but probably done to differentiate it better from the tiled actionway here (whereas that problem is nonexistent when the pharmacy is in its usual spot in the front of the store).

 

According to l_dawg2000, the pharmacy here indeed used to be in that more typical spot, but was relocated over here in the major 2009 Project Impact remodel this store got – i.e., the one that gave the store the original version of Impact, not this flat 2015 stuff. While Walmart would go on to ditch this effort and return the pharmacy to its usual spot in later new-builds, a standalone pharmacy box like this is nonetheless not super uncommon to find out there in the wild – certainly not as much as the fabled “restaurant-in-the-back” that this Southaven store also had for so long.

 

(c) 2021 Retail Retell

These places are public so these photos are too, but just as I tell where they came from, I'd appreciate if you'd say who :)

 

Blue Reincarnation Narcissus by Jaisini

  

The theme of Narcissus in Paul Jaisini’s “Blue…” may be paralleled with the problem of the two-sexes-in-one, unable to reproduce and, therefore, destined to the Narcissus-like end. Meanwhile, the Narcissus legend lasts.

  

In the myth of Narcissus a youth gazes into the pool. As the story goes, Narcissus came to the spring or the pool and when his form was seen by him in the water, he drowned among the water-nymphs because he desired to make love to his own image.

  

Maybe the new Narcissus, as in “Blue Reincarnation,” is destined to survive by simply changing his role from a passive man to an aggressive woman and so on. To this can be added that, eventually, a man creates a woman whom he loves out of himself or a woman creates a man and loves her own image but in the male form. The theme of narcissism recreates the ‘lost object of desire.’ “Blue” also raises the problem of conflating ideal actual and the issue of the feminine manhood and masculine femininity.

  

There is another story about Narcissus’ fall which said that he had a twin sister and they were exactly alike in appearance. Narcissus fell in love with his sister and, when the girl died, would go to the spring finding some relief for his love in imagining that he saw not his own reflection but the likeness of his sister. “Blue” creates a remarkable and complex psychopathology of the lost, the desired, and the imagined. Instead of the self, Narcissus loves and becomes a heterogeneous sublimation of the self. Unlike the Roman paintings of Narcissus which show him alone with his reflection by the pool, the key dynamic in the Jaisini’s “Blue” is the circulation of the legend that does not end and is reincarnated in transformation when auto-eroticism is not permanent and is not single by the definition.

  

In “Blue,” we risk being lost in the double reflection of a mirror and never being able to define on which side of the mirror Narcissus is. The picture’s color is not a true color of spring water. This kind of color is a perception of a deep seated human belief in the concept of eternity, the rich saturated cobalt blue.

  

The ultra-hot, hyper-real red color of the figure of Narcissus is not supposed to be balanced in the milieu of the radical blue. Paul Jaisini realizes the harmony in the most exotic colors combination. While looking at “Blue,” we can recall the spectacular color of night sky deranged by a vision of some fierce fire ball. The disturbance of colors create some powerful and awe-inspiring beauty.

  

In the picture’s background, we find the animals’ silhouettes which could be a memory reflection or dream fragments. In the story, Narcissus has been hunting - an activity that was itself a figure for sexual desire in antiquity. Captivated by his own beauty, the hunter sheds a radiance that, one presumes, reflects to haunt and foster his desire. The flaming color of the picture’s Narcissus alludes to the erotic implications of the story and its unresolved problem of the one who desires himself and is trapped in the erotic delirium. The concept can be applied to an ontological difference between the artist’s imitations and their objects. In effect, The Jaisini’s Narcissus could epitomize artistic aspiration to the control levels of reality and imagination, to align the competition of art and life, of image with imaginable prototype.

  

Paul Jaisini’s “Blue” is a unique work that adjoins the reflection to reality without any instrumentality. “Blue” is a single composition that depicts the reality and its immediate reflection. Jaisini builds the dynamics of the desire between Narcissus and his reflection-of-the-opposite by giving him the signs of both sexes, but not for the purpose of creating a hermaphrodite. The case of multiple deceptions in “Blue” seems to be vital to the cycle of desire. Somehow it reminds one of the fate of the artists and their desperate attempts to evoke and invent the nonexistent.

  

“Blue” is a completely alien picture to Jaisini’s “Reincarnation” series. The pictures of the series are painted on a plain ground of canvas that produces the effect of free space filled with air. “Blue,” to the contrary, is reminiscent of an underwater lack of air; the symbolic meanings of this picture’s texture and color contributes to the mirage of reincarnation.

  

“Blue Reincarnation” (Oil painting) by Paul Jaisini

New York 2002, Text Copyright: Yustas Kotz-Gottlieb

ALL RIGHTS RESERVED

  

www.fwhc.org/poems/blue-reincarnation.htm

SET 1 – West Point Wal-Mart

 

With this style of Wal-Mart signage so rare these days – heck, practically nonexistent, really – naturally I made sure to photograph it to the best of my ability. This shot is a super straight-on close-crop, and while it might be a bit much, I’d rather have it than not, lol.

 

I always liked the etchwork (?) on the WAL-MART lettering, and I liked seeing the SUPERCENTER lettering below that as well, although I’ve gotta admit, it would look more at home to me in the color yellow, haha. Also, I hate to burst anyone’s bubble on this if this is one of those things you won’t be able to unsee after I point it out, but… that “S” in “Supercenter” was installed incorrectly :/ An amazingly common mistake for any signs that contain the letter S, I tell ya…

 

Note also that a slightly different font was chosen for the word “Supercenter” from what’s shown in that linked image: I think that was a change that was made only in the last few years of this logo’s existence, prior to the switchover to the spark logo, condensed wordmark, and elimination of the Supercenter name.

 

(c) 2022 Retail Retell

These places are public so these photos are too, but just as I tell where they came from, I'd appreciate if you'd say who :)

 

Australian magpie (Gymnorhina tibicen)

 

The Australian magpie (Gymnorhina tibicen) is a medium-sized black and white passerine bird native to Australia and southern New Guinea. Although once considered to be three separate species, it is now considered to be one, with nine recognised subspecies. A member of the Artamidae, the Australian magpie is placed in its own genus Gymnorhina and is most closely related to the black butcherbird (Melloria quoyi). It is not, however, closely related to the European magpie, which is a corvid.

 

The adult Australian magpie is a fairly robust bird ranging from 37 to 43 cm (14.5 to 17 in) in length, with distinctive black and white plumage, gold brown eyes and a solid wedge-shaped bluish-white and black bill. The male and female are similar in appearance, and can be distinguished by differences in back markings. The male has pure white feathers on the back of the head and the female has white blending to grey feathers on the back of the head. With its long legs, the Australian magpie walks rather than waddles or hops and spends much time on the ground.

 

Described as one of Australia's most accomplished songbirds, the Australian magpie has an array of complex vocalisations. It is omnivorous, with the bulk of its varied diet made up of invertebrates. It is generally sedentary and territorial throughout its range. Common and widespread, it has adapted well to human habitation and is a familiar bird of parks, gardens and farmland in Australia and New Guinea. This species is commonly fed by households around the country, but in spring a small minority of breeding magpies (almost always males) become aggressive and swoop and attack those who approach their nests.

Over 1000 Australian magpies were introduced into New Zealand from 1864 to 1874 but have subsequently been accused of displacing native birds and are now treated as a pest species. Introductions also occurred in the Solomon Islands and Fiji, where the birds are not considered an invasive species. The Australian magpie is the mascot of several Australian sporting teams, most notably the Collingwood Magpies, the Western Suburbs Magpies and Port Adelaide Magpies.

  

Taxonomy

 

The Australian magpie was first described by English ornithologist John Latham in 1801 as Coracias tibicen, the type collected in the Port Jackson region. Its specific epithet derived from the Latintibicen "flute-player" or "piper" in reference to the bird's melodious call. An early recorded vernacular name is piping poller, written on a painting by Thomas Watling, one of a group known collectively as the Port Jackson Painter, sometime between 1788 and 1792. Tarra-won-nang, or djarrawunang, wibung, and marriyang were names used by the local Eora and Darug inhabitants of the Sydney Basin. Booroogong and garoogong were Wiradjuri words, and carrak was a Jardwadjali term from Victoria. Among the Kamilaroi, it is burrugaabu, galalu, or guluu. It was known as Warndurla among the Yindjibarndi people of the central and western Pilbara. Other names used include piping crow-shrike, piper, maggie, flute-bird and organ-bird. The term bell-magpie was proposed to help distinguish it from the European magpie but failed to gain wide acceptance.

 

The bird was named for its similarity in colouration to the European magpie; it was a common practice for early settlers to name plants and animals after European counterparts. However, the European magpie is a member of the Corvidae, while its Australian counterpart is placed in the family Artamidae (although both are members of a broad corvid lineage). The Australian magpie's affinities with butcherbirds and currawongs were recognised early on and the three genera were placed in the family Cracticidae in 1914 by John Albert Leach after he had studied their musculature. American ornithologists Charles Sibley and Jon Ahlquist recognised the close relationship between woodswallows and the butcherbirds in 1985, and combined them into a Cracticini clade, in the Artamidae. The Australian magpie is placed in its own monotypic genus Gymnorhina which was introduced by the English zoologist George Robert Gray in 1840. The name of the genus is from the Ancient Greek gumnos for "naked" or "bare" and rhis, rhinos "nostrils". Some authorities such as Glen Storr in 1952 and Leslie Christidis and Walter Boles in their 2008 checklist, have placed the Australian magpie in the butcherbird genus Cracticus, arguing that its adaptation to ground-living is not enough to consider it a separate genus. A molecular genetic study published in a 2013 showed that the Australian magpie is a sister taxon to the black butcherbird (Melloria quoyi) and that the two species are in turn sister to a clade that includes the other butcherbirds in the genus Cracticus. The ancestor to the two species is thought to have split from the other butcherbirds between 8.3 and 4.2 million years ago, during the late Miocene to early Pliocene, while the two species themselves diverged sometime during the Pliocene (5.8–3.0 million years ago).

The Australian magpie was subdivided into three species in the literature for much of the twentieth century—the black-backed magpie (G. tibicen), the white-backed magpie (G. hypoleuca), and the western magpie (G. dorsalis). They were later noted to hybridise readily where their territories crossed, with hybrid grey or striped-backed magpies being quite common. This resulted in them being reclassified as one species by Julian Ford in 1969, with most recent authors following suit.

  

Subspecies

 

There are currently thought to be nine subspecies of the Australian magpie, although there are large zones of overlap with intermediate forms between the taxa. There is a tendency for birds to become larger with increasing latitude, the southern subspecies being larger than those further north, except the Tasmanian form which is small.[26] The original form, known as the black-backed magpie and classified as Gymnorhina tibicen, has been split into four black-backed races:

•G. tibicen tibicen, the nominate form, is a large subspecies found in southeastern Queensland, from the vicinity of Moreton Bay through eastern New South Wales to Moruya, New South Wales almost to the Victorian border. It is coastal or near-coastal and is restricted to east of the Great Dividing Range.

 

•G. tibicen terraereginae, found from Cape York and the Gulf Country southwards across Queenslandto the coast between Halifax Bay in the north and south to the Mary River, and central and western New South Wales and into northern South Australia, is a small to medium-sized subspecies. The plumage is the same as that of subspecies tibicen, although the female has a shorter black tip to the tail. The wings and tarsus are shorter and the bill proportionally longer. It was originally described by Gregory Mathews in 1912, its subspecies name a Latin translation, terra "land" reginae "queen's" of "Queensland". Hybridisation with the large white-backed subspecies tyrannica occurs in northern Victoria and southeastern New South Wales; intermediate forms have black bands of varying sizes in white-backed area. Three-way hybridisation occurs between Bega and Batemans Bay on the New South Wales south coast.

 

•G. tibicen eylandtensis, the Top End magpie, is found from the Kimberley in northern Western Australia, across the Northern Territory through Arnhem Land and Groote Eylandt and into the Gulf Country. It is a small subspecies with a long and thinner bill, with birds of Groote Eylandt possibly even smaller than mainland birds. It has a narrow black terminal tailband, and a narrow black band; the male has a large white nape, the female pale grey. This form was initially described by H. L. White in 1922. It intergrades with subspecies terraereginae southeast of the Gulf of Carpentaria.

 

•G. tibicen longirostris, the long-billed magpie, is found across northern Western Australia, from Shark Bay into the Pilbara. Named in 1903 by Alex Milligan, it is a medium-sized subspecies with a long thin bill. Milligan speculated the bill may have been adapted for the local conditions, slim fare meaning the birds had to pick at dangerous scorpions and spiders. There is a broad area of hybridisation with the western dorsalis in southern central Western Australia from Shark Bay south to the Murchison River and east to the Great Victoria Desert.

  

The white-backed magpie, originally described as Gymnorhina hypoleuca by John Gould in 1837, has also been split into races:

 

•G. tibicen tyrannica, a very large white-backed form found from Twofold Bay on the New South Wales far south coast, across southern Victoria south of the Great Dividing Range through to the Coorong in southeastern South Australia. It was first described by Schodde and Mason in 1999. It has a broad black tail band.

 

•G. tibicen telonocua, found from Cowell south into the Eyre and Yorke Peninsulas in southern South Australia, as well as the southwestern Gawler Ranges. Described by Schodde and Mason in 1999, its subspecific name is an anagram of leuconota "white-backed". It is very similar to tyrannica, differing in having a shorter wing and being lighter and smaller overall. The bill is relatively short compared with other magpie subspecies. Intermediate forms are found in the Mount Lofty Ranges and on Kangaroo Island.

  

•G. tibicen hypoleuca now refers to a small white-backed subspecies with a short compact bill and short wings, found on King and Flinders Islands, as well as Tasmania.

 

•The western magpie, G. tibicen dorsalis was originally described as a separate species by A. J. Campbell in 1895 and is found in the fertile south-west corner of Western Australia. The adult male has a white back and most closely resembles subspecies telonocua, though it is a little larger with a longer bill and the black tip of its tail plumage is narrower. The female is unusual in that it has a scalloped black or brownish-black mantle and back; the dark feathers there are edged with white. This area appears a more uniform black as the plumage ages and the edges are worn away. Both sexes have black thighs.

 

•The New Guinean magpie, G. tibicen papuana, is a little-known subspecies found in southern New Guinea. The adult male has a mostly white back with a narrow black stripe, and the female a blackish back; the black feathers here are tipped with white similar to subspecies dorsalis. It has a long deep bill resembling that of subspecies longirostris. Genetically it is closely related to a western lineage of Australian magpies comprising subspecies dorsalis, longirostris and eylandtensis, suggesting their ancestors occupied in savannah country that was a land bridge between New Guinea and Australia and was submerged around 16,500 years ago.

