View allAll Photos Tagged synthesizing
More gunfire. The reverberating rattle of it clanging through her ears. Another explosion tears through a nearby wall as men, half incinerated, stagger around in shrieking agony. The smell of charred flesh, somehow similar to the scent of barbeque, hits her like a truck. It’s barbeque, but there’s something toxic in the smoke.
She takes no notice. She cackles and shrieks with delight as the hammer falls. A sixteen-pound mace, crushing heads and battering bones. She giggles as another arterial spray hits her face.
“This is living!” Harley shouts, just before tearing off a screaming man’s ear with her teeth.
“Not bad,” roars King Shark in regard to Harley’s display, seconds before tearing the head off another man.
With a practiced fluidity, and despite the hammer’s weight, Harley leaps over the heads of another group of guards, who stumble headfirst into the flames of El Diablo, roasting them alive, and melting their flesh into mere putty. More toxic barbeque.
“You feel the devil’s wrath!” he shouts.
In the rafters above her, Black Spider slinks, expertly throwing little blades into the throats of men on the catwalk. With a smoothness that matches her own, he crawls across the thin metal frames and into a throng of men. Slashing with wild abandon, gouging eyes and removing fingers with a ferocity.
“You will pay for the sins you’ve committed.” He snarls under his breath.
From somewhere, Harley withdraws a heavy revolver. There’s one man left in her line of sight, and he’s sobbing. He drops to his knees and pleads for his life. Pleads for his family, for the wife and kids he’ll never see again. A shot rings out, and he’s no more. A newly blossomed hole where his forehead once was.
“Ha!” Says Harley, “All that over a cork-gun!” She pulls the trigger, and a little cork on a string spits itself out over his still body. Deadshot, across the warehouse, lowers his smoking rifle.
“That’s enough, Quinn,” he says. “Let’s get what we came for.”
“Aw cowboy, you’re no fun!” She whines, “At least no fun when you’re standing up.”
Deadshot doesn’t justify it with a response. Instead, he just points at a set of heavy, iron doors.
“Shark, do your thing.”
King Shark lumbers forward, his tiny black eyes taking in as little light as possible. With a grunt, he begins to pry open the doors, tearing them back like cardboard.
“Madre de dios,” whispers El Diablo, upon witnessing their quarry.
In a beam of light, held aloft in a glass case, the disembodied, skinned face of Harley’s once-beloved rests on a stand.
“Puddin? What’ve they done to you?” whispers Harley.
“All this way? All this death? For this?” Asks Black Spider, incredulous. “Why?”
“The boss lady wants it,” replies Deadshot, “in order to extract the DNA from it, and use it to synthesize a controllable clown army.”
“That’s disgusting,” protests El Diablo.”
“It’s orders,” replies Deadshot. “Now who’s gonna help me break it out of there, and who’s head’s gonna burst?”
They argue, and they bicker, but Harley takes no notice. Gingerly, she steps towards the case.
Yes. Good girl, Harley.
Closer. Almost there.
Her hand lifts the hammer just a little.
Higher.
Harley. How I’ve missed you.
“Quinn? Get away from there.” says Deadshot.
Harley. You know what you have to do.
“But,” she says softly, “they’re my friends.”
Friends? Abuse you! Torture you! Shoot at you! They’re not your friends Harley. I am. I am your everything.
Harley.
I made you.
I love you.
“Quinn!” Shouts Deadshot, but it’s too late. Harley unhooks a grenade from her belt and throws it headlong into King Shark’s open mouth.
A second later, the explosion knocks the rest of the squad off their feet. Spider’s first up, and with a near untraceable speed, he rushes towards Harley, who sidesteps at the last minute and grabs Spider by the back of the head, bodily slamming him into the glass case. Blood seeps from his face as he crumples to the floor.
“Fry her!” Shouts Deadshot. El Diablo bursts a flame from his hand, but it’s too late, in another leap, Harley has cleared the span of floor between them and mashed Diablo’s brains out onto the floor with her hammer.
“You sick fuck,” hisses Deadshot, “I told Waller you’d be a liability. I hope you and that bitch are comfortable in hell together.”
“You’ll see her first,” smiles Harley, and, like Diablo before him, brains him with the hammer.
She laughs and waltzes to where her beloved’s face hovers encased in shattered glass. With a gentle tap, the glass gives way, and she wraps her arms around the glistening, grimacing flesh, waltzing through the carnage with a smile in her arms.
But then the beeping starts.
Harley begins to panic. Frantically, she tosses aside the face and scrambles for one of Spider’s blades. She finds one, and frantically begins to claw at the back of her own neck. She feels the blood pouring down, but dig as she does, she can’t find the nanite. Harley begins to giggle. To laugh. To guffaw uproariously as the beeping commences. She picks the face back up and cradles it in her arms; hugs it to her chest, it laughs uproariously along with her. Then as the beeping hits its final note –
Harley stops for a minute and asks aloud, “Wait a minute. What the hell is this?”
She looks at the face in her hands and drops it, disgusted. Turning, she looks to her dead teammates. Baffled, she glances at her own skimpy attire.
“I’m sorry, but either this is either some kinda traumatic flashback, or we have seriously regressed the Squad program back a few years.
A nasally voice shouts “Cut!” And to Harley’s confusion, the voices’ owner drifts into the room.
“Oh come ON!”, he shouts, “That was about to be so EPIC. Just BLAM. Blaze of glory. And after taking out all your friends? AH! The Drama!”
I’m sorry,” says Harley, “But who, and what, are you?”
The little imp sighs. “You can call me Squad-Mite,” it says. “I’M the Suicide Squad’s biggest fan!”
“Then why all of . . . this. I admit we get kinda dark at times, but this just seems kinda excessive. I mean, I love Floydy! I haven’t wanted to bash his brains in for months now!”
“I know, I know,” Replies the Mite, “But this Squad series is just so slow, and introspective. There’s so little time for Action and Death when all you guys do is stand around and monologue about your kids! Or go to a funeral! I mean, sure you got some gruesome visuals from it, but you guys spent one whole arc wandering around an overgrown prison! Eight whole issues of that!”
“Series? Issues?”
“Oh you don’t even know. The best part? I barely had to make any of this up. I just borrowed some stuff from your own subconscious; dug around deep in the pits of your mind that you’ve tried to repress and voila! A page turner! People love trauma after all.”
Harley stands for a moment, feels something boil in the pit of her stomach. It’s rage. She swallows it back down and takes a step back.
“Look, whatever you are, I have endured a lotta abuse in this line o’ work. I’ve seen a lotta things. But at no point would I ever consider murderin’ my friends. Or that Spider guy I don’t recognize. Y’can’t just boil somebody down to their traumas and their darkest, impulsive thoughts and brand that as their only traits, there’s more to people to that! There’s more to me than that! I dunno who you think you’re appealin’ to with this rancid crap, Mitey, but you can leave me the hell out of it.”
The Mite sighs. “Very well,” he says. “Just for that, I’ll set it all back to the way it was.”
“Wait, y’mean this wasn’t a dre-“
The Mite’s snapped his fingers,
Harley’s sat at her desk. Same office. Same plant from Ivy. Same little mis-painted figure of her, wedged between paperwork. For a moment, she stares dumbfounded into nothing.
There’s a knock at her door.
“Come in?” she says.
“Oy, Jesterbells, me’n Floyd here are gonna catch that boat off the island an into town. Hit a pub or two. You in?”
“Look like you’ve seen a ghost, Harls.”
“I. Yeah! Yeah, I’ll meet you guys at the dock okidoki? Just gotta wrap up this paperwork.”
“Alright luv, but don’t be too long!”
The door shuts behind them. Harley takes a deep breath in and lets it slowly out. She stands, paces for a moment, glances at the bottom drawer of her filing cabinet. And sucks in her breath again. A minute later, she’s fished the key out of her pocket and knelt down to the drawer.
The shiny red and black lycra inside glints in the office lamplight. The little domino mask stares up at her with empty eyes. She lets the breath out, and gently pushes it shut.
-----------------------------------
I'm not back, this is just some exercise. A brisk jog is all. Cheers, all.
It is in the municipal area of El Port de la Selva in the province of Girona, Catalonia. It has been constructed in the side of the Verdera mountain below the ruins of the castle of Sant de Verdera that had provided protection for the monastery. It offers an exceptional views over the bay of Llançà, to the north of Cap de Creus. Near the monastery Santa Creu de Rodes is the ruins of a medieval town, of which its preRomanesque style church is the only remains dedicated to Saint Helena.
The true origin of the monastery is not known, which has given rise to speculation and legend; such as its foundation by monks who disembarked in the area with the remains of Saint Peter and other saints, to save them from the Barbarian hordes that had fallen on Rome. Once the danger had passed the Pope Boniface IV commanded them to construct a monastery.The first documentation of the existence of the monastery dates 878, it being mentioned as a simple monastery cell consecrated to Saint Peter, but it is not until 945 when an independent Benedictine monastery was founded, prevailed over by an abbot. Bound to the County of Empúries it reached its maximum splendor between the XI and XII centuries until its final decay in 17th century. Its increasing importance is reflected in its status as a point of pilgrimage.
In the 17th Century XVII it was sacked in several occasions and in 1793 was deserted by the benedictine community which was transferred to Vila-sacred and finally settled in Figueres in 1809 until it was dissolved.The monastery was declared a national monument in 1930. In 1935 the Generalitat of Catalonia initiated the first restoration work. The buildings are constructed in terraces, given its location. Cloisters of XII century form the central part of the complex. Around them the rest of constructions are distributed. The Church, consecrated in the year 1022, is the best exponent of the Romanesque style and without comparison with others of its time. Detailing features plants with three bays and a vault. These are bordered by a double column with capitals influenced by the Carolingian Style. The double column support arches separating the bays. The columns and pillars have been taken from a former Roman building. The bay is splendid with large dimensions with an arch in the apse, this is continued in the two lateral bays. Under the apse is a crypt. The church synthesizes a number of original styles including Carolingian, Romanesque and Roman. The monastery is considered one of the best examples of Romanesque architecture in Catalonia. In the western facade of the monastery is a XII Century bell tower, a square shape it is influenced by the lombards from the previous century. To the side is a defensive tower, that was probably began in the X Century but finished later after several modifications.
It is in the municipal area of El Port de la Selva in the province of Girona, Catalonia. It has been constructed in the side of the Verdera mountain below the ruins of the castle of Sant de Verdera that had provided protection for the monastery. It offers an exceptional views over the bay of Llançà, to the north of Cap de Creus. Near the monastery Santa Creu de Rodes is the ruins of a medieval town, of which its preRomanesque style church is the only remains dedicated to Saint Helena.
The true origin of the monastery is not known, which has given rise to speculation and legend; such as its foundation by monks who disembarked in the area with the remains of Saint Peter and other saints, to save them from the Barbarian hordes that had fallen on Rome. Once the danger had passed the Pope Boniface IV commanded them to construct a monastery.The first documentation of the existence of the monastery dates 878, it being mentioned as a simple monastery cell consecrated to Saint Peter, but it is not until 945 when an independent Benedictine monastery was founded, prevailed over by an abbot. Bound to the County of Empúries it reached its maximum splendor between the XI and XII centuries until its final decay in 17th century. Its increasing importance is reflected in its status as a point of pilgrimage.
In the 17th Century XVII it was sacked in several occasions and in 1793 was deserted by the benedictine community which was transferred to Vila-sacred and finally settled in Figueres in 1809 until it was dissolved.The monastery was declared a national monument in 1930. In 1935 the Generalitat of Catalonia initiated the first restoration work. The buildings are constructed in terraces, given its location. Cloisters of XII century form the central part of the complex. Around them the rest of constructions are distributed. The Church, consecrated in the year 1022, is the best exponent of the Romanesque style and without comparison with others of its time. Detailing features plants with three bays and a vault. These are bordered by a double column with capitals influenced by the Carolingian Style. The double column support arches separating the bays. The columns and pillars have been taken from a former Roman building. The bay is splendid with large dimensions with an arch in the apse, this is continued in the two lateral bays. Under the apse is a crypt. The church synthesizes a number of original styles including Carolingian, Romanesque and Roman. The monastery is considered one of the best examples of Romanesque architecture in Catalonia. In the western facade of the monastery is a XII Century bell tower, a square shape it is influenced by the lombards from the previous century. To the side is a defensive tower, that was probably began in the X Century but finished later after several modifications.
Barcelona | Parc Güell
Zoom in for the details and press 'F' if you like it.
ENG
The Park Güell (Catalan: Parc Güell [ˈparɡ ˈɡweʎ]) is a public park system composed of gardens and architectonic elements located on Carmel Hill, in Barcelona (Spain). Carmel Hill belongs to the mountain range of Collserola — the Parc del Carmel is located on the northern face. Park Güell is located in La Salut, a neighborhood in the Gràcia district of Barcelona. With urbanization in mind, Eusebi Güell assigned the design of the park to Antoni Gaudí, a renowned architect and the face of Catalan modernism. The park was built between 1900 and 1914 and was officially opened as a public park in 1926. In 1984, UNESCO declared the park a World Heritage Site under “Works of Antoni Gaudí”.[1]
Park Güell is the reflection of Gaudí’s artistic plenitude, which belongs to his naturalist phase (first decade of the 20th century). During this period, the architect perfected his personal style through inspiration from organic shapes. He put into practice a series of new structural solutions rooted in the analysis of geometry. To that, the Catalan artist adds creative liberty and an imaginative, ornamental creation. Starting from a sort of baroquism, his works acquire a structural richness of forms and volumes, free of the rational rigidity or any sort of classic premisses. In the design of Park Güell, Gaudí unleashed all his architectonic genius and put to practice much of his innovative structural solutions that would become the symbol of his organic style and that would culminate in the creation of the Basilica and Expiatory Church of the Holy Family (Catalan: Sagrada Familia).
Güell and Gaudí conceived this park, situated within a natural park. They imagined an organized grouping of high-quality homes, decked out with all the latest technological advancements to ensure maximum comfort, finished off with an artistic touch. They also envisioned a community strongly influenced by symbolism, since, in the common elements of the park, they were trying to synthesize many of the political and religious ideals shared by patron and architect: therefore there are noticeable concepts originating from political Catalanism - especially in the entrance stairway where the Catalonian countries are represented - and from Catholicism - the Monumento al Calvario, originally designed to be a chapel. The mythological elements are so important: apparently Güell and Gaudí's conception of the park was also inspired by the Temple of Apollo of Delphi.
On the other hand, many experts have tried to link the park to various symbols because of the complex iconography that Gaudí applied to the urban project. Such references go from political vindication to religious exaltation, passing through mythology, history and philosophy. Specifically, many studies claim to see references to Freemasonry, despite the deep religious beliefs of both Gaudí and Count Güell. These references have not been proven in the historiography of the modern architect. The multiplicity of symbols found in the Park Güell is, as previously mentioned, associated to political and religious signs, with a touch of mystery according to the preferences of that time for enigmas and puzzles.
NL
Park Güell is een stadspark in Barcelona, in het Spaanse landsdeel Catalonië. Het is gelegen in het stadsdeel Gràcia in het noordoosten met een oppervlakte van 15 ha met dichte pijnbossen, lanen met palmen en een door bomen omzoomd plein. Een bonte bank (een reuzenslang) kronkelt door het park (het aards paradijs) als rendez-vousplaats (de appel).
In het verleden was het park twee hectare groter, bronnen noemen 17,2 ha. 'Park' is officieel geschreven met een ´K´ naar het Engelse ´Park´. Toen Antoni Gaudí met de aanleg begon, trof hij er een een braakliggend terrein zonder water of vegetatie. De tot de adelstand verheven industrieel Eusebi Güell gaf Gaudí in 1900 de opdracht voor de aanleg van een tuindorp of woonwijk. Dit werd geen succes: er werden twee huizen verkocht en in een van die huizen trok Gaudí in. Barcelona toonde als stad geen interesse voor dit megaproject.
Gaudí nam de opdracht om zijn idee over een op de natuur geïnspireerde architectuur vorm te geven. Hij dacht aan een recreatiepark, Güell dacht aan een tuinstad. Inspiratie deed Güell op tijdens zijn buitenlandse reizen, waarbij hij de Engelse landschapstuinen en de romantische tuinarchitectuur bewonderde, vandaar het Engelse 'Park'.
Dit leidde tot het gesteente groeiende pergola's, harmonieus in het landschap geïntegreerde trappen, paden en golvende, veelkleurige, mozaïekversieringen, waarmee Gaudí zijn sociale engagement laat zien. Anderen interpreteren dit project als een moment waarop Gaudí zijn goddelijke inspiratie liet zien. Güell hield zich intensief bezig met sociale hervormingen: het park was bedoeld als burgerwoongebied, niet als recreatiepark voor dagjesmensen. Er waren zestig driehoekige percelen gepland op een brede, steile en zonnige helling. Twee percelen werden verkocht.
Markante onderdelen zijn de ingang met portiersloge en portierswoning, het hek, de zuilengalerij, de dubbele trap met Salamander (als Draak betiteld) en de zitbank. Zowel zitbank als Salamander bestaan uit ontelbare mozaïekstukjes.
Het park staat, samen met andere werken van Gaudí sinds 1984 op de UNESCO Werelderfgoedlijst. Het park is niet vrij toegankelijk en er wordt toegangsgeld gevraagd.
Frist ever cell phone pic on Flickr. © 2016 Photo by Lloyd Thrap Photography
for Halo Media Group
All works subject to applicable copyright laws. This intellectual property MAY NOT BE DOWNLOADED except by normal viewing process of the browser. The intellectual property may not be copied to another computer, transmitted , published, reproduced, stored, manipulated, projected, or altered in any way, including without limitation any digitization or synthesizing of the images, alone or with any other material, by use of computer or other electronic means or any other method or means now or hereafter known, without the written permission of Lloyd Thrap and payment of a fee or arrangement thereof.
No images are within Public Domain. Use of any image as the basis for another photographic concept or illustration is a violation of copyright.
Lloyd Thrap's Public Portfolio
Facebook Lloyd-Thrap-Creative-Photography
#LG #LGG5 #Yahoo #Sprint #LloydThrap #MotorHead #quickandthedead #Love
Crossed-eyes 3D (stereoscopic) viewing: View the two photos cross-eyed until a third image appears in the middle, which will be in stereo 3D. The brain nicely synthesizes a composite image with realistic depth and sharpness. Then put your two hands in front of your face to cover the photos on the left and right so only the middle one remains in your sight.
The Italianate style of architecture was a distinct 19th-century phase in the history of Classical architecture. In the Italianate style, the models and architectural vocabulary of 16th-century Italian Renaissance architecture, which had served as inspiration for both Palladianism and Neoclassicism, were synthesized with picturesque aesthetics. The style of architecture that was thus created, though also characterized as "Neo-Renaissance", was essentially of its own time. "The backward look transforms its object," Siegfried Giedion wrote of historicist architectural styles; "every spectator at every period—at every moment, indeed—inevitably transforms the past according to his own nature."
The Italianate style was first developed in Britain about 1802 by John Nash, with the construction of Cronkhill in Shropshire. This small country house is generally accepted to be the first Italianate villa in England, from which is derived the Italianate architecture of the late Regency and early Victorian eras. The Italianate style was further developed and popularised by the architect Sir Charles Barry in the 1830s.[4] Barry's Italianate style (occasionally termed "Barryesque") drew heavily for its motifs on the buildings of the Italian Renaissance, though sometimes at odds with Nash's semi-rustic Italianate villas.
Main Street Historic District
Orleans County - #9500021
304 West Center St. Value about 133,000
LINKS! IT'S LINKS DAY, EVERYONE!
First, because it's his face I'm using, Ryan here interviewed me for a project he's doing over at Tellie. They make websites, but this was not about websites, this was about me! And it's video, I don't do video interviews all that often, very strange, but here we are, in the future. Went to his place, sat in his garage studio and answered questions while hoping I was not too shiny.
I was a bit shiny.
SEE HOW SHINY I AM BY CLICKING THIS LINK.
I was ALSO interviewed by Flickr's own Taya Iv! We talked for a good long time, she really did her research, very easy to talk to, that lady, good stuff.
Ryan focused more on broader questions about creativity and the arts, whereas Taya was focused more on my story, my ideas about photography as a passion vs a profession. So if you like me, or just like my photos, or just me, these two interviews go very different places.
HERE IS TAYA'S INTERVIEW WITH ME.
There's another interview coming that I just did this past weekend, but that one's gonna be behind a Patreon wall, so if you want to hear me talk for free, you've come to the right post.
And I'll tell ya...the past two years of pandemic have actually helped me synthesize a lot of my thoughts around photography, mainly through writing and talking to folks here on Flickr. So what you hear in these interviews is very much a product of the time I've spent here, attempting to describe my thoughts, explain my process.
Let me know what you think!
Details best viewed in Original Size.
According to Wikipedia, the Sultan Ahmed Mosque (more commonly known as The Blue Mosque for the blue tiles adorning its interior walls) was built from 1609 to 1616, during the rule of Ahmed I and although it is still popularly used as a mosque, it is also a popular tourist attraction. The Sultan Ahmed Mosque has one main dome, six minarets, and eight secondary domes. The design is the culmination of two centuries of Ottoman Mosque development. It incorporates some Byzantine elements of the neighboring Hagia Sophia with traditional Islamic architecture and is considered to be the last great mosque of the classical period. The architect, Sedefkâr Mehmed Ağa, synthesized the ideas of his master Sinan, aiming for overwhelming size, majesty and splendor. The image id framed by two of the four massive columns that carry the weight of the central dome plus some of the weight of the secondary domes. The facade of the spacious forecourt was built in the same manner as the facade of the Süleymaniye Mosque (also included in this set). The court is about as large as the mosque itself, is surrounded by a continuous vaulted arcade and has a central hexagonal fountain which is small relative to the courtyard.
Featured in Amazing World Places
Daily Photo - The Spray of the Tasman Sea
This was an incredibly difficult photo to achieve!
I did this one live, in front of my HDR Workshop in Tokyo. I like to tackle new photos in front of people so they can see how I struggle through the HDR process. It's never easy... and I like to talk out loud and let people know my thinking process. I think this is a very interesting way to give a live tutorial, rather than go by some automated and predictable script. The way you think about all the unexpected problems, dodge and roll with the issues, and synthesize various tools to accomplish an end goal is an interesting process.
You'll also see this on the upcoming HDR DVD. One night after an outing, I came back to process some brand new photos, and they all got to see me struggle through a few pieces to come up a satisfying work.
This was shot very recently when I was down on the extremely frigid coast of the Tasman Sea, on the southwest edge of New Zealand. With a wide-angle lens, you need to get in really close to this icy cold spray to get the splashes just right... I was completely soaked after this, and it felt (and smelled!) like I had just finished a multi-week crab hunt in the arctic!
Art Show in Austin
I arrived a little late to the show, and the girl that clicked us in said there were over 200 people there! Crazy! But it was really awesome to see this World's Largest High Resolution Tiled Wall display. I enjoyed meeting a bunch of new people, seeing other artists, and checking out the whole scene.
A gentleman there named David Ingram (Dingatx on Flickr) grabbed this photo below to give you some idea of the scene.
from Trey Ratcliff at www.stuckincustoms.com
Why, oh why, do I write so much with my images...I’m sure many of you have asked the very same thing when faced with masses of text and ‘not’ enough time to read it... (Jokes welcome)
Making the time to write about the images I take, or the topics inspired by them, allows me the space to reflect on the experience and delve into areas of my own mind that I haven’t yet discovered... it allows me to formulate and synthesize new ideas from others that are on the tip of my mental tong. It allows me evolve critical perspectives and challenge my assumptions. But most importantly it allows me to develop. Making myself write about things that I’m interested in is often quite hard work, but ultimately incredibly rewarding when new incites are uncovered.
So why do I need to share this in such a public way? Presenting my thoughts here first puts subtle pressure on me to make sure what I’m saying isn’t total crap. I see it as a kind of critical peer appraisal. This enables me to engage and communicate with you guys, which offers me a very much appreciated alternative perspective. I have some wonderfully insightful and talented contacts and I must thank you for your engagement here.
I’m also aware from reading and contributing to many of your work, that I’ve learned a great deal from others here on flickr and I hope this symbiosis is productive to all... anyway I know we all have busy lives and writing and reading lengthy texts (especially ones that haven’t been edited carefully) can be very tiresome, but making the space to develop is a liberating experience, (for me anyway). I’d fully encourage those of you out there that find inspiration from others writing and haven’t already tried it yet, to give it a go, you may be surprised what you learn. I’ll shut up now...
Note: This shot was taken just next to the other shot previously posted and I did consider posting this one first, because I feel it has more elements to engage with and it’s good to compare the two side by side. They both have similar technical execution but very different feelings due to the foreground. Man the geology around this area is wonderfully smooth and very interesting. It makes a refreshing change to explore a new area with such contrasting elements... did I say that I’d shut up.....?
2013 2020 Photo by Lloyd Thrap Photography
for Halo Media Group
All works subject to applicable copyright laws. This intellectual property MAY NOT BE DOWNLOADED except by normal viewing process of the browser. The intellectual property may not be copied to another computer, transmitted , published, reproduced, stored, manipulated, projected, or altered in any way, including without limitation any digitization or synthesizing of the images, alone or with any other material, by use of computer or other electronic means or any other method or means now or hereafter known, without the written permission of Lloyd Thrap and payment of a fee or arrangement thereof.
No images are within Public Domain. Use of any image as the basis for another photographic concept or illustration is a violation of copyright.
Lloyd Thrap's Public Portfolio
Facebook Lloyd-Thrap-Creative-Photography
Albuquerque photographers. Artist and good guy. DIGITAL CAMERA OLYMPUS DIGITAL CAMERA
Great Britain, London, ♪ …puttin’ on the Ritz♫, the world famous Hotel, The Ritz, symbol of high society & luxury. Eight years after opening the “Hôtel Ritz Paris” the Swiss hotelier César Ritz opened in May 1906 “The Ritz London”.
The famed traditional Afternoon Tea at the Palm Court for 50.-₤ about 70.-€ / 80.-US$ & more per Person, reservation is required since it is allways fully booked, it is the daytime place to see & to be seen, for some people a must. The Hotel has a dress-code in different areas of the hotel, men are required to wear a jacket & tie, jeans & trainers are not acceptable, for afternoon tea in The Palm Court, for lunch & dinner in the Restaurant.
♪ …puttin’ on the Ritz♫, a song written by Irving Berlin, published it in December, 1929. The song became a classic after introduced by Harry Richman & chorus in the musical film “Puttin' on the Ritz” in 1930 & besides other well-known entertainer also again 1983 the synthesized pop version by the Dutch singer Taco.
👉 One World one Dream,
🙏...Danke, Xièxie 谢谢, Thanks, Gracias, Merci, Grazie, Obrigado, Arigatô, Dhanyavad, Chokrane to you & over
12 million visits in my photostream with countless motivating comments
Give my regards to Broadway Broadway (George M. Cohan)
George M. Cohan “virtually invented musical comedy” LW by pioneering the idea that a show could maintain “a proper narrative structure interspersed with songs.” LW Cohan was an untrained musician who “professed to write only simple songs with simple harmonies and limited ranges” PS “and a melody line that rarely exceeded four beats.” LW His brilliance was in making them attractive and memorable.” LW
He was “the dominant force on Broadway during its heyday,” LW predating future musical theatre greats like Jerome Kern, George Gershwin, and Richard Rodgers. “His best work, like Irving Berlin’s, synthesized the idea of American-ness, useful in a country of so many young immigrants.” LW
In 1904, he wrote, composed, produced, acted, and danced in his first Broadway musical, Little Johnny Jones, inspired by real-life jockey Tod Sloan. In addition to “Yankee Doodle Boy”, the show featured “Give My Regards to Broadway”. The song “could only have been sung by an opinionated, cocky young man with a very high opinion of his own worth.” LW Cohan was a natural.
With “music and melody [that] seem to fit any era and transcend fads and styles” PS “Regards” is “arguably…the most memorable and greatest hit from the 1900 – 1910 decade.” PS It has proved to be “one of those enduring favorites that never gets old or outdated.” PS Billy Murray and S.H. Dudley both charted with the song in 1905, taking it to #1 and 4 respectively. Eddie Buzzell sang the song in its first screen appearance for the 1929 film version of Little Johnny Jones. It was also used in Yankee Doodle Dandy (1941), Give My Regards to Broadway (1948), Jolson Sings Again (1948) and With a Song in My Heart (1952). The 1968 play George M! featured Joel Grey singing it in his portrayal of Cohan.