  

Description

 

The adult magpie is a fairly solid, sturdy bird ranging from 37 to 43 cm (14.5 to 17 in) in length with a 65–85 cm (25.5–33.5 in) wingspan, and weighing 220–350 g (7.8–12.3 oz). Its robust wedge-shaped bill is bluish-white bordered with black, with a small hook at the tip. The black legs are long and strong. The plumage is pure glossy black and white; both sexes of all subspecies have black heads, wings and underparts with white shoulders. The tail has a black terminal band. The nape is white in the male and light greyish-white in the female. Mature magpies have dull red eyes, in contrast to the yellow eyes of currawongs and white eyes of Australian ravens and crows. The main difference between the subspecies lies in the "saddle" markings on the back below the nape. Black-backed subspecies have a black saddle and white nape. White-backed subspecies have a wholly white nape and saddle. The male Western Australian subspecies dorsalis is also white-backed, but the equivalent area in the female is scalloped black.

Juveniles have lighter greys and browns amidst the starker blacks and whites of their plumage; two- or three-year-old birds of both sexes closely resemble and are difficult to distinguish from adult females. Immature birds have dark brownish eyes until around two years of age. Australian magpies generally live to around 25 years of age, though ages of up to 30 years have been recorded. The reported age of first breeding has varied according to area, but the average is between the ages of three and five years.

Well-known and easily recognisable, the Australian magpie is unlikely to be confused with any other species. The pied butcherbird has a similar build and plumage, but has white underparts unlike the former species' black underparts. The magpie-lark is a much smaller and more delicate bird with complex and very different banded black and white plumage. Currawong species have predominantly dark plumage and heavier bills.

 

Vocalisation

 

One of Australia's most highly regarded songbirds, the Australian magpie has a wide variety of calls, many of which are complex. Pitch may vary as much as four octaves, and the bird can mimic over 35 species of native and introduced bird species, as well as dogs and horses. Magpies have even been noted to mimic human speech when living in close proximity to humans. Its complex, musical, warbling call is one of the most familiar Australian bird sounds. In Denis Glover's poem "The Magpies", the mature magpie's call is described as quardle oodle ardle wardle doodle, one of the most famous lines in New Zealand poetry, and as waddle giggle gargle paddle poodle, in the children's book Waddle Giggle Gargle by Pamela Allen.

 

When alone, a magpie may make a quiet musical warbling; these complex melodious warbles or subsongs are pitched at 2–4 KHz and do not carry for long distances. These songs have been recorded up to 70 minutes in duration and are more frequent after the end of the breeding season. Pairs of magpies often take up a loud musical calling known as carolling to advertise or defend their territory; one bird initiates the call with the second (and sometimes more) joining in. Often preceded by warbling, carolling is pitched between 6 and 8 kHz and has 4–5 elements with slurring indistinct noise in between. Birds will adopt a specific posture by tilting their heads back, expanding their chests, and moving their wings backwards. A group of magpies will sing a short repetitive version of carolling just before dawn (dawn song), and at twilight after sundown (dusk song), in winter and spring.

 

Fledgling and juvenile magpies emit a repeated short and loud (80 dB), high-pitched (8 kHz) begging call. Magpies may indulge in beak-clapping to warn other species of birds.They employ several high pitched (8–10 kHz) alarm or rallying calls when intruders or threats are spotted. Distinct calls have been recorded for the approach of eagles and monitor lizards.

 

Distribution and habitat

 

The Australian magpie is found in the Trans-Fly region of southern New Guinea, between the Oriomo River and Muli Strait, and across most of Australia, bar the tip of Cape York, the Gibson and Great Sandy Deserts, and southwest of Tasmania. Birds taken mainly from Tasmania and Victoria were introduced into New Zealand by local Acclimatisation Societies of Otago and Canterbury in the 1860s, with the Wellington Acclimatisation Society releasing 260 birds in 1874. White-backed forms are spread on both the North and eastern South Island, while black-backed forms are found in the Hawke's Bay region. Magpies were introduced into New Zealand to control agricultural pests, and were therefore a protected species until 1951. They are thought to affect native New Zealand bird populations such as the tui and kereru, sometimes raiding nests for eggs and nestlings, although studies by Waikato University have cast doubt on this, and much blame on the magpie as a predator in the past has been anecdotal only. Introductions also occurred in the Solomon Islands and Sri Lanka, although the species has failed to become established. It has become established in western Taveuni in Fiji, however.

 

The Australian magpie prefers open areas such as grassland, fields and residential areas such as parks, gardens, golf courses, and streets, with scattered trees or forest nearby. Birds nest and shelter in trees but forage mainly on the ground in these open areas. It has also been recorded in mature pine plantations; birds only occupy rainforest and wet sclerophyll forest in the vicinity of cleared areas. In general, evidence suggests the range and population of the Australian magpie has increased with land-clearing, although local declines in Queensland due to a 1902 drought, and in Tasmania in the 1930s have been noted; the cause for the latter is unclear but rabbit baiting, pine tree removal, and spread of the masked lapwing (Vanellus miles) have been implicated.

 

Behaviour

 

The Australian magpie is almost exclusively diurnal, although it may call into the night, like some other members of the Artamidae. Natural predators of magpies include various species of monitor lizard and the barking owl. Birds are often killed on roads or electrocuted by powerlines, or poisoned after killing and eating house sparrows or mice, rats or rabbits targeted with baiting. The Australian raven may take nestlings left unattended.

 

On the ground, the Australian magpie moves around by walking, and is the only member of the Artamidae to do so; woodswallows, butcherbirds and currawongs all tend to hop with legs parallel. The magpie has a short femur (thigh bone), and long lower leg below the knee, suited to walking rather than running, although birds can run in short bursts when hunting prey.

 

The magpie is generally sedentary and territorial throughout its range, living in groups occupying a territory, or in flocks or fringe groups. A group may occupy and defend the same territory for many years. Much energy is spent defending a territory from intruders, particularly other magpies, and different behaviours are seen with different opponents. The sight of a raptor results in a rallying call by sentinel birds and subsequent coordinated mobbing of the intruder. Magpies place themselves either side of the bird of prey so that it will be attacked from behind should it strike a defender, and harass and drive the raptor to some distance beyond the territory. A group will use carolling as a signal to advertise ownership and warn off other magpies. In the negotiating display, the one or two dominant magpies parade along the border of the defended territory while the rest of the group stand back a little and look on. The leaders may fluff their feathers or caroll repeatedly. In a group strength display, employed if both the opposing and defending groups are of roughly equal numbers, all magpies will fly and form a row at the border of the territory. The defending group may also resort to an aerial display where the dominant magpies, or sometimes the whole group, swoop and dive while calling to warn an intruding magpie's group.

 

A wide variety of displays are seen, with aggressive behaviours outnumbering pro-social ones. Crouching low and uttering quiet begging calls are common signs of submission. The manus flutter is a submissive display where a magpie will flutter its primary feathers in its wings. A magpie, particularly a juvenile, may also fall, roll over on its back and expose its underparts. Birds may fluff up their flank feathers as an aggressive display or preceding an attack. Young birds display various forms of play behaviour, either by themselves or in groups, with older birds often initiating the proceedings with juveniles. These may involve picking up, manipulating or tugging at various objects such as sticks, rocks or bits of wire, and handing them to other birds. A bird may pick up a feather or leaf and flying off with it, with other birds pursuing and attempting to bring down the leader by latching onto its tail feathers. Birds may jump on each other and even engage in mock fighting. Play may even take place with other species such as blue-faced honeyeaters and Australasian pipits.

 

Breeding

 

Magpies have a long breeding season which varies in different parts of the country; in northern parts of Australia they will breed between June and September, but not commence until August or September in cooler regions, and may continue until January in some alpine areas. The nest is a bowl-shaped structure made of sticks and lined with softer material such as grass and bark. Near human habitation, synthetic material may be incorporated. Nests are built exclusively by females and generally placed high up in a tree fork, often in an exposed position. The trees used are most commonly eucalypts, although a variety of other native trees as well as introduced pine, Crataegus, and elm have been recorded. Other bird species, such as the yellow-rumped thornbill (Acanthiza chrysorrhoa), willie wagtail(Rhipidura leucophrys), southern whiteface (Aphelocephala leucopsis), and (less commonly) noisy miner (Manorina melanocephala), often nest in the same tree as the magpie. The first two species may even locate their nest directly beneath a magpie nest, while the diminutive striated pardalote (Pardalotus striatus) has been known to make a burrow for breeding into the base of the magpie nest itself. These incursions are all tolerated by the magpies. The channel-billed cuckoo (Scythrops novaehollandiae) is a notable brood parasite in eastern Australia; magpies will raise cuckoo young, which eventually outcompete the magpie nestlings.

 

The Australian magpie produces a clutch of two to five light blue or greenish eggs, which are oval in shape and about 30 by 40 mm (1.2 by 1.6 in). The chicks hatch synchronously around 20 days after incubation begins; like all passerines, the chicks are altricial—they are born pink, naked, and blind with large feet, a short broad beak and a bright red throat. Their eyes are fully open at around 10 days. Chicks develop fine downy feathers on their head, back and wings in the first week, and pinfeathers in the second week. The black and white colouration is noticeable from an early stage. Nestlings are fed exclusively by the female, though the male magpie will feed his partner. The Australian magpie is known to engage in cooperative breeding, and helper birds will assist in feeding and raising young. This does vary from region to region, and with the size of the group—the behaviour is rare or nonexistent in pairs or small groups.

 

Juvenile magpies begin foraging on their own three weeks after leaving the nest, and mostly feeding themselves by six months old. Some birds continue begging for food until eight or nine months of age, but are usually ignored. Birds reach adult size by their first year. The age at which young birds disperse varies across the country, and depends on the aggressiveness of the dominant adult of the corresponding sex; males are usually evicted at a younger age. Many leave at around a year old, but the age of departure may range from eight months to four years.

 

Feeding

 

The Australian magpie is omnivorous, eating various items located at or near ground level including invertebrates such as earthworms, millipedes, snails, spiders and scorpions as well as a wide variety of insects—cockroaches, ants, beetles, cicadas, moths and caterpillars and other larvae. Insects, including large adult grasshoppers, may be seized mid-flight. Skinks, frogs, mice and other small animals as well as grain, tubers, figs and walnuts have also been noted as components of their diet. It has even learnt to safely eat the poisonous cane toadby flipping it over and consuming the underparts. Predominantly a ground feeder, the Australian magpie paces open areas methodically searching for insects and their larvae. One study showed birds were able to find scarab beetle larvae by sound or vibration. Birds use their bills to probe into the earth or otherwise overturn debris in search of food. Smaller prey are swallowed whole, although magpies rub off the stingers of bees and wasps before swallowing.

 

Relationship with humans

 

Swooping

 

Magpies are ubiquitous in urban areas all over Australia, and have become accustomed to people. A small percentage of birds become highly aggressive during breeding season from late August to early - mid October, and will swoop and sometimes attack passersby. Attacks begin as the eggs hatch, increase in frequency and severity as the chicks grow, and tail off as the chicks leave the nest.

 

The percentage has been difficult to estimate but is significantly less than 9%. Almost all attacking birds (around 99%) are male, and they are generally known to attack pedestrians at around 50 m (160 ft) from their nest, and cyclists at around 100 m (330 ft). There appears to be some specificity in choice of attack targets, with the majority of individuals specializing on either pedestrians or cyclists.Smaller - especially younger - people, lone people, and people travelling quickly (i.e., runners and cyclists) appear to be targeted most often by swooping magpies. Anecdotal evidence suggests that if a magpie sees a human trying to rescue a chick that has fallen from its nest, the bird will view this help as predation, and will become more aggressive to humans from then on.

 

Magpies may engage in an escalating series of behaviours to drive off intruders. Least threatening are alarm calls and distant swoops, where birds fly within several metres from behind and perch nearby. Next in intensity are close swoops, where a magpie will swoop in from behind or the side and audibly "snap" their beaks or even peck or bite at the face, neck, ears or eyes. More rarely, a bird may dive-bomb and strike the intruder's (usually a cyclist's) head with its chest. A magpie may rarely attack by landing on the ground in front of a person and lurching up and landing on the victim's chest and pecking at the face and eyes.

 

Magpie attacks can cause injuries, typically wounds to the head, and being unexpectedly swooped while cycling can result in loss of control of the bicycle, which may cause injury.

 

If it is necessary to walk near the nest, wearing a broad-brimmed or legionnaire's hat or using an umbrella will deter attacking birds, but beanies and bicycle helmets are of little value as birds attack the sides of the head and neck.

 

Magpies prefer to swoop at the back of the head; therefore, keeping the magpie in sight at all times can discourage the bird. A basic disguise such as sunglasses worn on the back of the head may fool the magpie as to where a person is looking. Eyes painted on hats or helmets will deter attacks on pedestrians but not cyclists.

 

Cyclists can deter attack by attaching a long pole with a flag to a bike, and the use of cable ties on helmets has become common and appears to be effective.

 

Magpies are a protected native species in Australia, so it is illegal to kill or harm them. However, this protection is removed in some Australian states if a magpie attacks a human, allowing for the bird to be killed if it is considered particularly aggressive (such a provision is made, for example, in section 54 of the South Australian National Parks and Wildlife Act).[ More commonly, an aggressive bird will be caught and relocated to an unpopulated area. Magpies have to be moved some distance as almost all are able to find their way home from distances of less than 25 km (16 mi). Removing the nest is of no use as birds will breed again and possibly be more aggressive the second time around.

 

Some claim that swooping can be prevented by hand-feeding magpies. Magpies will become accustomed to being fed by humans, and although they are wild, will return to the same place looking for handouts. The idea is that humans thereby appear less of a threat to the nesting birds. Although this has not been studied systematically, there are reports of its success.

  

Cultural references

 

The Australian magpie featured in aboriginal folklore around Australia. The Yindjibarndi people of the Pilbara in the northwest of the country used the bird as a signal for sunrise, frightening them awake with its call. They were also familiar with its highly territorial nature, and it features in a song in their Burndud, or songs of customs. It was a totem bird of the people of the Illawarra region south of Sydney.

 

Under the name piping shrike, the white-backed magpie was declared the official emblem of the Government of South Australia in 1901 by Governor Tennyson, and has featured on the South Australian flag since 1904. The magpie is a commonly used emblem of sporting teams in Australia, and its brash, cocky attitude has been likened to the Australian psyche. Such teams tend to wear uniforms with black and white stripes. The Collingwood Football Club adopted the magpie from a visiting South Australian representative team in 1892. The Port Adelaide Magpies would similarly adopt the black and white colours and Magpie name in 1902. Other examples include Brisbane's Souths Logan Magpies, and Sydney's Western Suburbs Magpies. Disputes over who has been the first club to adopt the magpie emblem have been heated at times. Another club, Glenorchy Football Club of Tasmania, was forced to change uniform design when placed in the same league as another club (Claremont Magpies) with the same emblem.