Sagrada Família, Barcelona, España.
El Templo Expiatorio de la Sagrada Familia, conocido simplemente como la Sagrada Familia, es una basílica católica de Barcelona (España), diseñada por el arquitecto Antoni Gaudí. Iniciada en 1882, todavía está en construcción (noviembre de 2016). Es la obra maestra de Gaudí, y el máximo exponente de la arquitectura modernista catalana.
La Sagrada Familia es un reflejo de la plenitud artística de Gaudí: trabajó en ella durante la mayor parte de su carrera profesional, pero especialmente en los últimos años de su carrera, donde llegó a la culminación de su estilo naturalista, haciendo una síntesis de todas las soluciones y estilos probados hasta aquel entonces. Gaudí logró una perfecta armonía en la interrelación entre los elementos estructurales y los ornamentales, entre plástica y estética, entre función y forma, entre contenido y continente, logrando la integración de todas las artes en un todo estructurado y lógico.
La Sagrada Familia tiene planta de cruz latina, de cinco naves centrales y transepto de tres naves, y ábside con siete capillas. Ostenta tres fachadas dedicadas al Nacimiento, Pasión y Gloria de Jesús y, cuando esté concluida, tendrá 18 torres: cuatro en cada portal haciendo un total de doce por los apóstoles, cuatro sobre el crucero invocando a los evangelistas, una sobre el ábside dedicada a la Virgen y la torre-cimborio central en honor a Jesús, que alcanzará los 172,5 metros de altura. El templo dispondrá de dos sacristías junto al ábside, y de tres grandes capillas: la de la Asunción en el ábside y las del Bautismo y la Penitencia junto a la fachada principal; asimismo, estará rodeado de un claustro pensado para las procesiones y para aislar el templo del exterior. Gaudí aplicó a la Sagrada Familia un alto contenido simbólico, tanto en arquitectura como en escultura, dedicando a cada parte del templo un significado religioso.
The Expiatory Church of the Sagrada Familia, known simply as the Sagrada Familia, is a Roman Catholic basilica in Barcelona, Spain, designed by architect Antoni Gaudí. Begun in 1882, it is still under construction (November 2016). It is Gaudí's masterpiece and the greatest exponent of Catalan modernist architecture.
The Sagrada Familia is a reflection of Gaudí's artistic plenitude: he worked on it for most of his professional career, but especially in his later years, where he reached the culmination of his naturalistic style, synthesizing all the solutions and styles he had tried up to that point. Gaudí achieved perfect harmony in the interrelationship between structural and ornamental elements, between plasticity and aesthetics, between function and form, between content and container, achieving the integration of all the arts into a structured and logical whole. The Sagrada Familia has a Latin cross plan, five central naves, a three-aisled transept, and an apse with seven chapels. It boasts three façades dedicated to the Birth, Passion, and Glory of Jesus. When completed, it will have 18 towers: four at each portal, making a total of twelve for the apostles, four over the transept invoking the evangelists, one over the apse dedicated to the Virgin, and the central dome tower in honor of Jesus, which will reach 172.5 meters in height. The temple will have two sacristies next to the apse and three large chapels: the Assumption Chapel in the apse and the Baptism and Penance Chapels next to the main façade. It will also be surrounded by a cloister designed for processions and to isolate the temple from the exterior. Gaudí applied a highly symbolic content to the Sagrada Familia, both in architecture and sculpture, dedicating each part of the temple to a religious significance.
Edited photo. It is taken in the 'Museum of The History of Science and Technology in Islam' @Istanbul, Turkey
The Islamic Golden Age is a Abbasid historical period lasting until the Mongol conquest of Baghdad in 1258. The Islamic Golden Age was inaugurated by the middle of the 8th century by the ascension of the Abbasid Caliphate and the transfer of the capital from Damascus to Baghdad. The Abbasids were influenced by the Qur'anic injunctions and hadith such as "the ink of a scholar is more holy than the blood of a martyr" that stressed the value of knowledge. During this period the Arab world became an intellectual center for science, philosophy, medicine and education; the Abbasids championed the cause of knowledge and established the House of Wisdom in Baghdad, where both Muslim and non-Muslim scholars sought to translate and gather all the world's knowledge into Arabic. Many classic works of antiquity that would otherwise have been lost were translated into Arabic and Persian and later in turn translated into Turkish, Hebrew and Latin. During this period the Arab world was a collection of cultures which put together, synthesized and significantly advanced the knowledge gained from the ancient Roman, Chinese, Indian, Persian, Egyptian, Greek, and Byzantine civilizations.
Source: Wikipedia, the free encyclopedia
Details best viewed in Original Size.
According to Wikipedia, the Sultan Ahmed Mosque (more commonly known as The Blue Mosque for the blue tiles adorning its interior walls) was built from 1609 to 1616, during the rule of Ahmed I and although it is still popularly used as a mosque, it is also a popular tourist attraction. The Sultan Ahmed Mosque has one main dome, six minarets, and eight secondary domes. The design is the culmination of two centuries of Ottoman mosque development. It incorporates some Byzantine elements of the neighboring Hagia Sophia with traditional Islamic architecture and is considered to be the last great mosque of the classical period. The architect, Sedefkâr Mehmed Ağa, synthesized the ideas of his master Sinan, aiming for overwhelming size, majesty and splendor. The facade of the spacious forecourt was built in the same manner as the facade of the Süleymaniye Mosque (also included in this set). The court is about as large as the mosque itself, is surrounded by a continuous vaulted arcade and has a central hexagonal fountain which is small relative to the courtyard.
This panorama was constructed using Photoshop CS6 to stitch together vertically three landscape oriented images.
After much too long, I was out and about in the North End of Hamilton, Ontario, looking for subjects to capture. Accompanying me was fellow Bando de Kvar member, Matt (www.flickr.com/groups/2472126@N24/pool/ or www.instagram.com/tagg.art/ ). While wandering along James Street North, North of Barton Street, we spotted an alley sporting a yellow and orange umbrella patio set with a purple cinder block wall as a background. Some folded umbrellas sitting in deep shade came out near-black by exposing for the main umbrella and provided a classic street photography ‘V’ of light composition. The orange in the patio chairs, as well as the orange barrier in the foreground, brought the colour scheme together. Another hard-light find in the North End. - JW
Date Taken: 2021-09-02
(c) Copyright 2021 JW Vraets
Tech Details:
Taken using a hand held Nikon D7100 fitted with a AF-P DX Nikkor 70-300mm 1:4.5-6.3 lense set to 270mm, ISO180 (Auto ISO), Matrix metering, Daylight WB, AF-C mode, Shutter Priority mode, f/6.0, 1/800 sec. PP in free Open Source RAWTherapee from Nikon RAW/NEF source file: set final image size to be 9000px wide, crop off the top and right side of the frame to remove some distracting details, use the Shadows/Highlights tool to tame the highlights, sharpen (edges only), the Graduated Neutral Density/GND tool was rotated to cover and darken the orange metal barrier in the foreground, save. PP in free Open Source GIMP: use a synthesized, non-destructive dodge-burn technique to significantly darken a distracting light detail in the centre-left of the frame, sharpen, save, add fine black-and-white frame, add bar and text on left, save, scale image to 6000 px wide, sharpen, save, add fine black and white frame, add bar and text on left, save, scale image to 3000 px wide for posting online, sharpen slightly, save.
The background picture is entitled: St. Louis, May 1940. "Downtown street on Sunday morning." and is the property of Shorpy.com. The original picture can be viewed here
* Obviously the following commentary is quite lengthy and makes for difficult reading "on screen". (If) you care to take to trouble of reading the entire text, my suggestion would be to copy the text and paste it into a Word document.
........... and you think the world is in chaos today?..............
The New York Stock Exchange crashed in October 1929 throwing the nation into the grips of poverty and financial despair. 1930 was the beginning of the Great Depression. It would last a decade in the United States, where, at its nadir in 1933, 25 percent of all workers and 37 percent of all nonfarm workers were completely out of work. Some people starved; many others lost their farms and homes. Homeless vagabonds sneaked aboard the freight trains that crossed the nation. Dispossessed cotton farmers, the “Okies,” stuffed their possessions into dilapidated Model Ts and migrated to California in the false hope that the posters about plentiful jobs were true. Although the U.S. economy began to recover in the second quarter of 1933, the recovery largely stalled for most of 1934 and 1935. A more vigorous recovery commenced in late 1935 and continued into 1937, when a new depression occurred. The American economy had yet to fully recover from the Great Depression when the United States was drawn into World War II in December 1941. Because of this agonizingly slow recovery, the entire decade of the 1930s in the United States is often referred to as the Great Depression.
Socialism declared the Death of Capitalism; Hitler rose to power; From July 1936 to April 1939 Spain was ravaged by a Civil War, In 1931, the Japanese Kwangtung Army attacked Chinese troops in Manchuria. Ominous clouds of impending war loomed on the horizon. In the United States, the majority of its citizens were too preoccupied with trying to survive another day under the strains of the depression to notice.
But all of this drove technology forward: Radio was now the dominant mass medium in the so-called civilized world; the first commercial intercontinental airline flights began.
Some inventions and innovations of the 1930s and 40’s that shaped the culture:
1930: Planet discovered: Pluto, by Clyde W. Tombaugh at Lowell Observatory
1930: Photoflash bulb
1930: Freon invented by Midgley et al.
1930: Artificial fabric polymerized from acetylene (J. Walter Reppe, Germany)
1930: High-octane gasoline invented by Ipatief (Russia)
1931: Cyclotron invented (Ernest O. Lawrence, USA)
1931: Neoprene (synthetic rubber) developed by Julius A. Nieuwland
1931: Synthetic resin, invented by Hill (England)
1931: Electronic microscope, Lroll & Ruska (Germany)
1932: Vitamin D discovered
1933: Electronic television invented by Philo Farnsworth (USA)
1933: Pure Vitamin C synthesized by Tadeusz Reichstein
1934: Launderette, invented by Cantrell (USA)
1935: Aircraft-detecting radar, by Robert Watson Watt
1935: First sulfa drug (Prontosil) for streptococcal infections (G. Domagk, Germany)
1936: Artificial Heart invented by Dr. Alexis Carrel
1937: Nylon patented for DuPont by Wallace H. Carothers
1937: First jet engine, built by Frank Whittle
1938: Fiberglass invented at Owens-Corning
1938: Teflon invented at Du Pont
1938: Vitamin E identified
1938: Fluorescent lamp, at General Electric
1939: First nylon stockings
1939: Polyethylene invented
1939: First helicopter, built by Igor Sikorsky (Russian-American)
1939: FM (Frequency Modulation) radio invented by Edwin H. Armstrong
1940: First USA helicopter flight, Vought-Sikorsky Corporation
1940: Penicillin perfected by Howard Florey as useful antibiotic
1940: Cavity Magnetron developed (key to Radar)
1940: First transuranic element (Neptunium) discovered (Philip Abelson & Edwin McMillan)
1940: First electron microscope, RCA
Meanwhile, Hitler's Nazi party gained power (in 1930), and soon led to the annexation of Austria (1938) and the invasion of Poland (1939), which drew France and Great Britain into World War II, despite the dithering of Neville Chamberlain. In June of 1940 the rapidly advancing German Army captured Paris. Franklin Delano Roosevelt is U.S. president (1932 into the next decade). Great Britain sees three kings in the decade: Edward VIII, George V, and George VI.
1930 – 1940 (what were we reading, what were we watching and what were we listening to)
BOOKS:
1932 Aldous Huxley: "Brave New World"
1932 “Tobacco Road” by Erskine Caldwell is published. It is about Georgia sharecroppers.
1938 Ayn Rand: "Anthem”
1939 James Joyce: "Finnegans Wake"
1939 “The Grapes of Wrath” by John Steinbeck is published.
MOVIES:
1931 “Frankenstein”
1932"The Mummy" - With Boris Karloff.
1933 “Deluge” - New York is wiped out by tsunami. Based on 1928 novel of same name by S.
Fowler Wright. (Plot sound familiar?)
1933 “The Invisible Man” - with Claude Rains as Dr. Jack Giffin, John Carradine, Walter Brennan,
directed by James Whale.
1933 “King Kong” - with Leslie Fenton, Conrad Veidt, Jill Esmond, George Merritt. Directed by Karl Hartl.
1934 "The Thin Man" - With William Powell, Myrna Loy, Maureen O'Sullivan. Based on the book by
Dashiell Hammett.
1935 "Top Hat" - With Fred Astaire, Ginger Rogers, Edward Everett Horton, Eric Blore.
1936 “Flash Gordon” (many sequels to follow)
1936"The Charge of the Light Brigade" - With Erroll Flynn, Olivia DeHavilland, Donald Crisp, Nigel
Bruce, Patric Knowles, David Niven.
1937 "Snow White and the Seven Dwarfs"
1938 "The Adventures of Robin Hood" - With Errol Flynn, Olivia de Havilland, Basil Rathbone, Claude
Rains, Eugene Pallette, Alan Hale. Directed by Michael Curtiz.
1939 "Gone With the Wind" - With Clark Gable, Vivien Leigh, Leslie Howard, Olivia DeHavilland,
Thomas Mitchell, Hattie McDaniel.
1940 "The Grapes of Wrath" - With Henry Fonda, Jane Darwell, John Carradine. Directed by John
Ford.
1940 "The Bank Dick" - With W.C. Fields, Cora Witherspoon, Una Merkel, Franklin Pangborn, Shemp
Howard, Grady Sutton.
MUSIC – 1940
“When You Wish Upon a Star” - Glenn Miller
“In The Mood” - Glenn Miller
“When The Swallows Come Back To Capistrano” - Ink Spots
“Frenesi” - Artie Shaw
“Beat Me Daddy, Eight To The Bar” - Will Bradley
“Tuxedo Junction” - Glenn Miller
“Body and Soul” - Coleman Hawkins
“I'll Never Smile Again” - Tommy Dorsey
“Sierra Sue” - Bing Crosby
“Blueberry Hill” - Glenn Miller
“Careless” - Glenn Miller
“Ferryboat Serenade” - Andrews Sisters
“The Woodpecker Song” - Glenn Miller
“Only Forever” - Bing Crosby
“Imagination” - Glenn Miller
RADIO:
Although the origins of television can be traced back as far as 1873 the discovery of the photoconductivity of the element selenium by Willoughby Smith, the first regularly scheduled television service in the United States was not available until July 2, 1928 and yet then it was in its infancy and certainly not perfected and not a widely accepted form of media. Radio was the media of the time. Most Americans, although barely able to put food on the table or clothes on their backs, had some type of radio in their living quarters.
1932, November 7th - the First radio broadcast of "Buck Rogers" www.buck-rogers.com/radio_serial/
What followed was a whole host of Science fiction, mystery, comedy, westerns, detective and music programs. During the mid to late 30’s and 40’s millions of American families gathered around their radios in the evening listening to their favorite radio shows. Radio broadcasts continued well into the late 50’s when eventually television became readily accessible and affordable to most Americans.
A few of the earliest radio shows:
“Flash Gordon” – September, 1935: www.oldradioworld.com/media/Flash%20Gordon%201935-09-07%2...
“The Town Crier” 1929 - 1942: www.oldradioworld.com/media/The%20Town%20Crier%20Twenty%2...
“Sam Bass, Death Valley Days” 1930 – 1945: www.oldradioworld.com/media/Death%20Valley%20Days%201936-...
“The Aldrich Family” – 1939 - 1953: www.oldradioworld.com/media/The%20Aldrich%20Family%201952...
If you would care to delve a little further into the world of radio entertainment (before the days of sex, graphic violence and endless commercials on TV), I suggest you check out this excellent site - www.oldradioworld.com/
Notable events:
1931 - Empire State Building opens in New York City
1931, September – Japanese invade Manchuria
1932 - Ford introduces the Model B, the first low-priced car to have a V-8 engine
1933 - Franklin Delano Roosevelt sworn in as President; he is the last president to be inaugurated on
March 4.
1933, February - Less than a month after Hitler became chancellor, the Reichstag burns down. When the police arrive they find Marinus van der Lubbe on the premises. Upon being tortured by the Gestapo van der Lubbe confesses to starting the fire. However he denies that he was part of a Communist
Conspiracy. Hitler later gives orders that all leaders of the German Communist Party "will be
hanged that very night." Hermann Goering announces that the Nazi Party plans "to exterminate" German communists.
1934 Chancellor Dollfuss of Austria assassinated by Nazis. Hitler becomes führer. USSR admitted to League of Nations.
1934 - John Dillinger is killed in Chicago
1935 - Mussolini invades Ethiopia; League of Nations invokes sanctions. Roosevelt opens second
phase of New Deal in U.S., calling for social security, better housing, equitable taxation, and farm assistance. Huey Long assassinated in Louisiana.
1935, September - The Nuremberg Race Laws deprive German Jews of their rights of citizenship, giving them the status of "subjects" in Hitler's Reich. The laws also make it forbidden for Jews to marry or have sexual relations with Aryans or to employ young Aryan women as household help. The Nazis settle on defining a "full Jew" as a person with three Jewish grandparents. Those with less were designated as Mischlinge or a "mixed blood."
1937, May - the German passenger airship, the Hindenburg, catches fire and is destroyed while attempting to dock during a electrical storm at the Lakehurst Naval Air Station. Of the 97 people on board, 15 are killed along with people killed on the ground. The exact cause for this disaster is still unknown.
1936, August – The 1936 Summer Olympics officially known as Games of the XI Olympiad, are held in Berlin, Germany. Jesse Owens wins four gold medals: the 100m sprint, the long jump, 200m sprint and after he was added to the 4 x 100 m relay team, he won his fourth on August 9.
* Owens was allowed to travel with and stay in the same hotels as whites, while at the time blacks in many parts of the United States were denied equal rights. After a New York City ticker-tape parade of Fifth Avenue in his honor, Owens had to ride the freight elevator at the Waldorf-Astoria to reach the reception honoring him.......... a sad chapter in the history of the United States. Owens said, "Hitler didn't snub me – it was FDR who snubbed me. The president didn't even send me a telegram." On the other hand, Hitler sent Owens a commemorative inscribed cabinet photograph of himself. Jesse Owens was never invited to the White House nor were honors bestowed upon him by president Franklin D. Roosevelt (FDR) or his successor Harry S. Truman during their terms. In 1955, President Dwight D. Eisenhower honored Owens by naming him an "Ambassador of Sports."
1936 - Germans occupy Rhineland. Italy annexes Ethiopia. Rome-Berlin Axis proclaimed (Japan to join
in 1940). Trotsky exiled to Mexico.
1937 - Hitler repudiates war guilt clause of Versailles Treaty; continues to build German power. Italy withdraws from League of Nations. U.S. gunboat Panay sunk by Japanese in Yangtze River.
Japan invades China, conquers most of coastal area. Amelia Earhart lost somewhere in Pacific
on round-the-world flight. Picasso's Guernica mural – an abstract depicting the chaos and human calamity of the Spanish Civil War.
1938, November - The Kristallnacht or the "Night of Broken Glass" is a night when the Gestapo and the SS go through towns of Austria and smash the windows of Jewish occupations. Thousands of homes and businesses are ransacked, 91 Jews are murdered and 25,000 to 30,000 are arrested and placed in concentration camps.
1938, March - The Anschluss, Germany takes over Austria. The German speaking part of Austria wanted to unite with Germany and Hitler states that this was his purpose for the annexation of Austria. However, this is against the Treaty of Versailles.
1939, September - Nazi-Germany attacks Poland, essentially the beginning of World War II. Many
countries around Germany declared war on Germany but do not take overt action against the Third Reich. Recently, Adolf Hitler had agreed in the Munich Agreement that he would not invade Poland. Great Britain and Poland have a mutual aid treaty that requires either country to come to the aid of the other in the event of war. When Germany invades Poland, Britain (and the Commonwealth) is obligated to come to the aid of Poland by declaring war on Germany. The United States, however, does not officially declare war against Germany. Many countries rise up and voiced anger over Hitler’s betrayal but only Britain and the Commonwealth take overt actions to try and stop Hilter’s military aggression.
1939 - President Roosevelt, appears at the opening of the 1939 New York World's Fair, becoming the first President to give a speech that is broadcast on television. Semi-regular broadcasts air during the next two years
1940, August - The Battle of Britain begins. The German Luftwaffe attempts to take over British airspace and destroy the Royal Air Force with the intention of eventually invading England. Against all odds, Britain and The Royal Air Force resist the Luftwaffe aggression causing Hitler to abandon the idea of invading Britain and to turn his attention to Russia.
1940, March - "Lend/Lease" is the name of the program under which the US supplied the United Kingdom, the Soviet Union, China, France and other Allied nations with vast amounts of war material in return for military bases in Newfoundland, Bermuda, and the British West Indies. It
was intended to promote the defense of the US. This act also ended the neutrality of the United States.
1940, May (This picture) – A mostly vacant downtown area of St. Louis on an early Sunday
morning.
As this picture suggests, the United States lay basically asleep, as many Americans are either unaware , or prefer to ignore the ominous winds of war swirling all around them. In a few short months, the hammer would fall and Americans would find themselves anxiously gathered around their radios listening to the President of the United States announce:
“Yesterday, December 7th, 1941 - a date which will live in infamy - the United States of America was suddenly and deliberately attacked by naval and air forces of the Empire of Japan.
The United States was at peace with that nation and, at the solicitation of Japan, was still in conversation with its government and its emperor looking toward the maintenance of peace in the Pacific.
Indeed, one hour after Japanese air squadrons had commenced bombing in the American island of Oahu, the Japanese ambassador to the United States and his colleagues delivered to our Secretary of State a formal reply to a recent American message. And while this reply stated that it seemed useless to continue the existing diplomatic negotiations, it contained no threat or hint of war or of armed attack.
It will be recorded that the distance of Hawaii from Japan makes it obvious that the attack was deliberately planned many days or even weeks ago. During the intervening time, the Japanese government has deliberately sought to deceive the United States by false statements and expressions of hope for continued peace.
The attack yesterday on the Hawaiian islands has caused severe damage to American naval and military forces. I regret to tell you that very many American lives have been lost. In addition, American ships have been reported torpedoed on the high seas between San Francisco and Honolulu.
Yesterday, the Japanese government also launched an attack against Malaya.
Last night, Japanese forces attacked Hong Kong.
Last night, Japanese forces attacked Guam.
Last night, Japanese forces attacked the Philippine Islands.
Last night, the Japanese attacked Wake Island.
And this morning, the Japanese attacked Midway Island.
Japan has, therefore, undertaken a surprise offensive extending throughout the Pacific area. The facts of yesterday and today speak for themselves. The people of the United States have already formed their opinions and well understand the implications to the very life and safety of our nation.
As commander in chief of the Army and Navy, I have directed that all measures be taken for our defense.
But always will our whole nation remember the character of the onslaught against us.
No matter how long it may take us to overcome this premeditated invasion, the American people in their righteous might will win through to absolute victory.
I believe that I interpret the will of the Congress and of the people when I assert that we will not only defend ourselves to the uttermost, but will make it very certain that this form of treachery shall never again endanger us.
Hostilities exist. There is no blinking at the fact that our people, our territory and our interests are in grave danger.
With confidence in our armed forces - with the unbounding determination of our people - we will gain the inevitable triumph - so help us God.
I ask that the Congress declare that since the unprovoked and dastardly attack by Japan on Sunday, December 7th, 1941, a state of war has existed between the United States and the Japanese empire.”
From this day forward, life as American’s knew it, will be drastically and forever changed.
From 4,000 feet over Burke County, NC.
Synthesized IRG-->RGB cross-sampled image from a single exposure. Converted camera, Tiffen 12 filter, Asahi 35mm lens. Worked up in Pixelbender and Photoshop.
From 8,000 feet over Rutherford County, NC.
Synthesized IRG-->RGB cross-sampled image from a single exposure. Converted camera, #12 filter. Worked up in Pixelbender and Photoshop.
© Brian Callahan 2009 All rights reserved.
The Glasswing butterfly, Greta oto, is a brush-footed butterfly (Nymphalidae family), whose home range extends from Panama to Mexico. This species lays its eggs on plants of the genus Cestrum, which synthesize toxic alkaloids. The butterfly larvae feed on the plants and store the alkaloids in their tissues, making them unpalatable to predators.
Side shot of show models & guests.
© 2010 2025 Photo by Lloyd Thrap Photography for Halo Media Group
All works subject to applicable copyright laws. This intellectual property MAY NOT BE DOWNLOADED except by normal viewing process of the browser. The intellectual property may not be copied to another computer, transmitted , published, reproduced, stored, manipulated, projected, or altered in any way, including without limitation any digitization or synthesizing of the images, alone or with any other material, by use of computer or other electronic means or any other method or means now or hereafter known, without the written permission of Lloyd Thrap and payment of a fee or arrangement thereof.
No images are within Public Domain. Use of any image as the basis for another photographic concept or illustration is a violation of copyright.
Lauren Pearlman - Photography by: Alex Gonzalez of VPXSPORTS.COM
Visit us at www.vpxsports.com
Shop at shop.vpxsports.com
Architectural photography
#patternsofthecity #texturesoflive
This architecture, with its networks of tubes and the lookit has of being an expo or world's fair building, with its (calculated?) fragility deterringany traditional mentality or monumentality, overtly proclaims that our time will neveragain be that of duration, that our only temporality is that of the accelerated cycle and ofrecycling, that of the circuit and of the transit of fluids. Our only culture in the end is thatof hydrocarbons, that of refining, cracking, breaking cultural molecules and of theirrecombination into synthesized products. And this is what underlies the beauty ofthe cadaver and the failure of the interior spaces. In any case, the very ideology of "cultural production" is antithetical to all culture, as is that of visibility and of the polyvalent space: culture is a site of the secret, of seduction, of initiation, of a restrainedand highly ritualized symbolic exchange.
Jean Baudrillard /
"Simulacra et simulation"
© 2017 2020 Photo by Lloyd Thrap Photography
for Halo Media Group
All works subject to applicable copyright laws. This intellectual property MAY NOT BE DOWNLOADED except by normal viewing process of the browser. The intellectual property may not be copied to another computer, transmitted , published, reproduced, stored, manipulated, projected, or altered in any way, including without limitation any digitization or synthesizing of the images, alone or with any other material, by use of computer or other electronic means or any other method or means now or hereafter known, without the written permission of Lloyd Thrap and payment of a fee or arrangement thereof.
No images are within Public Domain. Use of any image as the basis for another photographic concept or illustration is a violation of copyright.
Lloyd Thrap's Public Portfolio
Facebook Lloyd-Thrap-Creative-Photography
Albuquerque photographers. Artist and good guy.
Persistent URL: www.floridamemory.com/items/show/253342
Title: Musical Moments at Miami's Seaquarium - Miami
Date of film: ca. 1975
Physical descrip: color; sound; original length: 7:47
Local call number: BA434; S. 828
General note: In this film, a synthesized musical soundtrack accompanies footage of the dolphin, whale and seal shows at the Miami Seaquarium theme park.
To see full-length versions of this and other videos from the State Archives of Florida, visit www.floridamemory.com/video/.
Repository: State Library and Archives of Florida, 500 S. Bronough St., Tallahassee, FL 32399-0250 USA. Contact: 850.245.6700. Archives@dos.myflorida.com
Crossed-eyes 3D (stereoscopic) viewing: View the two photos cross-eyed until a third one appears in the middle, which will be in stereo 3D. The brain nicely synthesizes a composite image with realistic depth and sharpness. Then put your two hands in front of your face to cover the photos on the left and right so only the middle one remains in your sight.
The Manueline or Portuguese late Gothic, is the sumptuous, composite Portuguese style of architectural ornamentation of the first decades of the 16th century, incorporating maritime elements and representations of the discoveries brought from the voyages of Vasco da Gama and Pedro Álvares Cabral. This innovative style synthesizes aspects of Late Gothic architecture with influences of the Spanish Plateresque style, Mudéjar, Italian urban architecture, and Flemish elements. It marks the transition from Late Gothic to Renaissance. The construction of churches and monasteries in Manueline was largely financed by proceeds of the lucrative spice trade with Africa and India.