 

In New Zealand, the Hawke's Bay Rugby Union team, from Napier, New Zealand, is also known as the magpies. One of the best-known New Zealand poems is "The Magpies" by Denis Glover, with its refrain "Quardle oodle ardle wardle doodle", imitating the sound of the bird – and the popular New Zealand comic Footrot Flats features a magpie character by the name of Pew.

 

An online poll conducted by Guardian Australia and BirdLife Australia was held in late 2017 to choose the "Australian Bird of the Year". The Australian magpie won the contest with 19,926 votes (13.3%), narrowly ahead of the Australian white ibis.

 

[Credit: en.wikipedia.org]

The Relativistic World of the Soul and Spirit - Some Recent Concepts by Daniel Arrhakis (2026)

 

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The Relativistic World of the Soul and Spirit - Some Recent Concepts

 

The relativistic conception of the soul proposes that spirituality acts outside conventional physical laws. While materialistic science hesitates, quantum physics offers a new language to understand what ancient traditions such as Advaita Vedanta (**) have already affirmed: time is an illusion (Maya) and consciousness is eternal.

 

The Soul as Interface, Not a Prisoner

 

In this view, linear logic loses its meaning. The soul is not a solid or measurable object, but an entity that transcends matter:

 

- The Brain as Receiver: The physical body does not generate consciousness; it functions as a biological interface. Consciousness does not "live" in neurons; the brain only tunes into the frequency of universal consciousness.

 

- Transmitter vs. Receiver: The brain captures consciousness, allowing the experience of lucidity in the dense world. The observer (the soul) is necessary for physical reality to manifest.

 

- Transcendence: Existence unfolds in non-physical dimensions, where space-time imposes no limits.

 

Non-Locality and Ubiquity

 

The idea that the soul is "non-local" resolves the dilemma of spatial separation. Through the notion of "Entanglement" (*), phenomena such as intuition or the deep connection between people are explained, regardless of distance. The concept of non-locality is thus the meeting point between mysticism and quantum science:

 

- Spiritual Entanglement: Just as entangled particles influence each other instantaneously, regardless of spatial separation, the soul connects instantaneously to different points in the universe.

 

- Ubiquity (Non-locality): Consciousness does not occupy a specific "place"; it manifests itself omnipresently, ignoring distances. Consciousness can process information from multiple planes simultaneously, just as an electron exists in a cloud of probabilities.

 

- Universal Freedom: The soul does not reside in the body; It manifests itself through it, maintaining its infinite and non-local nature.

 

The End of Linear Time

 

The Vedanta concept of Maya (illusion) aligns with Einstein's relativity:

 

- The Eternal Now: If time is relative, the soul has neither "beginning" nor "end," only states of presence.

 

- Multidimensionality: Existence is not limited to the three spatial dimensions, allowing the spirit to inhabit spaces of greater mathematical complexity. Thus, the spirit is not limited to the three-dimensional body and can inhabit higher frequencies (often called 4th, 5th, or higher dimensions).

 

In this view of the nature of the soul, relativistic spirituality thus proposes a bridge between spiritual metaphysics and the concepts of modern theoretical physics. This view suggests that spiritual reality does not violate science, but operates on a scale that classical physics does not yet fully encompass or explain.

 

Expanded Notes

 

(*) Quantum Entanglement - The Instant Connection

 

Quantum entanglement is a phenomenon where particles interact and share a quantum state, making their properties deeply connected, regardless of distance. In other words, when two particles are entangled, an action performed on one affects the other instantaneously, even if they are kilometers (and even light-years) apart.

 

Albert Einstein ironically called this "spooky action at a distance," as this phenomenon defied the speed of light limit. The speed of light in a vacuum is a fundamental physical constant (approximately 300,000 km/s). It is considered the maximum speed limit of the universe because, according to Einstein's Theory of Relativity, objects with mass would need infinite energy to reach it.

 

(**) Maya in Vedanta – The Illusion of Reality

 

In Vedanta philosophy, especially in Adi Shankara's Advaita Vedanta (non-dualism), Maya is the fundamental concept that explains the appearance of the material world and the apparent multiplicity of existence. Often translated as "illusion," Maya does not mean that the world is nonexistent or illusory, but rather that it is not what it seems to be: an independent and permanent reality.

 

According to this view, Maya describes the illusory nature of experience, where things appear separate and distinct, but are in fact manifestations of a single universal consciousness. Understanding Maya allows one to transcend the limited perception of the physical world, aligning with modern ideas about the relativity of time and the eternity of consciousness.

  

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O Mundo Relativista da Alma e do Espírito - Alguns Conceitos Recentes

 

A conceção relativista da alma propõe que a espiritualidade atua fora das leis físicas convencionais. Enquanto a ciência materialista hesita, a física quântica oferece uma nova linguagem para compreender o que tradições milenares como o Advaita Vedanta (**) já afirmavam: o tempo é uma ilusão (Maya) e a consciência é eterna.

 

A Alma como Interface, não Prisioneira

 

Nesta visão, a lógica linear perde o sentido. A alma não é um objeto sólido ou mensurável, mas uma entidade que transcende a matéria:

 

- O Cérebro como Recetor: O corpo físico não gera a consciência; ele funciona como uma interface biológica. A consciência não "mora" nos neurónios; o cérebro apenas sintoniza a frequência da consciência universal.

 

- Emissor vs. Recetor: O cérebro capta a consciência, permitindo a experiência da lucidez no mundo denso. O observador (a alma) é necessário para que a realidade física se manifeste.

 

- Transcendência: A existência desdobra-se em dimensões não físicas, onde o espaço-tempo não impõe limites.

 

Não-Localidade e Ubiquidade

 

A ideia de que a alma é "não-local" resolve o dilema da separação espacial. Através da noção do "Emaranhamento" (*), explicam-se fenómenos como a intuição ou a ligação profunda entre pessoas, independentemente da distância. O conceito de não-localidade é assim o ponto de encontro entre a mística e a ciência quântica:

 

- Emaranhamento Espiritual: Tal como partículas entrelaçadas que se influenciam mutuamente de forma instantânea, independentemente da separação espacial, a alma liga-se instantaneamente a diferentes pontos do universo.

 

-Ubiquidade (A não-localidade): A consciência não ocupa um "lugar" específico; ela manifesta-se de forma ubíqua, ignorando distâncias. A consciência pode processar informação de múltiplos planos simultaneamente, tal como um eletrão existe numa nuvem de probabilidades.

 

-Liberdade Universal: A alma não reside no corpo; ela manifesta-se através dele, mantendo a sua natureza infinita e não-local.

 

O Fim do Tempo Linear

 

A conceção de Maya (ilusão) do Vedanta (**) alinha-se com a relatividade de Einstein:

 

-O Eterno Agora: Se o tempo é relativo, a alma não tem "início" nem "fim", apenas estados de presença.

 

- Multidimensionalidade: A existência não se limita às três dimensões espaciais, permitindo que o espírito habite espaços de maior complexidade matemática. Assim, o espírito não se limita ao corpo tridimensional e pode habitar frequências mais elevadas (frequentemente chamadas de 4ª, 5ª ou dimensões superiores).

 

Nesta visão sobre a natureza da alma, a espiritualidade relativista propõe assim uma ponte entre a metafísica espiritual e os conceitos da física teórica moderna. Esta visão sugere que a realidade espiritual não viola a ciência, mas opera numa escala que a física clássica ainda não abrange e não explica totalmente.

  

Anotações Expandidas

 

(*) Emaranhamento Quântico - A Ligação Instantânea

 

O Emaranhamento Quântico (ou Entrelaçamento Quântico) é um fenómeno onde partículas interagem e compartilham um estado quântico, tornando as suas propriedades profundamente conectadas, independentemente da distância. Em outras palavras, quando duas partículas estão entrelaçadas, uma ação efetuada numa delas afeta a outra instantaneamente, mesmo que estejam a quilómetros (e até anos-luz) de distância uma da outra.

 

Albert Einstein chamou-lhe ironicamente de "ação fantasmagórica à distância", pois este fenómeno desafiava o limite da velocidade da luz. A velocidade da luz no vácuo é uma constante física fundamental (aproximadamente 300.000 km/s). É considerada o limite máximo de velocidade do universo, pois, de acordo com a Teoria da Relatividade de Einstein, objetos com massa precisariam de energia infinita para alcançá-la.

 

(**) Maya no Vedanta – A Ilusão da Realidade

 

Na filosofia Vedanta, especialmente no Advaita Vedanta (não-dualismo) de Adi Shankara, Maya é o conceito fundamental que explica a aparência do mundo material e a aparente multiplicidade da existência. Frequentemente traduzido como "ilusão", Maya não significa que o mundo é inexistente ou ilusório, mas sim que ele não é o que parece ser: uma realidade independente e permanente.

 

Segundo esta visão, Maya descreve a natureza ilusória da experiência, onde as coisas parecem separadas e distintas, mas na verdade são manifestações de uma única consciência universal. O entendimento de Maya permite transcender a percepção limitada do mundo físico, alinhando-se com ideias modernas sobre a relatividade do tempo e a eternidade da consciência.

     

This is my attempt at bridging the half-stud gap with the fewest parts, as well as keeping the track bed minimal or nonexistent. I have not tried this in real life and cannot claim that it works or is conducive to successful running. Though I also cannot imagine any complications, unless I am missing something obvious.

A wonderful, creative and sweet man. Rest in Peace.

 

Michael's Flickr www.flickr.com/photos/24796741@N05/

 

Michael Paul Smith, 67, Founder of a Beloved Imaginary Town, Dies

 

By Neil Genzlinger

Dec. 13, 2018

 

One of the assorted jobs Michael Paul Smith had on his way to unexpected fame was as a mail carrier.

 

“Everything you do, you will learn from it,” he said, “and you will use it later on in life.”

 

The delivery rounds he made proved useful when, years later, he became founder, chief architect and mayor of Elgin Park, surely the most visited fake town in the United States. The town, frozen in a mid-20th-century haze, exists only in the carefully staged photographs that Mr. Smith made with a cheap camera, vintage model miniature cars, tiny hand-built sets and a keen sense of perspective.

 

In 2010, the Flickr site where he displayed those pictures went viral, and within four years 74 million virtual visitors had spent time in Elgin Park. His letter-delivering experience, he said, helped make his imaginary town as close to real as something nonexistent can be.

 

“When I was mailman,” he said in “Elgin Park,” a brief 2015 documentary by Danny Yourd, “it made me aware of how streets are laid out, how towns grow. My photographs read well because there is a logic to it.”

 

A few weeks ago, visitors to the Flickr site encountered a posting saying that Mr. Smith had “moved permanently to Elgin Park,” words he himself had chosen for the announcement. He died on Nov. 19 in Reading, Mass., at 67.

His longtime partner, Henry Goldberg, said the causes were pancreatic cancer and complications of diabetes.

 

Mr. Smith created his photographs using forced perspective, the technique of making an object seem larger or smaller than it really is based on its juxtaposition with other objects. He would place the model cars and miniature buildings and props he had fashioned on a platform positioned just so — the real buildings and trees in the background would combine with the staged materials to create a realistic scene.

 

He strove for authenticity, putting baking soda on tires for a winter scene because snow sticks to tires, or making sure there was a tiny puddle under an old-fashioned milk truck because blocks of ice inside would melt a bit as it sat at the curb. But, as Daniel Strohl of Hemmings Daily, a classic-car site that first publicized Mr. Smith’s death, noted, the Elgin Park universe was defined to an extent by the kind of model cars that were available to its creator: pristine high-end automobiles that suggested a glossy version of midcentury America.

 

“Given the depth of thought he put into his artwork,” Mr. Strohl said of Mr. Smith in an email interview, “I’d argue that he at the very least recognized that myth and was, in his own way, commenting on how the past can easily be idealized, if not actively scrubbed of its messier aspects.”

 

Michael Paul Smith was born on Nov. 22, 1950, in Pittsburgh to Roy and Audrey Smith. He grew up north of that city, in Sewickley, Pa., the town that became a model for his fictional one.

 

“Elgin Park is not an exact re-creation of Sewickley,” he told The New York Times in 2010, “but it does capture the mood of my memories.”

Although many of the Elgin Park photographs look idyllic, Mr. Smith’s memories were not uniformly so. In the documentary, he spoke of being bullied because he was gay.

 

“It got so bad that the teachers let me leave class 15 minutes before the bell rang because they knew I was getting tromped on,” he said.

 

His family moved to Auburn, Mass., when he was a teenager, and after graduating from high school there he attended classes for three years at the Worcester Art Museum. He briefly enrolled at the University of Massachusetts at Amherst, then got a job with an advertising agency, working there until a heart attack sidelined him at 33.

 

Moving to Boston, Mr. Smith started a wallpaper and painting company, then made models for an architectural firm. And he developed a hobby: collecting model miniature cars, many of them from the Franklin Mint or the Danbury Mint, both known for their exacting standards.

 

He posted his first photograph in 2008, but his work drew little attention for a year and a half. Then a car magazine in England reproduced a few of his pictures, and his click count soared.

 

“The day it hit the stands,” he said, “it went from a thousand hits to a million hits.”

 

National news coverage in the United States in 2010, including the article in The Times, fueled the interest. Mr. Smith’s work would eventually result in two books, “Elgin Park: An Ideal American Town” (2011) and “Elgin Park: Visual Memories of Midcentury America at 1/24th Scale” (2015), both written with Gail K. Ellison. A note Mr. Smith wrote on the Flickr site in 2010 announcing his first book contract gives a sense of how casual and do-it-yourself his art was.

 

“What’s most interesting,” he wrote, “is when I started to take the photos of my models, I had no idea what I was doing. I just aimed and shot with the little digital Sony. Who knew you had [to] set the DPI, or whatever it’s called, to the highest setting?”

 

Complete information on his survivors was not immediately available.

Elgin Park (a name that just came to him, Mr. Smith said, and wasn’t related to real towns with similar names) may not be a physical place, but it did become a community of sorts. He didn’t use Photoshop or similar tools, but he invited visitors to Photoshop themselves into his pictures, and many did, in period outfits, goofy costumes and so on, posting the results. But Elgin Park kept its standards.

 

“This is a family-oriented group,” the site advised. “Please, nothing you wouldn’t want your mother to see. Play nice or risk being run out of town on a rail!”

 

In the documentary, Mr. Smith reflected on why he created Elgin Park.

“I needed a place that I felt comfortable in,” he said.

“Elgin Park,” he added, “is never a lonely place for me.”

 

A version of this article appears in print on Dec. 20, 2018, Section B, Page 14 of the New York edition with the headline: Michael Paul Smith, 67; Inspired Millions to Visit A Tiny Imaginary Town.

 

From the New York Times: www.nytimes.com/2018/12/13/obituaries/michael-paul-smith-...

With no one to pass it on to, I'm sadly organizing my huge baseball card collection for sale. Hundreds of thousands of cards that date back before I was born. Some over fifty years old. I was a personal collector which is almost nonexistent these days And it will be hard to sell my fond memories to people who only care about the cards' monetary value.

View On Black

    

Yeah, you saw 820’s new paint, didn’t you? Shit’s atrocious. Fuckin’ Ferromex palette swap lookin headass. Going from Champion paint to *that* is the biggest fucking downgrade none of us deserved. If that really will be the new look for all of FEC’s C4’s, I gotta get to work shooting the mainline freights soon…

 

FEC 206-07 battles the near-nonexistent upgrade through the MP 357.3 intermediate signals at North Miami on an uncomfortably warm October 7th, 2023. As with most Saturday 206’s, all that was being hauled was limestone and cement loads, 113 cars total. #FEC807 [ES44C4], along with two matching “Champion” GEVOs and an endangered 2K Blue GP40-2, act as power for the northbound rock runner, albeit with only the first two units online. A cluster of non-native Australian Pine off on the wayside made for some ample shade while waiting, and set off a lightbulb in my head… The result? Something worth being proud of.

•

North Miami, FL

FEC Mainline

 

Date: 10/07/2023 | 12:26

 

ID: FEC 206-07

Type: Unit Rock

Direction: Northbound

Car Count: 113

 

1. FEC ES44C4 #807

2. FEC ES44C4 #822

3. FEC ES44C4 #803

4. FEC GP40-2 #415

•

© Vicente Alonso 2023

Detroit agate aka Fordite is an artifact of auto industry. It’s all quite old, created before cars were painted electrostatically. Now overspray is almost nonexistent. And that’s what Fordite is, each color a beautiful relic of one of countless cars that came down the assembly line.

Mariposa County is a county in the U.S. state of California. It is located in the western foothills of the Sierra Nevada mountains, north of Fresno, east of Merced, and southeast of Stockton.

The county's eastern section is the central portion of Yosemite National Park.

There are no incorporated cities in Mariposa County; however, there are communities recognized as census-designated places for statistical purposes. It also has the distinction of having no permanent traffic lights anywhere in the county.Mariposa County was one of the original counties of California, created at the time of statehood in 1850. While it began as the state's largest county, territory that was once part of Mariposa was ceded over time to form all or part of twelve other counties, including all of Merced, Madera, Fresno, Tulare, Kings, and Kern; and parts of San Benito, Mono, Inyo, San Bernardino, and Los Angeles. Thus, Mariposa County is known as the "Mother of Counties".

Mariposa County's original seat was a now-nonexistent hamlet known as Agua Fria (Spanish for "cold water"), about 3 miles directly west of Mariposa proper on Agua Fria Road, which runs from Highway 140 to the south, to the community of Mt. Bullion to the northwest. Charles Fremont moved the county seat to Mariposa in 1854, resulting in the construction of the Mariposa County Courthouse, whose grounds occupies an entire block. The historic structure is fronted by Bullion Street; Jones Street is to the rear, with 9th and 10th Streets on either side. This handsome, white judicial building erected with whip-sawed wood from nearby forests is the oldest courthouse still in use in California: cases are still tried there to this day. The courthouse is so recognizable that its likeness is on the Mariposa County Seal. Also particularly noteworthy is the courthouse's clock tower and bell, which chimes every hour, on the hour, 24 hours a day, 7 days a week.

The county took its name from Mariposa Creek, which was so named by Spanish explorers in 1806, when they discovered a great cluster of butterflies ("mariposas" in Spanish and Portuguese) in the foothills of the Sierra. Each year, the first weekend in May, residents mark the annual arrival of migrating monarch butterflies with a "Butterfly Days" festival and parade.

Mariposa County is located at the southern end of California's Mother Lode region. During the California Gold Rush, great quantities of the prized mineral were found and extracted, first in local stream-beds and later in hard rock mines. One of the most notable beneficiaries of this wealth was the famed explorer and 1856 Republican presidential candidate, John Charles Frémont, for whom the local hospital and Charles Street (more commonly known as "Highway 140") are named. Jessie Street, in the town of Mariposa, is named for Fremont's wife, Jessie Benton Frémont, who came to Mariposa with her husband on many extended visits although they never took up permanent residence within the county.

Many aspects of the area's mining history are depicted in exhibits at two local museums: the Mariposa History Museum, located in the town of Mariposa; and the California Mining and Mineral Museum, located at the Mariposa Fairgrounds (2 miles east of Mariposa on Highway 49).

Two small gold mines in Mariposa county, the Mockingbird and the Colorado Quartz, intermittently produce world-class (and very expensive) specimens of crystalline gold for mineral collectors. "Specimens from these occurrences commonly have bright luster and rich color, with well-developed crystals in unusual and attractive arrangements." The best-known example is "The Dragon", now on display at the Houston Museum of Natural Science.

Met up with Florian and drove up the Coyote Canyon 4WD trail into Collins Canyon. We spent several hours exploring every drivable trail. Wildflowers were pretty much nonexistent, but the Ocotillo was nicely in bloom.

This month’s challenge called I Smell A (Modern) Rat asks us what would rat rodding be like if we applied the same principles to modern cars. For this I chose a Dodge Magnum with a V-8 Hemi. Instead of a more predictable post-apoc Mad Max look, I went with a beach combing car with rugged tires, wood paneling, and a nonexistent roof and tailgate. Just enough rust and patina adds a bit of well loved character while a wooden deck and benches gives this “Magnum Opus” a boat-like appearance that’s suitable for fishing, surfing, or just soaking up some rays. Its the perfect modern rat rod for a hot summer day!

USS Wisconsin (BB64) at Norfolk, VA on August-10th-2018.

USS Wisconsin is an Iowa-class battleship, the second ship of the United States Navy to be named in honor of the U.S. state of Wisconsin. She was built at the Philadelphia Naval Shipyard in Philadelphia, Pennsylvania, and launched on 7 December 1943 (the second anniversary of the Pearl Harbor raid), sponsored Margaret Goodland, wife of Governor Walter Goodland of Wisconsin.

 

During her career, Wisconsin served in the Pacific theater of World War II, where she shelled Japanese fortifications and screened United States aircraft carriers as they conducted air raids against enemy positions. During the Korean War, Wisconsin shelled North Korean targets in support of United Nations and South Korean ground operations, after which she was decommissioned. She was reactivated on 1 August 1986; after a modernization program, she participated in Operation Desert Storm in January and February 1991.

 

Wisconsin was last decommissioned in September 1991 after a total of 14 years of active service in the fleet, and having earned a total of six battle stars for service in World War II and Korea, as well as a Navy Unit Commendation for service during the January/February 1991 Gulf War. She currently functions as a museum ship operated by Nauticus, The National Maritime Center in Norfolk, Virginia. Wisconsin was stricken from the Naval Vessel Register (NVR) 17 March 2006, and was donated for permanent use as a museum ship. On 15 April 2010, the City of Norfolk officially took over ownership of the ship.

 

Wisconsin was one of the "fast battleship" designs planned in 1938 by the Preliminary Design Branch at the Bureau of Construction and Repair. She was the third of four completed ships of the Iowa class of battleships. Her keel was laid down on 25 January 1941, at the Philadelphia Navy Yard. She was launched on 7 December 1943, sponsored by Mrs. Goodland, wife of Walter S. Goodland, the Governor of Wisconsin, and commissioned on 16 April 1944, with Captain Earl E. Stone in command.

 

Wisconsin's main battery consisted of nine 16 in (406 mm)/50 cal Mark 7 guns, which could fire 2,700 lb (1,200 kg) armor-piercing shells some 20 mi (32 km). The secondary battery consisted of 20 5 in (127 mm)/38 cal guns in 10 twin turrets, which could fire at targets up to 10 mi (16 km) away. With the advent of air power and the need to gain and maintain air superiority came a need to protect the growing fleet of allied aircraft carriers; to this end, Wisconsin was fitted with an array of Oerlikon 20 mm and Bofors 40 mm antiaircraft guns to defend allied carriers from enemy airstrikes. When reactivated in 1986, Wisconsin had her 20 mm and 40 mm AA guns removed, and was outfitted with Phalanx CIWS mounts for protection against enemy missiles and aircraft, and armored box launchers and quad cell launchers designed to fire Tomahawk and Harpoon missiles, respectively.Wisconsin and her sister ship Missouri were fitted with thicker transverse bulkhead armor, 14.5 inches (368 mm), compared to 11.3 inches (287 mm) in the first two ships of her class, the Iowa and New Jersey.

 

Wisconsin is numerically the highest-numbered US battleship built. Although her keel was laid after USS Missouri's, she was commissioned before Missouri's commissioning date. Thus, Wisconsin's construction began after Missouri's, and finished earlier. Iowa and Wisconsin were finally stricken from the Naval Vessel Register on 17 March 2006, making them the last battleships on a navy list in the world.

 

After the ship's trials and initial training in the Chesapeake Bay, Wisconsin departed Norfolk, Virginia, on 7 July 1944, bound for the British West Indies. Following her shakedown cruise (conducted out of Trinidad), she returned to the builder's yard for alterations and repairs.

 

On 24 September 1944, Wisconsin sailed for the West Coast, transiting the Panama Canal, and reporting for duty with the Pacific Fleet on 2 October. The battleship later moved to Hawaiian waters for training exercises and then headed for the Western Caroline Islands. Upon reaching the Caroline Island Ulithi, she joined Admiral William F. Halsey's 3rd Fleet on 9 December.

  

Wisconsin tied up alongside the hulk of Oklahoma at Pearl Harbor in November 1944, prior to her departure to join up with the 3rd Fleet

Due to the time it took needed to build her, Wisconsin missed much of the initial thrust into Japanese-held territory, having arrived at a time when the reconquest of the Philippines was well underway. As a part of that movement, the planners had envisioned landings on the southwest coast of Mindoro, south of Luzon. From that point, American forces could threaten Japanese shipping lanes through the South China Sea. In preparation for the coming invasion of Mindoro, Wisconsin was assigned to protect the 3rd Fleet's Fast Carrier Task Force (TF 38), as they conducted air raids at Manila to soften up Japanese positions.

 

On 18 December, the ships of TF 38 unexpectedly found themselves in a fight for their lives when Typhoon Cobra overtook the force–seven fleet and six light carriers, eight battleships, 15 cruisers, and about 50 destroyers–during their attempt to refuel at sea. At the time, the ships were operating about 300 mi (480 km) east of Luzon in the Philippine Sea.The carriers had just completed three days of heavy raids against Japanese airfields, suppressing enemy aircraft during the American amphibious operations against Mindoro in the Philippines. The task force met with Captain Jasper T. Acuff and his fueling group 17 December with the intention of refueling all ships in the task force and replacing lost aircraft.Although the sea had been growing rougher all day, the nearby cyclonic disturbance gave relatively little warning of its approach. On 18 December, the small but violent typhoon overtook the task force while many of the ships were attempting to refuel. Many of the ships were caught near the center of the storm and buffeted by extreme seas and hurricane-force winds. Three destroyers, Hull, Monaghan, and Spence, capsized and sank with nearly all hands, while a cruiser, five aircraft carriers, and three destroyers suffered serious damage. About 790 men were lost or killed, with another 80 injured. Fires occurred in three carriers when planes broke loose in their hangars and some 146 planes on various ships were lost or damaged beyond economical repair by fires, impact damage, or being swept overboard. Wisconsin reported two injured sailors as a result of the typhoon,but otherwise proved her seaworthiness as she escaped the storm unscathed.

 

Wisconsin's next operation was to assist with the occupation of Luzon. Bypassing the southern beaches, American amphibious forces went ashore at Lingayen Gulf, the scene of initial Japanese assaults to take Luzon nearly three years before.

 

Wisconsin, armed with heavy antiaircraft batteries, performed escort duty for TF 38's fast carriers during air strikes against Formosa, Luzon, and the Nansei Shoto to neutralize Japanese forces there and to cover the unfolding Allied Lingayen Gulf operations. Those strikes, lasting from 3–22 January 1945, included a thrust into the South China Sea, in the hope that major units of the Imperial Japanese Navy could be drawn into battle.

 

Wisconsin's carrier group launched air strikes between Saigon and Camranh Bay, French Indochina, on 12 January, resulting in severe losses for the enemy. TF 38's warplanes sank 41 ships and heavily damaged docks, storage areas, and aircraft facilities. Formosa, already struck on 3–4 January, was raided again on 9 January, 15 January, and 21 January. Throughout January Wisconsin shielded the carriers as they conducted air raids at Hong Kong, Canton, Hainan Island, the Canton oil refineries, the Hong Kong Naval Station, and Okinawa

 

Wisconsin was assigned to the 5th Fleet when Admiral Raymond A. Spruance relieved Admiral Halsey as commander of the fleet. She moved northward with the redesignated TF 58 as the carriers headed for the Tokyo area. On 16 February, the task force approached the Japanese coast under cover of adverse weather conditions and achieved complete tactical surprise. As a result, Wisconsin and the other ships shot down 322 enemy planes and destroyed 177 more on the ground. Japanese shipping, both naval and merchant, also suffered drastically, as did hangars and aircraft installations.

 

Wisconsin and the task force moved to Iwo Jima on 17 February to provide direct support for the landings slated to take place on 19 February. They revisited Tokyo on 25 February and hit the island of Hachino off the coast of Honshū the next day, resulting in heavy damage to ground facilities; additionally, American planes sank five small vessels and destroyed 158 planes.

 

Wisconsin's task force stood out of Ulithi on 14 March bound for Japan. The mission of that group was to eliminate airborne resistance from the Japanese homeland to American forces off Okinawa. Enemy fleet units at Kure and Kobe, on southern Honshū, reeled under the impact of the explosive blows delivered by TF 58's airmen. On 18–19 March, from a point 100 mi (160 km) southwest of Kyūshū, TF 58 hit enemy airfields on that island; unfortunately, allied antiaircraft fire on 19 March failed to stop an attack on the carrier Franklin. That afternoon, Wisconsin and the task force retired from Kyūshū, screening the blazing and battered flattop, and shooting down 48 attackers.

 

On 24 March, Wisconsin trained her 16 in (406 mm) guns on targets ashore on Okinawa. Together with the other battleships of the task force, she pounded Japanese positions and installations in preparation for the landings. Japanese resistance, while fierce, was doomed to failure by dwindling numbers of aircraft and trained pilots.[5]

  

Wisconsin escorting Essex-class aircraft carriers in the Pacific Ocean during World War II. The tail crane was used to recover reconnaissance planes launched by Wisconsin.