The style was given its name, many years later, by Francisco Adolfo de Varnhagen, Viscount of Porto Seguro, in his 1842 book, Noticia historica e descriptiva do Mosteiro de Belem, com um glossario de varios termos respectivos principalmente a architectura gothica, in his description of the Jerónimos Monastery. Varnhagen named the style after King Manuel I, whose reign (1495–1521) coincided with its development. The style was much influenced by the astonishing successes of the voyages of discovery of Portuguese navigators, from the coastal areas of Africa to the discovery of Brazil and the ocean routes to the Far East, drawing heavily on the style and decorations of East Indian temples.
© 2009 2018 Photo by Lloyd Thrap Photography
for Halo Media Group
All works subject to applicable copyright laws. This intellectual property MAY NOT BE DOWNLOADED except by normal viewing process of the browser. The intellectual property may not be copied to another computer, transmitted , published, reproduced, stored, manipulated, projected, or altered in any way, including without limitation any digitization or synthesizing of the images, alone or with any other material, by use of computer or other electronic means or any other method or means now or hereafter known, without the written permission of Lloyd Thrap and payment of a fee or arrangement thereof.
No images are within Public Domain. Use of any image as the basis for another photographic concept or illustration is a violation of copyright.
Lloyd Thrap's Public Portfolio
Facebook Lloyd-Thrap-Creative-Photography
Albuquerque photographers. Artist and good guy.
A image from underneath of a Papaya leaf to show the structure and texture as the light shines upon it. Hope Y'all like it.
~~~~~~~~~~~~~~~~~~~~~~~~~~~
Photosynthesis: The process in which the energy of the sunlight is used by organism's in most green plants, to synthesize carbohydrates from carbon dioxide and water.
~~~~~~~~~
Chlorophyll: The green pigment found in most plants, responsible for light to provide energy for Photosynthesis.
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
View in large size for details if you like.!!
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
Thanks for all your wonderful support on my work in Photography,
Gaston (aka Gasssman).
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
Wishing everyone a Awesome Weekend.!!!
Wasatch County, UT.
Synthesized IRG-->RGB cross-sampled image from a single exposure. Converted camera, Tiffen #12 filter, Steinheil 50mm lens. Worked up in Pixelbender and Photoshop.
"Kushi-Kangiku-zu " painted by Shijo School artist Hakuho Takebe(1871-1927)
狗子Kushi - puppy 寒菊Kangiku－winter chrysanthemum
＊レプリカではありません。本物です。
This is a genuine paining,-not copy.
location : Yanagidani Kannon Yokoku-ji temple ,Nagaoka-kyo city,Kyoto prefecture,Japan
-----------------------------------------------------------------------------------------
Shijo-school
The Shijō school (四条派 Shijō-ha), also known as the Maruyama–Shijō school, was a Japanese school of paintingIt was an offshoot school of the Maruyama school of Japanese painting founded by Maruyama Ōkyo, and his former student Matsumura Goshun in the late 18th century. This school was one of several that made up the larger Kyoto school. The school is named after the Shijō Street ("Fourth Avenue") in Kyoto where many major artists were based. Its primary patrons were rich merchants in and around Kyoto/Osaka and also appealed to the kamigata who were of the established aristocrat and artisan families of the Imperial capital during the late 18th/19th centuries.
Style
Stylistically, the Shijō style can best be described as a synthesis of two rival styles of the time. Maruyama Ōkyo was an experienced and expert painter of sumi-e ink paintings, and accomplished a great degree of realism in his creations, emphasizing direct observation of depicted subjects which was a direct contravention of the officially sponsored schools of the time, Kanō and Tosa, which emphasized decorativeness with highly formalized and stylized figures taught to its students via copying paintings of past masters. The Kanō and Tosa schools had become bywords for rigid formalism by this time. Meanwhile, a number of artists, rebelling against Ōkyo's realism, formed the nanga ("southern pictures") school, basing their style largely on the Southern school of Chinese painting. The artists of the Shijō school sought to reconcile the differences between these two styles, creating works that synthesized the best elements of both.
The school's style focuses on a Western-influenced objective realism, but achieved with traditional Japanese painting techniques. It concentrates less on the exact depiction of its subject, but rather on expressing the inner spirit and usually has an element of playfulness and humor compared to the Maruyama school. Popular motifs include tranquil landscapes, kachō (bird and flower), animals, and traditional subjects from Chinese poetic and Confucian lore, but there is generally little or no interest in legends, history, or classical literature.
. -wikipedia
Canon EOS M5/ K＆F Concept FD-EOSM/
old lens Canon FD28㎜/2.8/
f/4.0 28mm 1/125mm ISO 800/ all manual /
The theme for a 11/2 lifetime is bringing life into a sense of balance through the analyzing and synthesizing of ideas. Learning to trust in yourself, your intuition, and your psychic abilities.
Justice and the High Priestess (Papess) represent form the gateway into an 11/2 lifetime. Justice (ruled by the planet Libra) places focus on harmony, understanding others, and finding a sense of balance in life. Libra is by nature active and social, with the need to balance between nurturing self and helping others. The High Priestess (Papess) is ruled by the Moon, which places focus on our inner selves, our inner needs, intuition, unconscious, and psychic abilities. Here we are looking at reacting, rather than taking action. The nature here is a passive one. Personal empowerment is the ability to focus our personal and spiritual energy in a manner that enhances how we experience our life. As we define our true power, we actualize out potential and begin to live life from a core of inner confidence.
theworldoftarot.wordpress.com/2014/03/15/birth-card-pairs...
The occult has moved from secrecy to mainstream acceptance, and tarot card reading stands as a testament to this shift. The Rider-Waite deck, named after the mystic A.E. Waite and publisher William Rider and Son, is considered the definitive tarot deck. However, the captivating imagery and symbolism that define this deck come from the artistic genius of Pamela Colman Smith, a woman often forgotten in the history of the occult.
Smith, an artist with possible Jamaican roots, led a bohemian lifestyle and was introduced to the Hermetic Order of the Golden Dawn by the renowned poet William Butler Yeats. She joined the secret society, which explored occult and paranormal aspects, as well as philosophy and magic. There, she met A.E. Waite, who would later request her artistic talents in creating a new deck of divination cards. Despite the immense popularity of the Rider-Waite deck, Smith’s role in its creation was largely forgotten.
However, many tarot enthusiasts today have started acknowledging her contributions by calling it the “Smith-Waite” deck or using decks that feature her name prominently.
culture.org/the-unseen-mothers-of-the-occult-pamela-colma...
"Gospel according to "Myriam" and this Mary is generally identified, without certainty, as being Mary of Magdala....In Christian tradition, the Three Marys also refers to three daughters – all three called Mary – whom Anne, the maternal grandmother of Jesus would have had with three successive husbands. According to Fernando Lanzi and Gioia Lanzi, this tradition would have been condemned by the Council of Trent (16th century), but it is still very much alive, particularly in German-speaking countries16 and in the Netherlands. then retired to the cave of Sainte-Baume where she lived for 30 years as a hermitage, with her only clothing, the fleece of her hair, and as her only food, the song of the angels who daily raised her to the heavens, seven times a day, it is said. She left Sainte Baume to die with Saint Maximin, one of the 72 disciples, in the small town where he had built his oratory and which today bears his name. He buried the saint in an alabaster sarcophagus.The name Magdala comes from Magdal in Aramaic or Migdal in Hebrew and designates a construction in the shape of a tower, representing faith, very similar to the House of God (The Tower) in Marseille's Tarot !
The Tarot de Marseille would then be a testimony to the teaching of Mary Magdalene. In Spanish-speaking countries, the Orion Belt Asterism is called “Las Tres Marias” (The Three Marys). In other Western countries, it is sometimes called "The Three Kings", a reference to the "Magi who came from the East" of the childhood narrative added to the Gospel according to Matthew and to the tradition of the three Magi, bearers of gifts for the child Jesus, whose oldest witnesses are found in Tertullian and Origen (early 3rd century). My "Mary Magdalene theory" is fortunately supported by thousands of codes that all come interconnected. "You will progress on a healthier basis with someone you know. Be authentic. Make sure you reserve moments of relaxation and do not pull too much on the rope, you tend to exceed your physical limits. Mary (mother of Jesus) Mary Magdalene Mary of Clopas. These three women are very often represented in art, as for example in this picture. The Three Marys (also spelled Maries) are women mentioned in the canonical gospels' narratives of the crucifixion and resurrection of Jesus. Mary was the most common name for Jewish women of the period. Mary speaks of strange encounters with Creator Beings. Read about her experiences with them, and how their decree changed her life with Jesus. In this final volume of the trilogy, Magdalene appears to the author by the river in Rennes les Bains, France. There she reveals an ancient healing technique called The True Baptism. Mary illustrates how to organize the life force from the matrix of The All and allow it to trigger our genetic code. Mary then answers more of your questions, this time about the hidden properties of gold, the evolution of her bloodline with Jesus, free will, inner earth, the star knowledge, and much more. The Tarot, in both its origin as a card game and in its transformation into an occult divinatory tool, functions as an iconographic mirror of a particular culture's time and place. By the examining the evolution of the World card, from the 14th century Italian decks to contemporary ones, we will see a shift from male Christ imagery to female anima mundi imagery. Parallel to this iconographic shift is the figure of Mary Magdalene, who in Renaissance painting began to be portrayed less as a sinner and more of a penitent saint. The assumption of Mary Magdalene in art correlates with the finalized form of the World card. The alterations of Christian iconography and symbolism in Tarot cards are the result of occultists’ reappropiation of the Tarot in the late 1700s. The fear/distrust/disbelief of God and Christianity that began at this time funneled into an interest in the occult; in the Tarot, we see a preservation of the luminous but a problematic relationality with Christianity. The World card, as it has been handed down to us today, is a synthesis of the assumption of Mary Magdalene, the Christus Victor, and the anima mundi. A sacred priestess of the ancient Womb Rites, Mary Magdalene was at the center of a great and enduring Mystery tradition. Unveiling the lost left-hand path of the Magdalene, the authors offer rituals and practices to initiate you into the Womb magic of the ancient priestesses and access deeper dimensions of sexuality and feminine power.
www.innertraditions.com/books/magdalene-mysteries
Tarot historians are in agreement that the appropriation of the cards by occultists occurred in the late 18th century. The first known interpretation of the Tarot through an esoteric lens was penned by the French occultist Court de Gebelin. He believed the deck was the lost Egyptian Book of Thoth, containing the secret mysteries of Egyptian wisdom and magic; following Gebelin, occultists began syncretizing the Tarot with the systems of Kabbalah, Hermeticism, and alchemy. I believe we can locate the apex of this appropriation in the Waite-Smith deck from 1909 – the most familiar and popular deck to the contemporary reader. Later we will consider the effect this had on the Tarot symbolism and its relationship to the shifts in religious understanding in France and other European countries.Although there is a clear historical distinction between Tarot as “playing cards” and as occult divination tools, this is not to say that the imagery of the early decks are absent of symbolism or meaning. Rather than esoteric, the early cards are exoteric in their imagery; the symbols are clear referents to religion, culture, and mythology. While they seem esoteric today, as much of Christian iconography is to the contemporary viewer, these cards were probably not hard to decipher by their audiences. While much is admittedly conjecture, (as is a lot of Tarot historical studies), there is still much we can tease out of the visual evolution of the cards over time. It is surprising that there has been so little work done on the correlations and similarities between Tarot and Christian symbolism and iconography. My research hit a lot of dead-end roads in terms of proof, but I believe it is important to reveal my initial observations to show that, while perhaps not conscious, there is a great deal of Christian symbolism in Tarot, even in decks from the post-occult turn of the 18 and 19 centuries and from today as well.In the Waite-Smith deck, the most obvious Christian card is the 20 Major Arcana, Judgment, in which an angel blows a trumpet and the souls of dead bodies rise from coffins. Another obvious example is the Tower card, clearly a depiction of the fall of the Tower of Babel. Less obvious, perhaps, is the Fool card. It depicts a young man walking up to a cliff precipice, as though he does not see it; he carries a bag of money and is followed by a dog. Does this not recall the story of blind Tobias, who also carries money and is followed by a dog? Although in painting he is normally portrayed being guided by the angel Raphael, the similarities are astounding. How did this come to be?
The Hanged Man card is surprisingly consistent from the early Italian decks to the contemporary post-occult decks, and is one of the most mysterious within esoteric interpretation. In the Waite-Smith deck, it depicts a man hanging from a Tau cross by one leg; his other leg is crossed underneath the other to form another cross, and a nimbus glows around the head. Most occult interpretations of this card go along the lines that it is a symbol of self-sacrifice for spiritual gain. Robert Place argues that this can be understood as Christ, in that Christ was executed as a traitor by the state.3 Furthermore, a numerical reading of the card offers insight – being card 12, it might refer also to the self-sacrifice and martyrdom of the twelve disciples. By employing basic gematria, we can add the digits one and two to reach three, which could be the Trinity.
www.academia.edu/8851376/Tarot_and_Christian_Iconography_...