While TF 58's planes were dealing with Yamato and her escorts, enemy aircraft attacked the American surface units. Combat air patrol (CAP) shot down 15 enemy planes, and ships' gunfire shot down another three, but not before one kamikaze attack penetrated the CAP and screen to crash on the flight deck of the fleet carrier Hancock. On 11 April, the Japanese renewed their kamikaze attacks; and only drastic maneuvers and heavy barrages of gunfire saved the task force. CAP shot down 17 planes, and ships' gunfire shot down 12. The next day, 151 enemy aircraft attacked TF 58, but Wisconsin, together with other units of the screens for the vital carriers, kept the kamikaze pilots at bay and destroyed them before they could reach their targets. Over the days that ensued, Japanese kamikaze attacks managed to crash into three carriers—Intrepid, Bunker Hill, and Enterprise—on successive days.

 

By 4 June, a typhoon was swirling through the fleet. Wisconsin rode out the storm unscathed, but three cruisers, two carriers, and a destroyer suffered serious damage. Offensive operations were resumed on 8 June with a final aerial assault on Kyūshū. The Japanese aerial response was virtually nonexistent; 29 planes were located and destroyed. On that day, one of Wisconsin's floatplanes landed and rescued a downed pilot from the carrier Shangri-La.

  

Wisconsin ultimately put into Leyte Gulf and dropped anchor there on 13 June for repairs and replenishment. Three weeks later, on 1 July, the battleship and her escorts sailed once more for Japanese home waters for carrier air strikes on the enemy's heartland. Nine days later, carrier planes from TF 38 destroyed 72 enemy aircraft on the ground and smashed industrial sites in the Tokyo area. Wisconsin and the other ships made no attempt whatsoever to conceal the location of their armada, due in large part to a weak Japanese response to their presence.

 

On 16 July, Wisconsin fired her 16 in (406 mm) guns at the steel mills and oil refineries at Muroran, Hokkaido. Two days later, she wrecked industrial facilities in the Hitachi Miro area, on the coast of Honshū-, northeast of Tokyo itself. During that bombardment, British battleships of the British Pacific Fleet contributed their heavy shellfire. By that point in the war, Allied warships such as Wisconsin were able to shell the Japanese homeland almost at will.

 

TF 38's planes subsequently blasted the Japanese naval base at Yokosuka, and put the former fleet flagship Nagato out of action, one of the two remaining Japanese battleships. Throughout July and into August, Admiral Halsey's airmen visited destruction upon the Japanese, the last instance being against Tokyo on 13 August. Two days later, the Japanese surrendered, ending World War II.

 

Wisconsin, as part of the occupying force, arrived at Tokyo Bay on 5 September, three days after the formal surrender occurred on board the battleship Missouri. During Wisconsin's brief career in World War II, she had steamed 105,831 mi (170,318 km) since commissioning, shot down three enemy planes, claimed assists on four occasions, and fueled her screening destroyers on some 250 occasions.

 

Shifting subsequently to Okinawa, the battleship embarked homeward-bound GIs on 22 September 1945, as part of Operation Magic Carpet staged to bring soldiers, sailors, and marines home from the far-flung battlefronts of the Pacific. Departing Okinawa on 23 September, Wisconsin reached Pearl Harbor on 4 October, remaining there for five days before she pushed on for the West Coast on the last leg of her state-side bound voyage. She reached San Francisco on 15 October.

 

Heading for the East Coast of the United States soon after the start of the new year, 1946, Wisconsin transited the Panama Canal from 11 to 13 January and reached Hampton Roads, Virginia, on 18 January. Following a cruise south to Guantánamo Bay, Cuba, the battleship entered the Norfolk Naval Shipyard for overhaul. After repairs and alterations that consumed the summer, Wisconsin sailed for South American waters.

 

Over the weeks that ensued, the battleship visited Valparaíso, Chile, from 1–6 November; Callao, Peru, from 9–13 November; Balboa, Canal Zone, from 16 to 20 November; and La Guaira, Venezuela, from 22 to 26 November, before returning to Norfolk on 2 December 1946.

 

Wisconsin spent nearly all of 1947 as a training ship, taking naval reservists on two-week cruises throughout the year. Those voyages commenced at Bayonne, New Jersey, and saw visits conducted at Guantánamo Bay, Cuba, and the Panama Canal Zone. While underway at sea, the ship would perform various drills and exercises before the cruise would end where it had started, at Bayonne. During June and July 1947, Wisconsin took United States Naval Academy midshipmen on cruises to northern European waters.

 

In January 1948, Wisconsin reported to the Atlantic Reserve Fleet at Norfolk for inactivation. Placed out of commission, in reserve on 1 July, Wisconsin was assigned to the Norfolk group of the Atlantic Reserve Fleet.

  

Buck, Wisconsin, and Saint Paul steam in close formation during operations off the Korean coast, 1952

Her sojourn in "mothballs", however, was comparatively brief, due to the North Korean invasion of South Korea in late June 1950. Wisconsin was recommissioned on 3 March 1951 with Captain Thomas Burrowes in command.[5] After shakedown training, the revitalized battleship conducted two midshipmen training cruises, taking the officers-to-be to Edinburgh, Scotland; Lisbon, Portugal; Halifax, Nova Scotia; New York City; and Guantánamo Bay, Cuba, before she returned to Norfolk. While leaving New York, Wisconsin was accidentally grounded on mud flats in New York Harbor, but was freed on 23 August 1951 with no damage to the ship.

 

Wisconsin departed Norfolk on 25 October, bound for the Pacific. She transited the Panama Canal on 29 October and reached Yokosuka, Japan, on 21 November. There, she relieved New Jersey as flagship for Vice Admiral H. M. Martin, Commander, 7th Fleet.

 

On 26 November, with Vice Admiral Martin and Rear Admiral F.P. Denebrink, Commander, Service Force, Pacific, embarked, Wisconsin departed Yokosuka for Korean waters to support the fast carrier operations of TF 77. She left the company of the carrier force on 2 December, and screened by the destroyer Wiltsie, provided gunfire support for the Republic of Korea (ROK) Corps in the Kasong-Kosong area. After disembarking Admiral Denebrink on 3 December at Kangnung, the battleship resumed station on the Korean "bombline", providing gunfire support for the American 1st Marine Division. Wisconsin's shelling accounted for a tank, two gun emplacements, and a building.[5] She continued her gunfire support task for the 1st Marine Division and 1st ROK Corps through 6 December, accounting for enemy bunkers, artillery positions, and troop concentrations.[5] On one occasion during that time, the battleship received a request for call-fire support and provided three star-shells for the 1st ROK Corps, illuminating an enemy attack that was consequently repulsed with a considerable number of enemy casualties

 

After being relieved on the gunline by the heavy cruiser Saint Paul on 6 December, Wisconsin briefly retired from gunfire-support duties. She resumed them, however, in the Kasong-Kosong area on 11 December screened by the destroyer Twining. The following day, 12 December, had the helicopter embarkation on Wisconsin of Rear Admiral H. R. Thurber, Commander, Battleship Division 2 (BatDiv 2), as part of his inspection trip in the Far East.

 

Wisconsin continued her naval gunfire-support duties on the bombline, shelling enemy bunkers, command posts, artillery positions, and trench systems through 14 December. She departed the "bombline" on that day to render special gunfire support duties in the Kojo area shelling coastal targets in support of United Nations (UN) troops ashore. That same day, Wisconsin returned to the Kasong-Kosong area. On 15 December, she disembarked Admiral Thurber by helicopter. The next day, Wisconsin departed Korean waters, heading for Sasebo to rearm.

 

Returning to the combat zone on 17 December, Wisconsin embarked United States Senator Homer Ferguson of Michigan on 18 December. That day, the battleship supported the 11th ROK invasion with night illumination fire that enabled the ROK troops to repulse a North Korean assault with heavy enemy casualties.Departing the "bombline" on 19 December, the battleship transferred Ferguson by helicopter to the carrier Valley Forge.

  

On 20 December, Wisconsin participated in a coordinated air-surface bombardment of Wonsan to neutralize selected targets in its area. The ship shifted its bombardment station to the western end of Wonsan harbor, hitting boats and small craft in the inner swept channel with her 5-inch (127 mm) guns during the afternoon and helping forestall attempts to assault the friendly held islands nearby. Wisconsin then made an antiboat sweep to the north, firing her 5-inch batteries on suspected boat concentrations. She then provided gunfire support to UN troops operating at the bombline until 22 December, when she rejoined the carrier task force.

  

Wisconsin shells North Korean targets during the Korean War

On 28 December, Cardinal Francis Spellman, on a Korean tour over the Christmas holidays, helicoptered aboard the ship to celebrate Mass for the Catholic members of the crew. He left as he came, off Pohang. On New Year's Eve day, Wisconsin put into Yokosuka.

 

Wisconsin departed that port on 8 January 1952 and returned to Korean waters. She reached Pusan the following day and entertained the president of South Korea, Syngman Rhee, and his wife, on 10 January. The couple received full military honors as they came on board, which Rhee reciprocated by awarding Vice Admiral Martin the ROK Order of the Military Merit.

 

Wisconsin returned to the bombline on 11 January, and over the ensuing days, delivered heavy gunfire support for the 1st Marine Division and the 1st ROK Corps. As before, her primary targets were command posts, shelters, bunkers, troop concentrations, and mortar positions. As before, she stood ready to deliver call-fire support as needed, shelling enemy troops in the open on 14 January at the request of the ROK 1st Corps.

 

Rearming once more at Sasebo, she shortly joined TF 77 off the coast of Korea and resumed support at the bombline on 23 January. Three days later, she shifted again to the Kojo region, to participate in a coordinated air and gun strike. That same day, the battleship returned to the bombline and shelled the command post and communications center for the 15th North Korean Division during call-fire missions for the 1st Marine Division.

 

Returning to Wonsan at the end of January, Wisconsin bombarded enemy guns at Hodo Pando before she was rearmed at Sasebo. The battleship rejoined TF 77 on 2 February, and the next day blasted railway buildings and marshaling yards at Hodo Pando and Kojo before rejoining TF 77. After replenishment at Yokosuka a few days later, she returned to the Kosong area and resumed gunfire support. During that time, she destroyed railway bridges and a small shipyard while conducting call-fire missions on enemy command posts, bunkers, and personnel shelters, making numerous cuts on enemy trench lines in the process.

 

On 26 February, Wisconsin arrived at Pusan, where Vice Admiral Shon, the ROK chief of naval operations; United States Ambassador J.J. Muccio; and Rear Admiral Scott-Montcrief, Royal Navy, Commander, Task Group 95.12 (TG 95.12), visited the battleship. Departing that South Korean port the following day, Wisconsin reached Yokosuka on 2 March, and a week later, she shifted to Sasebo to prepare to return to Korean waters.

 

Wisconsin arrived off Songjin, Korea, on 15 March and concentrated her gunfire on enemy railway transport. Early that morning, she destroyed a communist troop train trapped outside a destroyed tunnel. That afternoon, she received the first direct hit in her history, when one of four shells from a North Korean 152 mm gun battery struck the shield of a starboard 40 mm mount; although little material damage resulted, three men were injured.Wisconsin subsequently destroyed that battery with a full 16-inch (406 mm) salvo before continuing her mission.After again supporting 1st Marine Division with her heavy rifles, the battleship returned to Japan on 19 March.

 

Relieved as flagship of the 7th Fleet on 1 April by sister ship Iowa, Wisconsin departed Yokosuka, bound for the United States. En route home, she touched briefly at Guam, where she took part in the successful test of the Navy's largest floating dry dock on 4–5 April, the first ever to accommodate an Iowa-class battleship. She continued her homeward-bound voyage via Pearl Harbor and arrived at Long Beach, California, on 19 April before continuing on for Norfolk.

  

On 9 June, Wisconsin resumed her role as a training ship, taking midshipmen to Greenock, Scotland, Brest, France, and Guantánamo Bay, Cuba, before returning to Norfolk. She departed Hampton Roads on 25 August and participated in the NATO exercise Operation Mainbrace, which was held out of Greenock, Scotland. After her return to Norfolk, Wisconsin underwent an overhaul in the naval shipyard there. Wisconsin remained in the Atlantic fleet throughout 1952 and into 1953, training midshipmen and conducting exercises. After a month of routine maintenance Wisconsin departed Norfolk on 9 September 1953, bound for the Far East.

 

Sailing via the Panama Canal to Japan, Wisconsin relieved New Jersey as 7th Fleet flagship on 12 October. During the months that followed, Wisconsin visited the Japanese ports of Kobe, Sasebo Navy Yard, Yokosuka, Otaru, and Nagasaki. She spent Christmas at Hong Kong and was ultimately relieved of flagship duties on 1 April 1954 and returned to the United States soon thereafter, reaching Norfolk, via Long Beach and the Panama Canal, on 4 May.

 

Entering the Norfolk Naval Shipyard on 11 June, Wisconsin underwent a brief overhaul and commenced a midshipman training cruise on 12 July. After revisiting Greenock, Brest, and Guantánamo Bay, the ship returned to the Norfolk Naval Shipyard for repairs. Shortly thereafter, Wisconsin participated in Atlantic Fleet exercises as flagship for the commander, Second Fleet. Departing Norfolk in January 1955, Wisconsin took part in Operation Springboard, during which she visited Port-au-Prince, Haiti. Then, upon returning to Norfolk, the battleship conducted another midshipman's cruise that summer, visiting Edinburgh, Copenhagen, Denmark, and Guantánamo Bay before returning to the United States.

 

Upon completion of a major overhaul at the New York Naval Shipyard, Wisconsin headed south for refresher training in the Caribbean Sea, later taking part in another Springboard exercise. During that cruise, she again visited Port-au-Prince and added Tampico, Mexico, and Cartagena, Colombia, to her list of ports of call. She returned to Norfolk on the last day of March 1955 for local operations.On 19 October, while operating in the East River in New York Harbor, Wisconsin was accidentally grounded, but the ship was freed in about an hour without any serious damage.

  

Throughout April 1956 and into May, Wisconsin operated locally off the Virginia Capes. On 6 May, the battleship collided with the destroyer Eaton in a heavy fog; Wisconsin put into Norfolk with extensive damage to her bow, and one week later entered dry dock at the Norfolk Naval Shipyard.A novel experiment sped her repairs and enabled the ship to carry out her scheduled midshipman training cruise that summer. A 120-ton, 68 foot (21 m) section of the bow of Wisconsin's incomplete sister ship Kentucky was transported by barge, in one section, from Newport News Shipbuilding and Drydock Corporation of Newport News, Virginia, across Hampton Roads to the Norfolk Naval Shipyard. Working around the clock, Wisconsin's ship's force and shipyard personnel completed the operation that grafted on the new bow in 16 days. On 28 June 1956, the ship was ready for sea.

  

The bow of Kentucky was transported in one section, by barge, to repair Wisconsin.

Wisconsin resumed her midshipman training on 9 July 1956. That autumn, Wisconsin participated in Atlantic Fleet exercises off the coast of the Carolinas, returning to port on 8 November 1956. Entering the Norfolk Naval Shipyard a week later, the battleship underwent major repairs that were not finished until 2 January 1957.