The Gospels refer to several women named Mary. At various points of Christian history, some of these women have been identified with one another..look at this picture from the Waite-Rider-Smth tarot:from left to right 1 Mary Magdalene 2 Mary of Jacob (mother of James the Less) 3 Mary, mother of Jesus (Matthew 27:56; Mark 15:40; Luke 24:10) Mary of Clopas (John 19:25), sometimes identified with Mary of Jacob. Mary of Bethany (Luke 10:38–42, John 12:1–3), not mentioned in any Crucifixion or Resurrection narratives but identified with Mary Magdalene in some traditions. Another woman who appears in the Crucifixion and Resurrection narratives is Salome, who, in some traditions, is referred to as Mary Salome and identified as being one of the Marys. Other women mentioned in the narratives are Joanna and the mother of the sons of Zebedee.Marie-Madeleine, Marie Salomé and Marie de Clopas are the 3 Maries of Saintes-Maries-de-la-Mer, a French town, capital of the Camargue, in the department of Bouches-du-Rhône. The designation "of-the-sea" derives from the fact that after the death of Jesus, the three Marys crossed the sea by boat to there and then lived there, thus helping to bring Christianity to France and Europe. These 3 Marys were present during the execution of Jesus and, they were the first witnesses of the empty tomb at the resurrection of Jesus... After the death of Jesus, around 42 J.C. the Christians were persecuted, and the three Marys were arrested and expelled from Palestine. They therefore embarked, with many other Christians, on a ship named "The Ship of Peter" devoid of oars and sails which, led by Providence, managed to reach the shores of Provence, in the south of France in a place which now bears their names.This is where the three Marys were welcomed by Sara, according to some texts, according to others, Sara, herself would be the Holy Grail, the direct descent of Mary Magdalene and Jesus. Only Marie Salomé, Marie Jacobé and Sarah will remain; Marie Madeleine, will retire to a hermitage in a cave...This is a historically attested fact, because Christianity began to spread in Europe precisely from Gaul, which thus became the gateway to the new religion in Europe. Mary Magdalene occupies a privileged place for Christ, at the head of a group of women who accompany him. She will be the first witness to the Resurrection of Christ, the first to whom the Lord appears on Easter morning, a sign, whether we believe in it or not, of an exceptional position. She is Jewish like Christ, like him from the North of Palestine (Israel), from Galilee, probably from Magdala, near Nazareth and Cana. It is believed that she was an aristocrat born in the year 3 AD, who after attending the court of the king of the Jews Herod, was converted by Christ, changed her life and decided to follow him and put her fortune at the disposal of the group. Arrived in the Camargue, with the two other Maries, she evangelized the Marseillais, then withdrew to the cave of Sainte-Baume where she lived 30 years in hermitage, with as only clothing, the fleece of her hair, and as only food, the song of the angels who raised her daily in the heavens, seven times a day, it is said.
www.calistabellini.com/post/les-saintes-maries-de-la-mer-...
Different sets of three women have been referred to as the Three Marys: Three Marys present at the crucifixion of Jesus;
Three Marys at the tomb of Jesus on Easter Sunday; Three daughters of Saint Anne, all named Mary. The three Marys at the
The presence of a group of female disciples of Jesus at the crucifixion of Jesus is found in all four Gospels of the New Testament. Differences in the parallel accounts have led to different interpretations of how many and which women were present. In some traditions, as exemplified in the Irish song Caoineadh na dTrí Muire, the Three Marys are the three whom the Gospel of John mentions as present at the crucifixion of Jesus: However, Jesus was not crucified upside-down. Looking at the Visconti-Sforza deck, we have an almost identical depiction of the Hanged Man. Helen Farley points out that in Renaissance society, there was an art form called pittura infamante – ‘shame painting’ – “in which a person was depicted as a traitor, particularly when beyond the reach of legitimate legal. recourse.”4 By depicting someone hanging upside-down, this could alternately mean the person had turned away from God. It also was used for the execution of Jews, witches, and Christians who had committed perfidy. I immediately thought of Peter, who is said to have asked to be crucified upside-down because he was unworthy to die as Christ died. In Christian iconography, he is the only individual portrayed in this manner. Peter could be said to be a traitor, in that he denied Christ three times, but the negative associations of shame paintings don’t seem to correlate with Peter’s sainthood. Judas is also said to have hung himself, and is traitor par excellance, but I remained convinced that this card was based upon Peter. While the usual understanding of Peter’s request for an upside-down crucifixion is his humility in relation to Christ’s death, there is a different explanation in apocryphal accounts. In the Acts of Peter, Peter speaks from the cross, saying that, “when the first man [Adam] came into the world, he came headfirst. That means that Adam’s perspective, as the one who brought sin into the world, was entirely reversed and upside down. That is why people seem to think that what is true is false and what is false true....All of this is because humans have reverse vision, due to the actions of Adam.”6 Thus, hanging upside-down is a model for Christians to live by, to see the world correctly. This is nearly identical to how Tarot esotericists interpret the Hanged Man; it is both Christ in its self-sacrifice, and also an inversion of corporeal ‘reality’ and perspective through which one gets a better understanding of how to reach God. While one cannot veritably locate a thread between the Acts of Peter and the Hanged Man, this connection exemplifies the latent Christian symbolism that flows through the Tarot, from 14th century Italy to now.
Mary Magdalene, Mary of Clopas and Mary (mother of Jesus). These three women are very often represented in art, as for example in these Flickr's picture.
Women at the tarot like a passkey to heaven; The Three Marys as passkey. What may be the earliest known representation of three women visiting the tomb of Jesus is a fairly large fresco in the Dura-Europos church in the ancient city of Dura Europos on the Euphrates. The fresco was painted before the city's conquest and abandonment in AD 256, but it is from the 5th century that representations of either two or three women approaching a tomb guarded by an angel appear with regularity, and become the standard depiction of the Resurrection. They have continued in use even after 1100, when images of the Resurrection of Jesus in Christian art began to show the risen Christ himself. Examples are the Melisende Psalter and Peter von Cornelius's The Three Marys at the tarot. Eastern icons continue to show either the Myrrhbearers or the Harrowing of Hell. The fifteenth-century Easter hymn "O filii et filiae" refers to three women going to the tomb on Easter morning to anoint the body of Jesus. The original Latin version of the hymn identifies the women as Mary Magdalene (Maria Magdalene), Mary of Joseph (et Iacobi), and Salome (et Salome).
en.wikipedia.org/wiki/The_Three_Marys
The World (XXI) is the 21st trump or Major Arcana card in the tarot deck. It can be incorporated as the final card of the Major Arcana or tarot trump sequence (the first or last optioned as being "The Fool" (0). It is associated with the 21st letter of the Hebrew alphabet, 'Shin' also spelled 'Sin'. The oval shape of the wreath is also used by the Golden Dawn in their Tattva cards. These colorful cards were designed to aid the development of clairvoyance through visual meditation, and one of the symbols in the cards is an oval. The oval corresponds to the Akasha, ether or spiritual realm (see Akashic Records).
Description
Christ in Majesty is surrounded by the animal emblems representing the four evangelists in a German manuscript.
In the traditional Tarot of Marseilles, as well as the later Rider–Waite tarot deck, a naked woman hovers or dances above the Earth holding a staff in each hand, surrounded by a wreath, being watched by the four living creatures (or hayyoth) of Jewish mythology: a man, a lion, an ox, and an eagle. This depiction parallels the tetramorph used in Christian art, where the four creatures are used as symbols of the four Evangelists. Some astrological sources explain these observers as representatives of the natural world or the kingdom of beasts. According to astrological tradition the Lion is Leo—a fire sign, the Bull or calf is Taurus—an earth sign, the Man is Aquarius—an air sign, and the Eagle is Scorpio—a water sign. These signs are the four fixed signs and represent the classical four elements. In some decks the wreath is an ouroboros biting its own tail. In the Thoth Tarot designed by Aleister Crowley, this card is called "The Universe." The World card, the highest ranked Major Arcana card, exists in the early Visconti-Sforza, Marseilles, and contemporary decks. It will serve as our loci in considering the relationship between Tarot and Christian iconography, the evolution of Mary Magdalene in Christian depiction/understanding, and the rise of the female anima mundi in occult and esoteric movements. To recall, the Visconti-Sforza is one of our earliest known decks. Helen Farley notes that the deck’s symbolism reflects concerns and themes of the Italian Renaissance: The proximity of death, the fickle hand of fortune, the desirability of living a life
of virtue, the importance of spirituality but also the contempt with which corporeal concerns were held, namely the corruption of the Church...[it] portrayed the lives and history of the Viscontis...as a game: a potent allegory of Visconti life. These themselves more as we follow the orbit of the World card around the sun of time.reveal themes, particularly the tension between spirituality and Catholicism, will. In the Visconti-Sforza deck, the world is shown as a globe, within which is surrounded by turbulent waters (fig. I). The globe is held aloft by two putti. The blue wings indicate they are Seraphim, the highest rank of angels. In other versions from this time, there is usually a figure of a woman or angel upon the globe and city usually represents Jerusalem, the city of God; “the microcosm of the city symbolically linked the earthly (human) body with the heavenly (cosmic) ‘body’”, observes Farley. This derives, of course, from St. Augustine’s The City of God, wherein the Christian empire is located around the Church of Rome, which links humankind with God. The earthly city reflects the heavenly city, and this card connects the actual city of Milan with the celestial city of heaven. Duke Sforza’s domination of Milan is enforced and made holy through its pictorial self-portrayal as the Augustinian city. This pride in the city-state enforces the power, wealth, and status of Milan; interestingly, as the World card follows the Resurrection/Judgment card, Milan is portrayed as the city Augustine believes will contain the saved souls. One also may observe that the city is separated from the rest of the ‘world’ by the edge of the globe; it is strongly fortified and separated by waters, illuminated by the stars of heaven.
What does 3 stars in the sky mean? many meanings...Each culture gives the Três Marias a different meaning. In Christian tradition, the stars are associated with the three women who visited the tomb of Jesus at the resurrection. They also represent the Three Wise Men -Gaspar, Melchior and Baltasar-, who would be on their way to Bethlehem at the birth of the messiah. What are the three Marias? Mark 16:1 indicates that "Mary Magdalene", "Mary the mother of James" and "Salome" went to the tomb to anoint Jesus....How many stars do the 3 Marias have?
The Belt or Belt of Orion, popularly known as the Three Marys or Three Kings, is an asterism of three stars that form the belt of the constellation of Orion, the hunter. The stars, easily identifiable in the sky by their brightness and alignment, are known as Mintaka, Alnilam, and Alnitak. Where are the three Marias?
To identify it we must locate 3 stars close to each other, of the same brightness, and aligned. They are called Tres Marías and they form the belt of the constellation of Orion, the hunter. Their names are Mintaka, Alnilan and Alnitaka, from the Arabic Al-Mintakah, the belt, An-Nidham, the pearl, and An-Nitak, the rope.
What are the stars we see in the sky? Stars are large spheres formed by plasma heated to thousands of degrees. Its shape is due to its gravity, which points towards the core of the star. Stars are large spheres of plasma that are powered by nuclear fusion. Stars are large spheres of plasma, held together by their own gravity. > Constellation of ORION: Why are the three Marias called Três Marias? Origin and meanings of Três Marias.Each culture gives the Três Marias a different meaning. In Christian tradition, the stars are associated with the three women who visited the tomb of Jesus at the resurrection. They also represent the Three Wise Men -Gaspar, Melchior and Baltasar-, who would be on their way to Bethlehem at the birth of the messiah. What are the three Marias? Mark 16:1 indicates that "Mary Magdalene", "Mary the mother of James" and "Salome" went to the tomb to anoint Jesus....How many stars do the 3 Marias have? The Belt or Belt of Orion, popularly known as the Three Marys or Three Kings, is an asterism of three stars that form the belt of the constellation of Orion, the hunter. The stars, easily identifiable in the sky by their brightness and alignment, are known as Mintaka, Alnilam, and Alnitak.Where are the three Marias? To identify it we must locate 3 stars close to each other, of the same brightness, and aligned. They are called Tres Marías and they form the belt of the constellation of Orion, the hunter. Their names are Mintaka, Alnilan and Alnitaka, from the Arabic Al-Mintakah, the belt, An-Nidham, the pearl, and An-Nitak, the rope.The most curious thing of all is that, in reality, their names are Mintaka, Alnilan and Alnitak, Arabic names that mean, respectively, the "Belt", the "Pearl/Precious Stone" and the "Rope". Another is knowing that they are actually very close together in the sky, approximately 1,500 light-years from Earth.There are three enormous stars visible in the winter sky and in the center of the constellation Orion, the celestial cathedral. These three stars form a nearly perfect tilted alignment, separated by seemingly nearly equidistant distances. They are known as the three Marys, the three wise men or the belt of Orion -a giant hunter from mythology-, but these names are not enough to understand the mysteries that such colossal stars contain. We must look towards the south, at half height; between the horizon and the zenith. It has no loss, it is a brilliant stellar alignment, which is unique in the firmament. Three blue stars, three giants: Mintaka, Altinak and Alnilam.
Источник: planetariodevitoria.org/estrelas/qual-e-o-nome-das-estrel...
An engineer born in Alexandria in 1948, Robert Bauval, with a background in astronomy and an interest in Egyptology, discovered that the three Marys are positioned exactly like the three great pyramids of Giza in Egypt. The star Mintaka, in the upper part of the alignment of the three Marys, is somewhat deviated with respect to the previous two, the same imperfect alignment has the three great pyramids. But also, the pyramid deviated from the straight line that joins the other two, is the smallest of the three (Micerino), like Mintaka, which is the star that shines the least of the three Marias. Also, the pyramid that is highest on the plateau of the three and that stands out the most (Kefren) is the central one, as is the central star of Las tres Marías, which is the brightest. Did the Egyptians also know that these stars are visible from all over the world? And more specifically Mintaka, which is right on the celestial equator. Everything can be the product of chance, but many coincidences bear the truth. Curiously, the Egyptians believed that after their death, the gates of heaven opened in the place occupied by Orion's belt, but they never understood the greatness of those three spectacular stars. The three Marys were the place where the soul of Osiris, the Egyptian god of resurrection, rested and presides over the court of the judgment of the deceased, among other powers.Alnitak, an Arabic name meaning "belt", is the lowest of the three stars. A new star 6 million years old, while the Sun is about 5,000 million. This blue giant, 16 times the diameter of the Sun, with a visual magnitude of 1.79, located 700 light years from the Sun, of spectral type O9, shines with an intensity 100,000 times greater than that of our Sun, which next to it is a tiny star with a mass 20 times less than Alnitak. It ranks 35th among the most luminous stars we know of, including stars from other galaxies. Alnitak is a peculiar star, whose surface temperature reaches 29,000 degrees. The Sun only reaches 6,500. But it is also a very intense source of X-rays, due to the strong stellar winds that are projected from the surface in the form of particles, essentially hydrogen and helium, sweeping the surrounding space at speeds of 2,000 km/s. These types of giant stars have their days numbered. The bigger the stars are, the less time they live, so that Alnitak, in a short time will become a red supergiant, it will explode in the form of a supernova, which can be seen even during the day from Earth, to end up as a tiny star about 10 km in diameter, called a neutron star, a star so dense that a teaspoon of its surface would weigh as much as a mountain. Also Alnitak is a triple star. Alnilam. Located in the center of the stellar trio that make up Las tres Marías, it is a true celestial spectacle. It shines with a magnitude of 1.70, being the fourth brightest star in Orion and the brightest of the three Marys, in addition to being the furthest at 1,340 light years, but that is nothing compared to the luminosity of the star, equal to 380,000 times greater than the Sun, ranking 27th of all known stars. It is a blue supergiant star, 31 times the diameter of the Sun and 40 solar masses. Extraordinarily young, only 4 million years old, somewhat colder than the previous one, with about 25,000ºC on the surface. It also has a powerful stellar wind with speeds of 2,000 km/s, 20 million times more than the solar wind. The temperature and radiation are so high in this star that it lights up a nebula of gas and dust called NGC 1990 by reflection. Alnilam is so young that it is not yet a stable star, but variable in its brightness (pulsating variable), due to its continuous expansion and contraction. The Sun is a stable star, it does not pulse, expand, or contract. The force of gravity pulling in on the Sun has been offset by the expansive force of thermonuclear reactions by converting hydrogen to helium, but in Alnilam, both forces continue without agreeing. If it is possible to have planets, life there as we know it would be impossible, due to the instability of the star. Alnilam will end its days as Alnitak, becoming a premature red supergiant, exposing its superdense core; a neutron star. Meanwhile, it is moving away from us at a speed of 26 km/s. Mintaka: Arabic word meaning "for belt." Another blue giant star, although the faintest in brightness of the three Marias reaching 2.5 magnitude. It contains 20 solar masses and a luminosity 90,000 times greater than that of the Sun. Located at a distance of 915 light years, it is surprising that it shines with such intensity, not in vain its surface temperature is 31,000ºC. Mintaka is one of the most complex multiple systems known. The main star, that is to say Mintaka, has a companion of magnitude 6.8 at a real distance of more than 2.3 trillion km, or what is the same, ¼ of a light year. But in turn, this star that appears to be 1' of arc distant from Mintaka, is a spectroscopic binary, that is, it has another companion so close to it that it is impossible to take it off with telescopes, but it can be done using spectroscopy; the only thing we can detect is the spectrum of the companion, but we can't see it. Between the spectroscopic binary and Mintaka, there is a faint 14th magnitude star that may belong to the system. But in addition, Mintaka has an extraordinarily close companion to her, which is why she is a spectroscopic binary. Curiously, the companion star has almost the same characteristics as Mintaka, the same mass, temperature and luminosity and must be the same size. A complex 5-star star system. Almost all stars are double or multiple, the rarity is our Sun, which is a solitary star. However, many researchers look for dwarf stars that may be trapped by the Sun's gravity.
www.abc.es/ciencia/20140122/abci-tres-marias-estrellas-co...
The two putti slowly disappeared in other decks, to be replaced by either a male or female figure. In this example from the Museo Civico, we see a woman holding a wand and a globe as she stands upon the globe (fig. II). Another early example of a female World card is the Cary-Yale Visconti deck (fig. III), depicting a royally-clothed woman wielding a scepter and a crown. It was not uncommon to portray the earth as a feminine figure, but these early examples seem to be stressing not so much a personification of the earth but rather the domination of earth by something/someone. Consider figure IV and figure V. Here we have a male figure, one clothed and the other nude, ruling over the world. Consider also the nude male in the Jacques Vieville deck and the Bologna deck (fig. VI). In Christian art, when Jesus is portrayed as the Christus Victor, he looms over the world holding a globe with a cross fixed to it. He is often surrounded by the four evangelists as he stands upon God’s throne. When he is surrounded by the four evangelists, Christ is enclosed within a mandorla, and the four evangelists are often in the four corners. Should we understand these male figures as Christ? The examples we’ve looked at that have a clothed male figure can clearly be an iconographic Christus Victor; the World card, being the last Major Arcana, is Christ victorious over the entire world after the Resurrection. But what of the nude figures? The only instance of Christ nude in Christian art, that I know of, is Michelangelo’s altar wall in the Sistine Chapel; there, Christ is nude and beardless, as with these particular cards. But there is a shift from the Christ standing upon the world to the Christ on God’s throne. As we see with the Jacques Vieville card (fig. VI), the nude Christ holds his standard iconographic scepter with attached globe, is enclosed by a mandorla (a laurel wreath), and surrounded by the four evangelists. Again, following the tradition of Christian art, Matthew is a human with wings, Mark is a lion, Luke is an ox, and John is an eagle. There is no essential difference between this Tarot card and an atypical Christus Victor. It should be noted that this visual structure was also used in alchemy through the 16 to the 18 century. The four
evangelists are correlated with the four elements of the world, the four seasons, and the four directions. Consider figure VII; note the chalice with the serpent, the attribute of John the Evangelist, unusually associated with the anima mundi. But something happened. Recall that the Marseilles deck, circa blueprint structure and pattern for most subsequent decks created in France, Italy, and Belgium, and also for the decks created by occultists in the 19th century deck is unusual considering its forerunners. We have the same iconography of the four evangelists and the mandorla, but instead of the Christus Victor or royally-clothed woman, there is a nude woman (figure VIII). There are many versions of this, of course, but we can say that she is often portrayed with long hair, with a loose banner rippling around her nude body. She sometimes holds a bottle and a scepter; more often, two equal wands (that is, wands with a knob on both ends). She is always enclosed within a laurel wreath, and the four evangelists remain in the four corners of the card. Suddenly, a nude woman is dancing, or floating, on God’s throne instead of Christ; perhaps, she is being assumed up into heaven. This card serves as the bridge between the City of God and the Christus Victor depictions to most of the subsequent World cards: the rather curious and baffling conflagration of Christian iconography and feminine/Goddess imagery. What does this shift mean, and how can we situate it within Christian art? Let us turn our attention, now, to the portrayal of Mary Magdalene in Christian art. Mary Magdalene underwent quite a transformation through Renaissance art. The sinner Magdalene ultimately becomes the penitent, holy reformer to which many upheld as an exemplary and relatable model. Mrs. Jameson locates the rising popularity of Magdalene as penitent in the 16th and 17th into heaven. Magdalene became “still more endeared to the popular imagination by more affecting and attractive associations, and even more eminently picturesque...We have Magdalenes who look as if they never could have sinned, and others who look as if they never could have repented.”11 Magdalene became more sexualized just as she became more penitent. Rachel Geschwind observes that in the 16th century, paintings like Rossiglio’s Conversion of the Magdalene began to give Venus-like characteristics to Magdalene; she is both divine and corporeal. and art, and sometimes one might even mistake a Venus for a Magdalene. Courtesans at this time would write of divine love and the desire to enter the ‘paradise of Venus’, which was a metaphor where she is praying for forgiveness or being reconciled and/or assumed up for the city. (Recall the City of God from the Visconti deck). Magdalene seemed to serve as a perfect model for passion and romance that was acceptable religiously, and as a locus for the world of divine love. The dichotomy between the corporeal and the divine is also inherent in Correggio’s Noli Me Tangere; Margaret A. Morse writes that “Correggio evoked a natural style, while maintain a beauty and sanctity for which his subjects called, whereby the beholder...would be able to recognize the divine in the physical.”14 She is a bridge between the viewer and Christ, between the body and the spirit. Given that Neo-Platonism was on the rise during the Renaissance, it makes sense that this balance between two kinds of love, “sacred and profane, formulated by Plato in the Symposium”15, found Mary Magdalene as the perfect template and model. In addition to Venus-like characteristics, Magdalene was also beginning to assume the role as a “new Eve” from the Virgin.The relationship between the images of the Tarot de Marseille and the medieval heresy of the Holy Grail. The followers of this heresy claimed that Jesus of Nazareth had married Mary Magdalene. In this work are presented all the symbols of the Tarot in relation to this heresy and, for the first time, it is revealed that these images constitute the secret heritage of Mary Magdalene. that the game was the lost Egyptian book of Thoth, containing the secret mysteries of Egyptian wisdom and magic; following Gebelin, occultists
2 began to syncretize the Tarot with the systems of Kabbalah, Hermeticism and Alchemy. We believe we can place the pinnacle of this appropriation in the Waite-Smith game of 1909 - the most familiar and popular game for the contemporary reader. Later we will look at the effect this has had on Tarot symbolism and its relationship to changes in religious understanding in France and other European countries.
Mary Magdalene (Mary of Magdala), the woman with jars in Christian symbolism, could very well in this case be represented in the star map. But their assumptions stopped there. No one had ever imagined that the Tarot itself represents in its entirety the teaching and life of Marie-Madeleine on the one hand and even less that the Tarot was created by Marie-Madeleine herself in the 1st century. This is the entirely new Tarot theory that I have been expounding since the beginning of the second millennium. If my theory of the Tarot turns out to be correct, it completely changes the vision and the understanding that one could have of the Tarot. It changes the dating of the Tarot which goes from the 14th century to the 1st century AD with Mary Magdalene, the Tarot de Marseille thus becoming the ancestor of all Western tarots, that is to say "the Tarot". Historians and experts said that the Tarot originated in Italy during the Renaissance era around the end of the 14th century the beginning of the 15th century. On the other hand, no one thought that the Tarot de Marseille itself originated from Marseille. When I started to propose the theory of a Marseille origin of the Tarot de Marseille, Tarot historians and Tarot experts thought that I was an eccentric or that I wanted to make a publicity stunt. In 1999, I explained publicly that in my opinion the Tarot had been transmitted to Europe around 415 by the monk Jean Cassien who was entirely dedicated to Marie-Madeleine and who founded the order of the Abbey of Saint-Victor in Marseille. My Tarot theory is based on thousands of secret codes that can be found in the new Tarot de Marseille Camoin that I drew in the 90s. The Mandorla that surrounds the naked woman indicates that it is a saint who has reached the beatific state. The most significant secret Tarot code in "The Mary Magdalene Theory" that I have discovered resides in the last two cards of the Tarot Major Arcana, Judgment and the World. Indeed, by their number, these two cards are naturally placed next to each other. I revealed that the two cards put together give the key to the mystery of the Tarot character that is found in the World card. Because the identity of this character had remained a mystery for centuries. Almost all Tarot researchers claimed that it was the androgynous Christ, so much so that it had become a real dogma in the Tarot world. Historians could not imagine that it was a woman because of the presence of the four living beings who are attributed to Christ in Christian sacred art. Some had interpreted this mysterious young woman as being the soul of the World, "Anima Mundi".
But the Tarot is coded in another way. Tarot codes are embedded in other Tarot codes and so on. Also, if we disregard the four living beings in the World map, we obtain a naked woman surrounded by an almond-shaped oval. This oval called mandorla symbolizes the state of beatific vision. We find the mandorla around some saints. This means that in the Tarot de Marseille, the woman on the World Map is a saint. My "Mary Magdalene theory" continues like this. In the pantheon of Western saints, there is only one saint who is depicted naked, and that is Saint Mary Magdalene. However, Marie de Magdala lived in the vicinity of Marseilles for 30 years. My theory, which is unique in the history of the Tarot, states that it is Mary Magdalene who is represented in the map of the World and that the Tarot de Marseille is therefore dedicated to this saint.
The two cards form a new symbol. Mary of Magdala is the Saint who sees the Resurrection of Christ (in blue. Furthermore, we can locate similar attributes to Magdalene from apocryphal sources as well as the writings of Origen. In the apocryphal Pistis Sophia, Magdalene is the sole recipient of Christ’s gnosis, rather than Peter and the other disciples. Christ says, “Well done, Mary. You are more blessed than all women on earth, because you will be the fullness of fullnesses and the completion of completions.”17Although this apocryphal account could not have been known to people during the Renaissance, it reveals that even within the early Christian communities there was a holiness attributed to Magdalene that transcended all others. Yet the Gnostic contempt for materiality seems to clash with the embrace of dualism during the Renaissance. This dualism can be found in Origen’s writings, however. In his commentary on the Song of Songs, he allegorically reads the bride as the Christian church. The bride anoints her lover with an ointment; Origen connects this with the scriptural account of Mary Magdalene anointing Christ. He interprets the line spoken by the bride, “I am dark but comely, O daughters of Jerusalem” (Song 1:5), as follows: “She has repented of her sins...beauty is the gift conversion has bestowed; that is the reason she is hymned as beautiful. She is called black, however, because she has not yet purged of every stain of sin, she has not yet been washed unto salvation, nevertheless she does not stay dark-hued, she is becoming white.”18 The dualism of black/evil and white/good is unfortunate, but the connection between the Bride of the Song of Songs and Magdalene reinforces her movement away from sin into penitence, and her positive association with the Church and Christ. The sexual language employed in the Song of Songs has always been difficult for commentators; however we see that when Magdalene is associated with the Bride, the sexuality is compounded with Magdalene’s penitence, in the same way we’ve seen in Renaissance painting. The portrayals of Magdalene’s assumption into heaven connect us back to the Tarot. Mrs. Jameson observes, dryly, that Italian paintings of Magdalene’s assumption began “to recall the idea of a Venus Meretrix.”19 Let us consider Giovanni Lanfranco’s La maddalenan portata in cielo, (fig. IX) and Sandro Botticelli’s Birth of Venus (fig. X). Jameson is quite correct in her observation, despite her negativity towards this shift. In the Lanfranco, Magdalene’s hair barely covers her nude body as she is borne aloft by three putti. She holds out her hands at an angle, and below her is the world’s expanse of mountains, lakes, and forests. It is sexual and chaste, physical and divine. Her figure is very much the Platonic divine love, the ideal Venus. In some of the Assumptions, she is almost dwarfed by the sublime immensity of the landscape. The fact that the very earth is prominent in these paintings underscores Magdalene’s dualistic characteristics of corporeality and divinity; the world gapes below her as she rises above it into the sky. Although she is always borne by putti in her assumption, she seems to float and dance in ecstasy as she rises. We observed the replacement of the Christus Victor with a female nude in the Marseilles World card. That card is remarkably similar to the Lanfranco, Durer’s Assumption of the Magdalene, and others. One gets the same sense of elevation and completion (recall Christ’s words in the Pistis Sophia) in the rise of Magdalene as one gets in the World card. I argue for a parallel between Magdalene’s evolution and the World card’s evolution; just as painting was infusing Magdalene with traits of divine love and worldliness, Tarot decks began to see the post- Resurrection world not in light of Christ but in a neo-Platonic Venus, a Magdalene/New Eve that encompasses the new World. We saw that some World cards have the woman holding a bottle of some sort, which is an attribute of Magdalene. Also, the instances of the two equal wands supports the dualism of divinity and corporeality, dark and light, sinner and penitent, in the portrayals of Magdalene. Robert Place agrees, writing that “She takes her position in the sacred center, which identifies her as the Anima Mundi and the Quinta Essentia...she has mastered or transcended duality...the World Soul is depicted as both Christ, or Sophia his female counterpart....divine wisdom.”20 She is the completion, the alchemical Great Work, the culmination of all earthly phases into the elevation of the world into heaven. This is, of course, an esoteric alchemical interpretation, which as we noted did not apply to Tarot until the late 1700s. I hold that Magdalene’s iconographic transition in the Renaissance parallels the exoteric symbolism of the World; but what to make of the occultists’ appropriation of this image in the late 1700s? Farley argues that, “With tarot removed from its original environment, its symbolism lost its previous relevance and context, rendering its imagery mysterious.”21 Institutionalized religion was being questioned at this time; indeed, the first publications by occultists on the Tarot coincide with the French Revolution. While we cannot delve deeply into the Revolution here, suffice it to say that it was characterized by a rejection of Christianity but a preservation of Christian structure. “It had its creeds, liturgies and sacred texts, its own vocabulary of virtues and vices...and the ambition of regenerating mankind itself, even if it denied divine intervention or the afterlife. The result was a series of deified abstractions worshipped through the denatured language and liturgy of Christianity.”22 Much of the Revolution’s tactics was the replacing of old symbols with new ones, but maintaining the same essential religious structure. Similarly, I argue that the occult appropriation of the Tarot was also an appropriation of Christian iconography, in a general sense; esoteric interpretations and the revisions of Tarot symbolism was an attempt to escape Christian doctrine through fabricated ancient lore (Egyptian roots, e.g.) and synthesized connections between the Tarot and old esoteric traditions such as Kabbalah.