 

After local operations off the Virginia capes on 3–4 January 1957 and from 9–11 January, Wisconsin departed Norfolk on 16 January, reporting to the commander, Fleet Training Group, at Naval Station Guantánamo Bay. Wisconsin served as Admiral Henry Crommelin's flagship during the ensuing shore bombardment practices and other exercises held off the isle of Culebra, Puerto Rico, from 2–4 February. Sailing for Norfolk upon completion of the training period, the battleship arrived on 7 February and resumed local operations off Norfolk. On 27 March, Wisconsin sailed for the Mediterranean Sea, reaching Gibraltar on 6 April, she pushed on that day to rendezvous with TF 60 in the Aegean Sea before reporting to Turkey for the NATO exercise Red Pivot.

Departing Xeros Bay on 14 April, she arrived at Naples four days later, and conducted exercises in the eastern Mediterranean. In the course of those operational training evolutions, she rescued a pilot and crewman who survived the crash of a plane from the aircraft carrier Forrestal.[6] Wisconsin reached Valencia, Spain, on 10 May, and three days later, entertained prominent civilian and military officials of the city.

 

Departing Valencia on 17 April, Wisconsin reached Norfolk on 27 May. En route, she was called upon to sink a Boeing KC-97F-55-BO Stratofreighter, 51-0258, which had ditched in the Atlantic on 9 May, 550 km (343.8 mi) southeast of the Azores Islands following a double engine failure, and subsequently floated for 10 days.

  

On 27 May, Rear Admiral L.S. Parks relieved Rear Admiral Crommelin as Commander, BatDiv 2. Departing Norfolk on 19 June, the battleship, over the ensuing weeks, conducted a midshipman training cruise through the Panama Canal to South American waters, and reached Valparaiso on 3 July. Eight days later, the battleship headed back to the Panama Canal and the Atlantic.

 

After exercises at Guantánamo Bay and off Culebra, Wisconsin reached Norfolk on 5 August and conducted local operations that lasted into September. She then participated in NATO exercises, which took her across the North Atlantic to the British Isles.

 

Wisconsin's days as an active fleet unit were numbered, and she prepared to make her last cruise. On 4 November, she departed Norfolk with a large group of prominent guests on board. Reaching New York City on 6 November, the battleship disembarked her guests, and on 8 November, headed for Bayonne, New Jersey, to commence a preinactivation overhaul. She was placed out of commission at Bayonne on 8 March 1958, and joined the United States Navy reserve fleet (better known as the "mothball fleet") there, leaving the Navy without an active battleship for the first time since 1895.[5] Subsequently, taken to the Philadelphia Naval Shipyard, Wisconsin remained there with her sister ship Iowa into the 1980s. While berthed in the Philadelphia Naval Yard, an electrical fire damaged the ship and left her as the Iowa-class battleship in the worst material condition prior to her 1980s reactivation.

  

As part of President Ronald Reagan's Navy Secretary John F. Lehman's effort to create a "600-ship Navy," Wisconsin was reactivated 1 August 1986, a precommissioning unit (PCU) crew established, and the ship moved under tow to the Avondale Shipyard in New Orleans, Louisiana, to commence pre-recommissioning workups. The battleship was then towed from the Avondale Shipyard and arrived at Ingalls Shipbuilding in Pascagoula, Mississippi, on 2 January 1987 to receive weapons system upgrades for her modernization. During the modernization, Wisconsin had all of her remaining 20 mm Oerlikon and 40 mm Bofors antiaircraft guns removed, due to their ineffectiveness against modern jet fighters and enemy antiship missiles; additionally, the two 5 in (127 mm) gun mounts located at midship and in the aft on the port and starboard sides of the battleship were removed.

  

Wisconsin alongside Saratoga (CV-60) during her 1990–91 Mediterranean cruise

Over the next several months, the ship was upgraded with the most advanced weaponry available. Among the new weapon systems installed were four MK 141 quad cell launchers for 16 RGM-84 Harpoon antiship missiles, eight armored box launcher mounts for 32 BGM-109 Tomahawk missiles, and four of the United States Navy's Phalanx Close-in weapon system 20 mm Gatling guns for defense against enemy antiship missiles and enemy aircraft. Wisconsin also received eight RQ-2 Pioneer unmanned aerial vehicles, remotely controlled drones that replaced the helicopters previously used to spot for her nine 16 in (406 mm) guns.Also included in her modernization were upgrades to radar and fire control systems for her guns and missiles, and improved electronic warfare capabilities. Armed as such, Wisconsin was formally recommissioned on 22 October 1988 in Pascagoula, Mississippi, under the command of Captain Jerry M. Blesch, USN. Assigned to the United States Atlantic Fleet, she was subsequently homeported at Naval Station Norfolk, Virginia, where she became the centerpiece of her own surface action group (SAG), also referred to as a battleship battle group (BBBG).

 

Wisconsin spent the first part of 1989 conducting training exercises in the Atlantic Ocean and off the coast of Puerto Rico before returning to the Philadelphia Naval Shipyard for a post-recommissioning shakedown that lasted the rest of the year. In mid-1990, the battleship participated in a fleet exercise.

  

Wisconsin launched a BGM-109 Tomahawk missile against a military target in Iraq during Operation Desert Storm.

On 2 August 1990, Iraq invaded Kuwait. In the middle of the month, President George H. W. Bush, in keeping with the Carter Doctrine, sent the first of several hundred thousand troops, along with a strong force of naval support, to Saudi Arabia and the Persian Gulf area to support a multinational force in a standoff with Iraqi dictator Saddam Hussein. On 7 August, Wisconsin and her battle group were ordered to deploy in defense of Kuwait for Operation Desert Shield, and they arrived in the Persian Gulf on 23 August.[6] On 15 January 1991, Operation Desert Storm commenced operations, and Wisconsin found herself serving alongside her sister Missouri, just as she had done in Korea 40 years previously. Both Wisconsin and Missouri launched Tomahawk missile attacks against Iraq; they were among the first ships to fire cruise missiles during the 1991 Gulf War. Wisconsin served as the Tomahawk Land Attack Missile (TLAM) strike commander for the Persian Gulf, directing the sequence of launches that marked the opening of Operation Desert Storm and firing a total of 24 of her own TLAMs during the first two days of the campaign.] Wisconsin also assumed the responsibility of the local antisurface warfare coordinator for the Northern Persian Gulf Surface Action Group.

  

Wisconsin fired her big guns on Iraqi positions in then Iraqi-occupied Kuwait during the 1991 Persian Gulf War.

Wisconsin, escorted by Nicholas, relieved Missouri on 6 February, then answered her first combat call for gunfire support since March 1952. The most recently recommissioned battleship sent 11 shells 19 mi (31 km) to destroy an Iraqi artillery battery in southern Kuwait during a mission called in by USMC OV-10 Bronco aircraft. Using an RQ-2 Pioneer UAV as a spotter in combat for the first time, Wisconsin pounded an Iraqi communications compound on 7 February. Her main guns lobbed 24 shells on Iraqi artillery sites, missile facilities, and electronic-warfare sites along the coast. That evening, she targeted naval sites with her 16 in (406 mm) guns, firing 50 rounds, which severely damaged or sank 15 Iraqi boats, and destroyed several piers at the Khawr al-Mufattah marina.[6] In response to calls for fire support from US and coalition forces, Wisconsin's main battery was used again on 9 February, blasting bunkers and artillery sites, and shelling Iraqi troop positions near Khafji after the Iraqis were ousted from the city by Saudi and Qatari armor. On 21 February, one of Wisconsin's UAVs observed several trucks resupplying an Iraqi command post; in response, Wisconsin trained her 16 in (406 mm) guns on the complex, leveling or heavily damaging 10 of the buildings. Wisconsin and Missouri alternated positions on the gun line, using their 16 in (406 mm) guns to destroy enemy targets and soften defenses along the Kuwait coastline for a possible amphibious assault.

  

A technician moved a Pioneer RPV across the fantail of Wisconsin.

On the night of 23 February, Missouri and Wisconsin turned their big guns on Kuwait's Faylaka Island to support the US-led coalition ground offensive to free Kuwait from the Iraqi occupation forces. The two ships were to conduct a diversionary assault aimed at convincing the Iraqi forces arrayed along the shores of Faylaka Island that coalition forces were preparing to launch an amphibious invasion.As part of this attack, Missouri and Wisconsin were directed to shell known Iraqi defensive positions on the island. Shortly after Missouri completed her shelling of Faylaka Island, Wisconsin, while still over the horizon (and thus out of visual range of the Iraqi forces) launched her RQ-2 Pioneer Unmanned Aerial Vehicle to spot for her 16 in (406 mm) guns. As Wisconsin's drone approached Faylaka Island, the pilot of the drone was instructed to fly the vehicle low over Iraqi positions so that the soldiers would know that they were once again being targeted by a battleship.[20] Iraqi troops on the ground heard the Pioneer's distinctive buzzing sound, and having witnessed the effects of Missouri's artillery strike on their trench line, the Iraqi troops decided to signal their willingness to surrender by waving makeshift white flags, an action dutifully noted aboard Wisconsin. Amused at this sudden development, the men assigned to the drone's aircrew called Wisconsin's commanding officer, Captain David S. Bill III, and asked, "Sir, they want to surrender, what should I do with them?"This surrender to Wisconsin's Pioneer has since become one of the most remembered moments of the Gulf War; the incident was also the first-ever surrender of enemy troops to an unmanned aircraft controlled by a ship.Wisconsin drone also carried out a number of reconnaissance missions on occupied Kuwait before the coalition's ground offensive.

The next day, Wisconsin answered two separate call-fire support missions for coalition forces by suppressing Iraqi troops barricaded in two bunkers. After witnessing the effects of Wisconsin's strike against the Iraqi positions, an elated Saudi marine commander commented over the radio, "I wish we had a battleship in our navy."

 

With the collapse of the Soviet Union in the early 1990s and the absence of a perceived threat to the United States came drastic cuts in the defense budget. The high cost of maintaining and operating battleships as part of the United States Navy's active fleet became uneconomical; as a result, Wisconsin was decommissioned on 30 September 1991 after 14 total years of active service, and joined the Reserve Fleet at the Philadelphia Naval Shipyard. She was stricken from the Naval Vessel Register (NVR) on 12 January 1995, then on 15 October 1996, she was moved to the Norfolk Naval Shipyard, and on 12 February 1998, she was restored to the Naval Vessel Register. On 7 December 2000, the battleship was towed from Portsmouth, Virginia and berthed adjacent to Nauticus, The National Maritime Center in Norfolk. On 16 April 2001 the battleship's weather decks were opened to the public by the Hampton Roads Naval Museum, a U.S. Navy museum charged with Wisconsin's interpretation and public visitation. The ship was still owned by the Navy and was considered part of the mothball fleet.

  

Wisconsin was named (along with Iowa) as one of two US Navy battleships to be maintained in the United States Navy reserve fleets in accordance with the National Defense Authorization Act of 1996 as shore-bombardment vessels. However, Wisconsin was then over 60 years old and would have required extensive modernization to return to the fleet since most of her technology dated back to World War II, and the missile and electronic-warfare equipment added to the battleship during her 1988–89 modernization were considered obsolete. In addition, the cost of modernizing the battleships was estimated to be around $500 million for reactivation and $1.5 billion for a full modernization program.

  

On 17 March 2006, the Secretary of the Navy exercised his authority to strike Iowa and Wisconsin from the NVR, which cleared the way for both ships to be donated for use as museums; however, the U.S. Congress remained "deeply concerned" over the loss of naval surface-gunfire support that the battleships provided, and noted, "...navy efforts to improve upon, much less replace, this capability have been highly problematic."Partially as a consequence, Congress passed Pub.L. 109–163 (text) (PDF), the National Defense Authorization Act 2006, requiring that the battleships be kept and maintained in a state of readiness should they ever be needed again.[Congress had ordered that the following measures be implemented to ensure that Wisconsin could be returned to active duty if needed:

 

She must not be altered in any way that would impair her military utility.

The battleship must be preserved in her present condition through the continued use of cathodic protection, dehumidification systems, and any other preservation methods as needed.

Spare parts and unique equipment, such as the 16 in (406 mm) gun barrels and projectiles, must be preserved in adequate numbers to support Wisconsin, if reactivated.

The Navy must prepare plans for the rapid reactivation of Wisconsin should she be returned to the Navy in the event of a national emergency.

These conditions closely mirror the original three conditions that the Nation Defense Authorization Act of 1996 laid out for the maintenance of Wisconsin while she was in the mothball fleet.These conditions would be unlikely to impede a plan to turn Wisconsin into a permanent museum ship at her berth in Norfolk.

 

On 14 December 2009, the US Navy officially transferred Wisconsin to the city of Norfolk, ending the requirement for the ship to be preserved for possible recall to active duty. The US Navy had paid the city of Norfolk $2.8 million between 2000 and 2009 to maintain the ship.A formal ceremony transferring the ship to the city of Norfolk took place on 16 April 2010. Wisconsin was listed on the National Register of Historic Places on 28 March 2012.

 

Wisconsin earned five battle stars for her World War II service via the Asiatic Pacific Campaign Medal , and one for the Korean War Campaign Medal . The ship also received the Combat Action Ribbon and Navy Unit Commendation for actions in the Korean War and Operation Desert Storm in 1991. She also received over a dozen more awards for World War II, the Korean War, and Operations Desert Shield and Desert Storm including the World Two Victory Medal.

Ugh, lately i've felt like my creativity is nonexistent, you could say I am trapped in a box...

It's almost as if music seems to heighten every emotion. You might be going to a show to see a band but there's all of these elements outside of your control. You might be anxious about meeting someone there, the aggressiveness of the crowd, or arriving too late. Set times might change or you might be waiting in a super hot and poorly ventilated packed space for a musician who is an hour plus late.

 

Going to a show has all of these factors for those who aren't shooting it. For those who are photographing, there's a whole new set. Some venues are inconsistent about whether they will have a photopit up and you never seem to know until you actually get there. For us, a band going on early means, if the venue follows the strict 3 song limit, we might not get a chance to photograph that musician period. With an aggressive crowd, we also risk not only broken bones but thousands of dollars of camera equipment that may not be ensured breaking. And, of course, dark lighting or nonexistent lighting for us means our coverage will look terrible and if it's a band we really care about, we can't help but stress about that. Also, even though so many of us do this for free out of love for the band, it's really not uncommon for the publicist or the venue to mess up and for us not to be on the list or even be allowed to take photos. This even happened to me just last Saturday. It can be one of the most nerve wracking experiences out there just to use your camera to capture the memories.

 

But above all, for me, the most anxiety is usually caused when I'm photographing someone quiet such as Laura Marling or Mirah. I never like to get in the way of others physically so I try to show up on the early side and try not to stand right in front of someone shorter than me. But that clicking sound of the shutter closing can be rather thunderous.

 

I'd been a Magnetic Fields fan for well over a decade when they played at Chicago's Old Town School of Folk Music in 2008. I was lucky that my friend Sei Jin bought enough tickets early on when I was at work that Cinchel and I could buy two. Tickets were $25 a piece. For those unfamiliar with the venue, it's unfortunately not my favorite. It tends to host quieter acts in an environment I find stifling. Everyone sits down as if we're all a little too suburban to suffer standing. There is never any photopit and the light can be quite variable which means if you don't have a ticketed seat right up front, you aren't going to get any good shots.

 

I photographed Magnetic Fields for Venus Zine and I should have realized when it took so long to get the photopass that the band really wasn't all that interested in getting their picture taken. The first thing that happened before the show even began was a rude person at will call who told me that after I was finished shooting my ONE first song, I needed to leave. I had to explain I had actually paid $25 for the privilege of shooting the band for one song, which is rather unfortunate.

 

But the worst part came later. Stephin Merritt doesn't play with heavy distortion despite the fact that they were touring on an album by that name at the time. I've also heard he's a bit of an antisocial sort of person. Still, I really love his music and was just as anxious as I was excited.

 

The real horrible thing happened when right before the first song, Claudia Gonson turned to me-I was the only photographer there-and though I was taking photos from the seat and had purchased the tickets, though I wasn't using flash or being obtrusive, she says, "You KNOW it's only one song right?" It was unnecessary and, because it was directed right at me, it drew everyone's attention my way negatively even though that had never been my intention.

 

I still love the music but sometimes the more you get to know the personalities of those who sing the lyrics you know by heart and write the melodies that change your life, unfortunately, *sometimes* the more you dislike them as people.

 

I think Stephin Merritt is a genius but I'm kind of glad he's not my next door neighbor or something.

 

Ok-your turn to vent!

SARAJEVO Ode to Joy, Opus: Children of War,

Mirza Ajanovic POETIC Photography,

SARAJEVO WAR Gateway of Hell,

Grand OPUS; Sarajevo City of Light,

BOSNIA in Tragic WAR 1992-95,

POETIC Beauty and Strength of the Human Spirit,

During the years of terror cast upon Bosnia and my city of Sarajevo, photography remained my only medium of artistic expression. My painting conditions were nonexistent, (shortage of materials, time and peace). My photographs were captured while walking between steps. Each step representing life or death… In this town of sorrows, agony surrounded by walls of hatred and evil, I encountered the most extraordinary beings in this world. They are genuine people, without hatred; people who survive inside the walls of a besieged city, without electricity, fuel, food, water, etc. Sarajevo became the massacred city where every new day is awaited as a miracle; awaited with patience and disbelief that you are still alive. There was a light that continued to glow from this destroyed city and its people; they had not lost their spirit. Exhibitions and concerts were still being attended by people who shed the tears of happiness, knowing that they couldn’t kill the art. A horrifying beauty was born.

Intensely preoccupied with exploring light at edge of shadow,

Picture is based on light and darkness counterpoints,

With elements of Chiaroscuro,

Observation of physical and psychological reality,

Acutely observed realism brought a new level of emotional intensity,

Strong, dramatic expression,

Perception beyond Appearances,

Symbolism, POETIC TransRealism;

Perception beyond the Veil, including the veil of religion;

‘The true light came to the world and resided in the world,

And the world did not understand it,’

MIRZA AJANOVIC Fine ART Photography,

Carpenter bees are large, sturdy, shiny, black-coloured bees, some species having yellow markings on their heads. Sometimes they may be mistaken for bumblebees.

In several species, the females live alongside their own daughters or sisters, creating a small social group. They use wood bits to form partitions between the cells in the nest. A few species bore holes in wood dwellings. The entrance is often a perfectly circular hole measuring about 16 mm (0.63 in) on the underside of a beam, bench, or tree limb. Carpenter bees do not eat wood. They discard the bits of wood, or reuse particles to build partitions between cells. Since the tunnels are near the surface, structural damage is generally minor or nonexistent.

 

Australian magpie (Gymnorhina tibicen)

 

The Australian magpie (Gymnorhina tibicen) is a medium-sized black and white passerine bird native to Australia and southern New Guinea. Although once considered to be three separate species, it is now considered to be one, with nine recognised subspecies. A member of the Artamidae, the Australian magpie is placed in its own genus Gymnorhina and is most closely related to the black butcherbird (Melloria quoyi). It is not, however, closely related to the European magpie, which is a corvid.

 

The adult Australian magpie is a fairly robust bird ranging from 37 to 43 cm (14.5 to 17 in) in length, with distinctive black and white plumage, gold brown eyes and a solid wedge-shaped bluish-white and black bill. The male and female are similar in appearance, and can be distinguished by differences in back markings. The male has pure white feathers on the back of the head and the female has white blending to grey feathers on the back of the head. With its long legs, the Australian magpie walks rather than waddles or hops and spends much time on the ground.

 

Described as one of Australia's most accomplished songbirds, the Australian magpie has an array of complex vocalisations. It is omnivorous, with the bulk of its varied diet made up of invertebrates. It is generally sedentary and territorial throughout its range. Common and widespread, it has adapted well to human habitation and is a familiar bird of parks, gardens and farmland in Australia and New Guinea. This species is commonly fed by households around the country, but in spring a small minority of breeding magpies (almost always males) become aggressive and swoop and attack those who approach their nests.

Over 1000 Australian magpies were introduced into New Zealand from 1864 to 1874 but have subsequently been accused of displacing native birds and are now treated as a pest species. Introductions also occurred in the Solomon Islands and Fiji, where the birds are not considered an invasive species. The Australian magpie is the mascot of several Australian sporting teams, most notably the Collingwood Magpies, the Western Suburbs Magpies and Port Adelaide Magpies.

  

Taxonomy

 

The Australian magpie was first described by English ornithologist John Latham in 1801 as Coracias tibicen, the type collected in the Port Jackson region. Its specific epithet derived from the Latintibicen "flute-player" or "piper" in reference to the bird's melodious call. An early recorded vernacular name is piping poller, written on a painting by Thomas Watling, one of a group known collectively as the Port Jackson Painter, sometime between 1788 and 1792. Tarra-won-nang, or djarrawunang, wibung, and marriyang were names used by the local Eora and Darug inhabitants of the Sydney Basin. Booroogong and garoogong were Wiradjuri words, and carrak was a Jardwadjali term from Victoria. Among the Kamilaroi, it is burrugaabu, galalu, or guluu. It was known as Warndurla among the Yindjibarndi people of the central and western Pilbara. Other names used include piping crow-shrike, piper, maggie, flute-bird and organ-bird. The term bell-magpie was proposed to help distinguish it from the European magpie but failed to gain wide acceptance.

 

The bird was named for its similarity in colouration to the European magpie; it was a common practice for early settlers to name plants and animals after European counterparts. However, the European magpie is a member of the Corvidae, while its Australian counterpart is placed in the family Artamidae (although both are members of a broad corvid lineage). The Australian magpie's affinities with butcherbirds and currawongs were recognised early on and the three genera were placed in the family Cracticidae in 1914 by John Albert Leach after he had studied their musculature. American ornithologists Charles Sibley and Jon Ahlquist recognised the close relationship between woodswallows and the butcherbirds in 1985, and combined them into a Cracticini clade, in the Artamidae. The Australian magpie is placed in its own monotypic genus Gymnorhina which was introduced by the English zoologist George Robert Gray in 1840. The name of the genus is from the Ancient Greek gumnos for "naked" or "bare" and rhis, rhinos "nostrils". Some authorities such as Glen Storr in 1952 and Leslie Christidis and Walter Boles in their 2008 checklist, have placed the Australian magpie in the butcherbird genus Cracticus, arguing that its adaptation to ground-living is not enough to consider it a separate genus. A molecular genetic study published in a 2013 showed that the Australian magpie is a sister taxon to the black butcherbird (Melloria quoyi) and that the two species are in turn sister to a clade that includes the other butcherbirds in the genus Cracticus. The ancestor to the two species is thought to have split from the other butcherbirds between 8.3 and 4.2 million years ago, during the late Miocene to early Pliocene, while the two species themselves diverged sometime during the Pliocene (5.8–3.0 million years ago).

The Australian magpie was subdivided into three species in the literature for much of the twentieth century—the black-backed magpie (G. tibicen), the white-backed magpie (G. hypoleuca), and the western magpie (G. dorsalis). They were later noted to hybridise readily where their territories crossed, with hybrid grey or striped-backed magpies being quite common. This resulted in them being reclassified as one species by Julian Ford in 1969, with most recent authors following suit.

  

Subspecies

 

There are currently thought to be nine subspecies of the Australian magpie, although there are large zones of overlap with intermediate forms between the taxa. There is a tendency for birds to become larger with increasing latitude, the southern subspecies being larger than those further north, except the Tasmanian form which is small.[26] The original form, known as the black-backed magpie and classified as Gymnorhina tibicen, has been split into four black-backed races:

•G. tibicen tibicen, the nominate form, is a large subspecies found in southeastern Queensland, from the vicinity of Moreton Bay through eastern New South Wales to Moruya, New South Wales almost to the Victorian border. It is coastal or near-coastal and is restricted to east of the Great Dividing Range.

 

•G. tibicen terraereginae, found from Cape York and the Gulf Country southwards across Queenslandto the coast between Halifax Bay in the north and south to the Mary River, and central and western New South Wales and into northern South Australia, is a small to medium-sized subspecies. The plumage is the same as that of subspecies tibicen, although the female has a shorter black tip to the tail. The wings and tarsus are shorter and the bill proportionally longer. It was originally described by Gregory Mathews in 1912, its subspecies name a Latin translation, terra "land" reginae "queen's" of "Queensland". Hybridisation with the large white-backed subspecies tyrannica occurs in northern Victoria and southeastern New South Wales; intermediate forms have black bands of varying sizes in white-backed area. Three-way hybridisation occurs between Bega and Batemans Bay on the New South Wales south coast.

 

•G. tibicen eylandtensis, the Top End magpie, is found from the Kimberley in northern Western Australia, across the Northern Territory through Arnhem Land and Groote Eylandt and into the Gulf Country. It is a small subspecies with a long and thinner bill, with birds of Groote Eylandt possibly even smaller than mainland birds. It has a narrow black terminal tailband, and a narrow black band; the male has a large white nape, the female pale grey. This form was initially described by H. L. White in 1922. It intergrades with subspecies terraereginae southeast of the Gulf of Carpentaria.

 

•G. tibicen longirostris, the long-billed magpie, is found across northern Western Australia, from Shark Bay into the Pilbara. Named in 1903 by Alex Milligan, it is a medium-sized subspecies with a long thin bill. Milligan speculated the bill may have been adapted for the local conditions, slim fare meaning the birds had to pick at dangerous scorpions and spiders. There is a broad area of hybridisation with the western dorsalis in southern central Western Australia from Shark Bay south to the Murchison River and east to the Great Victoria Desert.

  

The white-backed magpie, originally described as Gymnorhina hypoleuca by John Gould in 1837, has also been split into races:

 

•G. tibicen tyrannica, a very large white-backed form found from Twofold Bay on the New South Wales far south coast, across southern Victoria south of the Great Dividing Range through to the Coorong in southeastern South Australia. It was first described by Schodde and Mason in 1999. It has a broad black tail band.

 

•G. tibicen telonocua, found from Cowell south into the Eyre and Yorke Peninsulas in southern South Australia, as well as the southwestern Gawler Ranges. Described by Schodde and Mason in 1999, its subspecific name is an anagram of leuconota "white-backed". It is very similar to tyrannica, differing in having a shorter wing and being lighter and smaller overall. The bill is relatively short compared with other magpie subspecies. Intermediate forms are found in the Mount Lofty Ranges and on Kangaroo Island.

  

•G. tibicen hypoleuca now refers to a small white-backed subspecies with a short compact bill and short wings, found on King and Flinders Islands, as well as Tasmania.

 

•The western magpie, G. tibicen dorsalis was originally described as a separate species by A. J. Campbell in 1895 and is found in the fertile south-west corner of Western Australia. The adult male has a white back and most closely resembles subspecies telonocua, though it is a little larger with a longer bill and the black tip of its tail plumage is narrower. The female is unusual in that it has a scalloped black or brownish-black mantle and back; the dark feathers there are edged with white. This area appears a more uniform black as the plumage ages and the edges are worn away. Both sexes have black thighs.

 

•The New Guinean magpie, G. tibicen papuana, is a little-known subspecies found in southern New Guinea. The adult male has a mostly white back with a narrow black stripe, and the female a blackish back; the black feathers here are tipped with white similar to subspecies dorsalis. It has a long deep bill resembling that of subspecies longirostris. Genetically it is closely related to a western lineage of Australian magpies comprising subspecies dorsalis, longirostris and eylandtensis, suggesting their ancestors occupied in savannah country that was a land bridge between New Guinea and Australia and was submerged around 16,500 years ago.

  

Description

 

The adult magpie is a fairly solid, sturdy bird ranging from 37 to 43 cm (14.5 to 17 in) in length with a 65–85 cm (25.5–33.5 in) wingspan, and weighing 220–350 g (7.8–12.3 oz). Its robust wedge-shaped bill is bluish-white bordered with black, with a small hook at the tip. The black legs are long and strong. The plumage is pure glossy black and white; both sexes of all subspecies have black heads, wings and underparts with white shoulders. The tail has a black terminal band. The nape is white in the male and light greyish-white in the female. Mature magpies have dull red eyes, in contrast to the yellow eyes of currawongs and white eyes of Australian ravens and crows. The main difference between the subspecies lies in the "saddle" markings on the back below the nape. Black-backed subspecies have a black saddle and white nape. White-backed subspecies have a wholly white nape and saddle. The male Western Australian subspecies dorsalis is also white-backed, but the equivalent area in the female is scalloped black.

Juveniles have lighter greys and browns amidst the starker blacks and whites of their plumage; two- or three-year-old birds of both sexes closely resemble and are difficult to distinguish from adult females. Immature birds have dark brownish eyes until around two years of age. Australian magpies generally live to around 25 years of age, though ages of up to 30 years have been recorded. The reported age of first breeding has varied according to area, but the average is between the ages of three and five years.

Well-known and easily recognisable, the Australian magpie is unlikely to be confused with any other species. The pied butcherbird has a similar build and plumage, but has white underparts unlike the former species' black underparts. The magpie-lark is a much smaller and more delicate bird with complex and very different banded black and white plumage. Currawong species have predominantly dark plumage and heavier bills.

 

Vocalisation

 

One of Australia's most highly regarded songbirds, the Australian magpie has a wide variety of calls, many of which are complex. Pitch may vary as much as four octaves, and the bird can mimic over 35 species of native and introduced bird species, as well as dogs and horses. Magpies have even been noted to mimic human speech when living in close proximity to humans. Its complex, musical, warbling call is one of the most familiar Australian bird sounds. In Denis Glover's poem "The Magpies", the mature magpie's call is described as quardle oodle ardle wardle doodle, one of the most famous lines in New Zealand poetry, and as waddle giggle gargle paddle poodle, in the children's book Waddle Giggle Gargle by Pamela Allen.

 

When alone, a magpie may make a quiet musical warbling; these complex melodious warbles or subsongs are pitched at 2–4 KHz and do not carry for long distances. These songs have been recorded up to 70 minutes in duration and are more frequent after the end of the breeding season. Pairs of magpies often take up a loud musical calling known as carolling to advertise or defend their territory; one bird initiates the call with the second (and sometimes more) joining in. Often preceded by warbling, carolling is pitched between 6 and 8 kHz and has 4–5 elements with slurring indistinct noise in between. Birds will adopt a specific posture by tilting their heads back, expanding their chests, and moving their wings backwards. A group of magpies will sing a short repetitive version of carolling just before dawn (dawn song), and at twilight after sundown (dusk song), in winter and spring.

 

Fledgling and juvenile magpies emit a repeated short and loud (80 dB), high-pitched (8 kHz) begging call. Magpies may indulge in beak-clapping to warn other species of birds.They employ several high pitched (8–10 kHz) alarm or rallying calls when intruders or threats are spotted. Distinct calls have been recorded for the approach of eagles and monitor lizards.

 

Distribution and habitat

 

The Australian magpie is found in the Trans-Fly region of southern New Guinea, between the Oriomo River and Muli Strait, and across most of Australia, bar the tip of Cape York, the Gibson and Great Sandy Deserts, and southwest of Tasmania. Birds taken mainly from Tasmania and Victoria were introduced into New Zealand by local Acclimatisation Societies of Otago and Canterbury in the 1860s, with the Wellington Acclimatisation Society releasing 260 birds in 1874. White-backed forms are spread on both the North and eastern South Island, while black-backed forms are found in the Hawke's Bay region. Magpies were introduced into New Zealand to control agricultural pests, and were therefore a protected species until 1951. They are thought to affect native New Zealand bird populations such as the tui and kereru, sometimes raiding nests for eggs and nestlings, although studies by Waikato University have cast doubt on this, and much blame on the magpie as a predator in the past has been anecdotal only. Introductions also occurred in the Solomon Islands and Sri Lanka, although the species has failed to become established. It has become established in western Taveuni in Fiji, however.

 

The Australian magpie prefers open areas such as grassland, fields and residential areas such as parks, gardens, golf courses, and streets, with scattered trees or forest nearby. Birds nest and shelter in trees but forage mainly on the ground in these open areas. It has also been recorded in mature pine plantations; birds only occupy rainforest and wet sclerophyll forest in the vicinity of cleared areas. In general, evidence suggests the range and population of the Australian magpie has increased with land-clearing, although local declines in Queensland due to a 1902 drought, and in Tasmania in the 1930s have been noted; the cause for the latter is unclear but rabbit baiting, pine tree removal, and spread of the masked lapwing (Vanellus miles) have been implicated.

 

Behaviour

 

The Australian magpie is almost exclusively diurnal, although it may call into the night, like some other members of the Artamidae. Natural predators of magpies include various species of monitor lizard and the barking owl. Birds are often killed on roads or electrocuted by powerlines, or poisoned after killing and eating house sparrows or mice, rats or rabbits targeted with baiting. The Australian raven may take nestlings left unattended.

 

On the ground, the Australian magpie moves around by walking, and is the only member of the Artamidae to do so; woodswallows, butcherbirds and currawongs all tend to hop with legs parallel. The magpie has a short femur (thigh bone), and long lower leg below the knee, suited to walking rather than running, although birds can run in short bursts when hunting prey.

 

The magpie is generally sedentary and territorial throughout its range, living in groups occupying a territory, or in flocks or fringe groups. A group may occupy and defend the same territory for many years. Much energy is spent defending a territory from intruders, particularly other magpies, and different behaviours are seen with different opponents. The sight of a raptor results in a rallying call by sentinel birds and subsequent coordinated mobbing of the intruder. Magpies place themselves either side of the bird of prey so that it will be attacked from behind should it strike a defender, and harass and drive the raptor to some distance beyond the territory. A group will use carolling as a signal to advertise ownership and warn off other magpies. In the negotiating display, the one or two dominant magpies parade along the border of the defended territory while the rest of the group stand back a little and look on. The leaders may fluff their feathers or caroll repeatedly. In a group strength display, employed if both the opposing and defending groups are of roughly equal numbers, all magpies will fly and form a row at the border of the territory. The defending group may also resort to an aerial display where the dominant magpies, or sometimes the whole group, swoop and dive while calling to warn an intruding magpie's group.

 

A wide variety of displays are seen, with aggressive behaviours outnumbering pro-social ones. Crouching low and uttering quiet begging calls are common signs of submission. The manus flutter is a submissive display where a magpie will flutter its primary feathers in its wings. A magpie, particularly a juvenile, may also fall, roll over on its back and expose its underparts. Birds may fluff up their flank feathers as an aggressive display or preceding an attack. Young birds display various forms of play behaviour, either by themselves or in groups, with older birds often initiating the proceedings with juveniles. These may involve picking up, manipulating or tugging at various objects such as sticks, rocks or bits of wire, and handing them to other birds. A bird may pick up a feather or leaf and flying off with it, with other birds pursuing and attempting to bring down the leader by latching onto its tail feathers. Birds may jump on each other and even engage in mock fighting. Play may even take place with other species such as blue-faced honeyeaters and Australasian pipits.

 

Breeding

 

Magpies have a long breeding season which varies in different parts of the country; in northern parts of Australia they will breed between June and September, but not commence until August or September in cooler regions, and may continue until January in some alpine areas. The nest is a bowl-shaped structure made of sticks and lined with softer material such as grass and bark. Near human habitation, synthetic material may be incorporated. Nests are built exclusively by females and generally placed high up in a tree fork, often in an exposed position. The trees used are most commonly eucalypts, although a variety of other native trees as well as introduced pine, Crataegus, and elm have been recorded. Other bird species, such as the yellow-rumped thornbill (Acanthiza chrysorrhoa), willie wagtail(Rhipidura leucophrys), southern whiteface (Aphelocephala leucopsis), and (less commonly) noisy miner (Manorina melanocephala), often nest in the same tree as the magpie. The first two species may even locate their nest directly beneath a magpie nest, while the diminutive striated pardalote (Pardalotus striatus) has been known to make a burrow for breeding into the base of the magpie nest itself. These incursions are all tolerated by the magpies. The channel-billed cuckoo (Scythrops novaehollandiae) is a notable brood parasite in eastern Australia; magpies will raise cuckoo young, which eventually outcompete the magpie nestlings.

 

The Australian magpie produces a clutch of two to five light blue or greenish eggs, which are oval in shape and about 30 by 40 mm (1.2 by 1.6 in). The chicks hatch synchronously around 20 days after incubation begins; like all passerines, the chicks are altricial—they are born pink, naked, and blind with large feet, a short broad beak and a bright red throat. Their eyes are fully open at around 10 days. Chicks develop fine downy feathers on their head, back and wings in the first week, and pinfeathers in the second week. The black and white colouration is noticeable from an early stage. Nestlings are fed exclusively by the female, though the male magpie will feed his partner. The Australian magpie is known to engage in cooperative breeding, and helper birds will assist in feeding and raising young. This does vary from region to region, and with the size of the group—the behaviour is rare or nonexistent in pairs or small groups.

 

Juvenile magpies begin foraging on their own three weeks after leaving the nest, and mostly feeding themselves by six months old. Some birds continue begging for food until eight or nine months of age, but are usually ignored. Birds reach adult size by their first year. The age at which young birds disperse varies across the country, and depends on the aggressiveness of the dominant adult of the corresponding sex; males are usually evicted at a younger age. Many leave at around a year old, but the age of departure may range from eight months to four years.

 

Feeding

 

The Australian magpie is omnivorous, eating various items located at or near ground level including invertebrates such as earthworms, millipedes, snails, spiders and scorpions as well as a wide variety of insects—cockroaches, ants, beetles, cicadas, moths and caterpillars and other larvae. Insects, including large adult grasshoppers, may be seized mid-flight. Skinks, frogs, mice and other small animals as well as grain, tubers, figs and walnuts have also been noted as components of their diet. It has even learnt to safely eat the poisonous cane toadby flipping it over and consuming the underparts. Predominantly a ground feeder, the Australian magpie paces open areas methodically searching for insects and their larvae. One study showed birds were able to find scarab beetle larvae by sound or vibration. Birds use their bills to probe into the earth or otherwise overturn debris in search of food. Smaller prey are swallowed whole, although magpies rub off the stingers of bees and wasps before swallowing.

 

Relationship with humans

 

Swooping

 

Magpies are ubiquitous in urban areas all over Australia, and have become accustomed to people. A small percentage of birds become highly aggressive during breeding season from late August to early - mid October, and will swoop and sometimes attack passersby. Attacks begin as the eggs hatch, increase in frequency and severity as the chicks grow, and tail off as the chicks leave the nest.

 

The percentage has been difficult to estimate but is significantly less than 9%. Almost all attacking birds (around 99%) are male, and they are generally known to attack pedestrians at around 50 m (160 ft) from their nest, and cyclists at around 100 m (330 ft). There appears to be some specificity in choice of attack targets, with the majority of individuals specializing on either pedestrians or cyclists.Smaller - especially younger - people, lone people, and people travelling quickly (i.e., runners and cyclists) appear to be targeted most often by swooping magpies. Anecdotal evidence suggests that if a magpie sees a human trying to rescue a chick that has fallen from its nest, the bird will view this help as predation, and will become more aggressive to humans from then on.

 

Magpies may engage in an escalating series of behaviours to drive off intruders. Least threatening are alarm calls and distant swoops, where birds fly within several metres from behind and perch nearby. Next in intensity are close swoops, where a magpie will swoop in from behind or the side and audibly "snap" their beaks or even peck or bite at the face, neck, ears or eyes. More rarely, a bird may dive-bomb and strike the intruder's (usually a cyclist's) head with its chest. A magpie may rarely attack by landing on the ground in front of a person and lurching up and landing on the victim's chest and pecking at the face and eyes.

 

Magpie attacks can cause injuries, typically wounds to the head, and being unexpectedly swooped while cycling can result in loss of control of the bicycle, which may cause injury.

 

If it is necessary to walk near the nest, wearing a broad-brimmed or legionnaire's hat or using an umbrella will deter attacking birds, but beanies and bicycle helmets are of little value as birds attack the sides of the head and neck.

 

Magpies prefer to swoop at the back of the head; therefore, keeping the magpie in sight at all times can discourage the bird. A basic disguise such as sunglasses worn on the back of the head may fool the magpie as to where a person is looking. Eyes painted on hats or helmets will deter attacks on pedestrians but not cyclists.

 

Cyclists can deter attack by attaching a long pole with a flag to a bike, and the use of cable ties on helmets has become common and appears to be effective.

 

Magpies are a protected native species in Australia, so it is illegal to kill or harm them. However, this protection is removed in some Australian states if a magpie attacks a human, allowing for the bird to be killed if it is considered particularly aggressive (such a provision is made, for example, in section 54 of the South Australian National Parks and Wildlife Act).[ More commonly, an aggressive bird will be caught and relocated to an unpopulated area. Magpies have to be moved some distance as almost all are able to find their way home from distances of less than 25 km (16 mi). Removing the nest is of no use as birds will breed again and possibly be more aggressive the second time around.

 

Some claim that swooping can be prevented by hand-feeding magpies. Magpies will become accustomed to being fed by humans, and although they are wild, will return to the same place looking for handouts. The idea is that humans thereby appear less of a threat to the nesting birds. Although this has not been studied systematically, there are reports of its success.

  

Cultural references

 

The Australian magpie featured in aboriginal folklore around Australia. The Yindjibarndi people of the Pilbara in the northwest of the country used the bird as a signal for sunrise, frightening them awake with its call. They were also familiar with its highly territorial nature, and it features in a song in their Burndud, or songs of customs. It was a totem bird of the people of the Illawarra region south of Sydney.

 

Under the name piping shrike, the white-backed magpie was declared the official emblem of the Government of South Australia in 1901 by Governor Tennyson, and has featured on the South Australian flag since 1904. The magpie is a commonly used emblem of sporting teams in Australia, and its brash, cocky attitude has been likened to the Australian psyche. Such teams tend to wear uniforms with black and white stripes. The Collingwood Football Club adopted the magpie from a visiting South Australian representative team in 1892. The Port Adelaide Magpies would similarly adopt the black and white colours and Magpie name in 1902. Other examples include Brisbane's Souths Logan Magpies, and Sydney's Western Suburbs Magpies. Disputes over who has been the first club to adopt the magpie emblem have been heated at times. Another club, Glenorchy Football Club of Tasmania, was forced to change uniform design when placed in the same league as another club (Claremont Magpies) with the same emblem.

 

In New Zealand, the Hawke's Bay Rugby Union team, from Napier, New Zealand, is also known as the magpies. One of the best-known New Zealand poems is "The Magpies" by Denis Glover, with its refrain "Quardle oodle ardle wardle doodle", imitating the sound of the bird – and the popular New Zealand comic Footrot Flats features a magpie character by the name of Pew.

 

An online poll conducted by Guardian Australia and BirdLife Australia was held in late 2017 to choose the "Australian Bird of the Year". The Australian magpie won the contest with 19,926 votes (13.3%), narrowly ahead of the Australian white ibis.

 

[Credit: en.wikipedia.org]

As the world crumbles and the life you once knew becomes nonexistent will you be there to greet your life with one final slumber ? May peace peace find the soul and may you find better on the other side. Press L for better viewing

Bok tower kissimmee FL.

 

When the sky is blue, and nothing particular is happening during the sunrise, I take my telephoto lens and wait in case something interesting would develop after all. That morning the wind was almost nonexistent, and trees were not moving, making it easy to capture their shapes, catching the first rays of light.

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This fighter doesn't exist. It has an ejectable seat, flick fire missiles and other missiles. I know, lots of missiles, here's a video of it: www.youtube.com/watch?v=hd5H6bZNybU

Lost (but not forgotten) London

 

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Shifting our view slightly to the right, here's a look down one of the store's actionways from the front left corner down to the back left corner. (With the number of actionways in this store, I don't think I'm even going to bother trying to name them “left actionway,” “right actionway,” etc. this time around, haha!)

 

The electronics desk is hidden on the extreme left of this view (behind those TV boxes), with the (probably nonexistent, at least in regards to its latter half) cameras and film department beyond that. Cards and party are on my right, with both home office and home improvement following suit.

 

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These places are public so these photos are too, but just as I tell where they came from, I'd appreciate if you'd say who :)