Interpretation
According to A.E. Waite's 1910 book The Pictorial Key to the Tarot, the World card carries several divinatory associations:
Mary Magdalene (Mary of Magdala), the woman with jars in Christian symbolism, could very well in this case be represented in the star map. But their assumptions stopped there. No one had ever imagined that the Tarot itself represents in its entirety the teaching and life of Marie-Madeleine on the one hand and even less that the Tarot was created by Marie-Madeleine herself in the 1st century. This is the entirely new Tarot theory that I have been expounding since the beginning of the second millennium.
If my theory of the Tarot turns out to be correct, it completely changes the vision and the understanding that one could have of the Tarot. It changes the dating of the Tarot which goes from the 14th century to the 1st century AD with Mary Magdalene, the Tarot de Marseille thus becoming the ancestor of all Western tarots, that is to say "the Tarot". Historians and experts said that the Tarot originated in Italy during the Renaissance period around the end of the 14th century the beginning of the 15th century. On the other hand, no one thought that the Tarot de Marseille itself originated from Marseille.
21.THE WORLD—Assured success, recompense, voyage, route, emigration, flight, change of place. Reversed: Inertia, fixity, stagnation, permanence.
The World represents an ending to a cycle of life, a pause in life before the next big cycle beginning with the fool.[3] The figure is male and female, above and below, suspended between the heavens and the earth. It is completeness. It is also said to represent cosmic consciousness; the potential of perfect union with the One Power of the universe.[4] It tells us full happiness is to also give back to the world: sharing what we have learned or gained. As described in the book The New Mythic Tarot by Juliet Sharman-Burke and Liz Greene (p. 82), the image of the woman (Hermaphroditus in Greek Mythology) is to show wholeness unrelated to sexual identification but rather of combined male and female energy on an inner level, which integrates opposites traits that arise in the personality charged by both energies. Opposite qualities between male and female that create turmoil in our life are joined in this card, and the image of becoming whole is an ideal goal, not something that can be possessed rather than achieved.
According to Robert M. Place in his book The Tarot, the four beasts on the World card represent the fourfold structure of the physical world—which frames the sacred center of the world, a place where the divine can manifest. Sophia, meaning Prudence or Wisdom (the dancing woman in the center), is spirit or the sacred center, the fifth element. Prudence is the fourth of the Cardinal virtues in the tarot. The lady in the center is a symbol of the goal of mystical seekers. In some older decks, this central figure is Christ, whereas in others it is Hermes. Whenever it comes up, this card represents what is truly desired.
In other media
In the manga JoJo's Bizarre Adventure: Stardust Crusaders, tarot cards are used to name the character's powers, named 'Stands'. The overarching antagonist of Stardust Crusaders, DIO, has a Stand named The World, named after The World card. This stand has the power to stop time whenever DIO commands it to, and he can move during frozen time. In Steel Ball Run, an alternate version of DIO, Diego Brando, later gains this Stand after being summoned by Funny Valentine.
In the film Cryptozoo, a tarot reading is done with the Waite-Smith Deck that reveals The World card as part of the protagonist's journey.
en.wikipedia.org/wiki/The_World_(tarot_card)
The relationship between the images of the Tarot de Marseille and the medieval heresy of the Holy Grail. The followers of this heresy claimed that Jesus of Nazareth had married Mary Magdalene. In this work are presented all the symbols of the Tarot in relation to this heresy and, for the first time, it is revealed that these images constitute the secret heritage of Mary Magdalene. that the game was the lost Egyptian book of Thoth, containing the secret mysteries of Egyptian wisdom and magic; following Gebelin, occultists began to syncretize the Tarot with the systems of Kabbalah, Hermeticism and Alchemy. We believe we can place the pinnacle of this appropriation in the Waite-Smith game of 1909 - the most familiar and popular game for the contemporary reader. Later we will look at the effect this has had on Tarot symbolism and its relationship to changes in religious understanding in France and other European countries.The Mandorla that surrounds the naked woman indicates that it is a saint who has reached the beatific state.
The most significant secret Tarot code in "The Mary Magdalene Theory" that I have discovered resides in the last two cards of the Tarot Major Arcana, Judgment and the World. Indeed, by their number, these two cards are naturally placed next to each other. I revealed that the two cards put together give the key to the mystery of the Tarot character that is found in the World card.
Because the identity of this character had remained a mystery for centuries. Almost all Tarot researchers claimed that it was the androgynous Christ, so much so that it had become a real dogma in the Tarot world. Historians could not imagine that it was a woman because of the presence of the four living beings who are attributed to Christ in Christian sacred art. Some had interpreted this mysterious young woman as being the soul of the World, "Anima Mundi". But the Tarot is coded in another way. Tarot codes are embedded in other Tarot codes and so on. Also, if we disregard the four living beings in the World map, we obtain a naked woman surrounded by an almond-shaped oval. This oval called mandorla symbolizes the state of beatific vision. We find the mandorla around some saints. This means that in the Tarot de Marseille, the woman on the World Map is a saint. My "Mary Magdalene theory" continues like this. In the pantheon of Western saints, there is only one saint who is depicted naked, and that is Saint Mary Magdalene. However, Marie de Magdala lived in the vicinity of Marseilles for 30 years. My theory which is unique in the history of the Tarot stipulates that it is Mary Magdalene who is represented in the map of the World and that the Tarot of Marseilles is therefore dedicated to this saint.
fr.camoin.com/tarot/Tarot-Marie-Madeleine-Magdala.html
What is the name of the brightest star?
Sirius, also called Sirius, α Canis Majoris is the brightest star in the night sky visible to the naked eye, with an apparent magnitude of −1.46. In Greek mythology, Orion's hunting dogs are said to have ascended to heaven at the hands of Zeus, taking the form of the star Sirius.,What are the stars called?
they are called bright stars. How the stars are classified? Astronomers classify stars by size and surface temperature. Based on their size, stars can be called supergiants, bright giants, giants, subgiants, dwarfs or normals, and subdwarfs.
Источник: planetariodevitoria.org/estrelas/qual-e-o-nome-das-estrel...
Hebrew Letter: Tave
In this article The World Symbols, I refer to The World card from the Rider Waite Tarot deck, also known as the Waite-Smith, or Rider-Waite-Smith, or Rider tarot deck. The symbolism found on this trump card is primarily drawn from mythology, Christianity, alchemy, astrology. Contents
The World: Key Symbol. Compare The World Tarot Card Symbols with Historical Decks
What Does The Dancer Symbolize in The World Tarot Card? Dancer Purple Sash Red Hairband
Two Wands Crossed Legs Symbolism What is The Meaning of The Laurel Wreath in The World Card?Laurel Wreath Two Red Ribbons Who Are The Four Figures in The World Card and What do They Symbolize? Man Lion Eagle Bull What is The Meaning of The Blue Background? The Rider Waite World card borrows heavily from the Marseille Tarot. Waite himself says, “this final message of the Major Trumps is unchanged – and indeed unchangeable – in respect of its design”. In both instances the naked World dancer moves encased within a victory wreath. The four corners of the card contain tetramorphs, mystical creatures of antiquity and mythology depicting a bull, lion, bird and human face.
The dancer holds dual magical wands, as opposed to The Magician who only holds one. What Does The Dancer Symbolize in The World Tarot Card? Dancer. The dancer symbolizes the fetus waiting to be born again, as the Fool prepares to start over through the procession of the Major Arcana. However, this is no babe starting from scratch, we are presented with a woman at her height of beauty and youth. She signifies the next stage of evolution. Some occultists claim that the figure is a hermaphrodite, because her sexual gender is hidden by the scarf. They say she is the union of male and female, and that sexual identity is no longer relevant or defining. The dancer perfectly integrates aspects of the male and female. Wouldn’t this card be a suitable iconographic image for gender fluidity in todays times! The dancer is both the bride and bridegroom. Purple Sash. The purple sash is the color of divinity and wisdom. It evokes the images of a Catholic priest who puts on a purple stole when offering the sacrament during mass. The sash curves in the figure of eight, suggestive of the cosmic lemniscate or infinity sign.
Red Hairband. The dancer wears a red hairband, which draws fire energy to her head area. It symbolizes that her mind and conscious is active. This is not someone who exists only in the spiritual realm.
Two Wands. The dancer holds two double-sided wands, which represent the polarity powers of involution and evolution. Involution is the decent of God into the soul or consciousness, and evolution is the assent of the soul back to God or the creator. ⭐Wands also appear here: The Magician Symbols
Crossed Legs Symbolism. The dancer crosses her legs in a similar manner to the Hanged Man. However, the triangle he represents is under the cross of the tree, symbolizing he is still bound by earthly things. The dancer is reversed, she forms a triangle pointing upwards, from the tip of her head to her two outstretched hands. Thus the triangle of Spirit now overturns the cross of the material earthly plane. What is The Meaning of The Laurel Wreath in The World Card? Laurel Wreath. The woman is surrounded by a large laurel wreath, traditionally a symbol of success and victory. The implication here, on the Fools Journey, is that there is cause for celebration. This is the end of the road before a new era begins. The wreath forms the shape of a zero, which is the number of The Fool card. The wreath also symbolizes the womb, signaling that the woman is like an embryo waiting to be reborn. The oval shape of the wreath is also used by the Golden Dawn in their Tattva cards. These colorful cards were designed to aid the development of clairvoyance through visual meditation, and one of the symbols in the cards is an oval. The oval corresponds to the Akasha, ether or spiritual realm (see Akashic Records). See Shamanism for more information on Tattva cards. ⭐A laurel wreath also appears here: The Chariot Symbols, Ace of Swords Symbols, Seven of Cups Symbols, Six of Wands Symbols Two Red Ribbons. The red ribbon bindings at the top and bottom of the wreath indicate completion, the circle has been made complete.
It also reminds one of the ancient quote, “as above, so below”. Who Are The Four Figures in The World Card and What do They Symbolize? The four beasts represent the four living figures or hayyot, which are a class of heavenly beings in Jewish mythology. According to both Jewish and Christian tradition, the creatures vary by description. In this card we see the four tetramorph, a lion, man, eagle and bull.
These creatures represent the four seasons, as well as the four elements of Fire, Air, Water and Earth. Their presence implies that they are the cornerstones of a balanced life. Man. The blond-haired man represents the astrological sign of Aquarius, winter season and the element Air. Lion. The Lion represents Leo, summer and fire. Eagle. The Eagle represents Scorpio, autumn and water.
Bull. The Bull represents Taurus, spring and earth. What is The Meaning of The Blue Background?
The blue background is the cosmic mind or ‘Universe’ as it has come to be known in the New Age. The dancer is able to manipulate this realm easily with her two wands.
karinastarot.com/world-symbols/
Furthermore, we can locate similar attributes to Magdalene from apocryphal sources as well as the writings of Origen. In the apocryphal Pistis Sophia, Magdalene is the sole recipient of Christ’s gnosis, rather than Peter and the other disciples. Christ says, “Well done, Mary. You are more blessed than all women on earth, because you will be the fullness of fullnesses and the completion of completions.”17Although this apocryphal account could not have been known to people during the Renaissance, it reveals that even within the early Christian communities there was a holiness attributed to Magdalene that transcended all others. Yet the Gnostic contempt for materiality seems to clash with the embrace of dualism during the Renaissance. This dualism can be found in Origen’s writings, however. In his commentary on the Song of Songs, he allegorically reads the bride as the Christian church. The bride anoints her lover with an ointment; Origen connects this with the scriptural account of Mary Magdalene anointing Christ. He interprets the line spoken by the bride, “I am dark but comely, O daughters of Jerusalem” (Song 1:5), as follows: “She has repented of her sins...beauty is the gift conversion has bestowed; that is the reason she is hymned as beautiful. She is called black, however, because she has not yet purged of every stain of sin, she has not yet been washed unto salvation, nevertheless she does not stay dark-hued, she is becoming white.” The dualism of black/evil and white/good is unfortunate, but the connection between the Bride of the Song of Songs and Magdalene reinforces her movement away from sin into penitence, and her positive association with the Church and Christ. The sexual language employed in the Song of Songs has always been difficult for commentators; however we see that when Magdalene is associated with the Bride, the sexuality is compounded with Magdalene’s penitence, in the same way we’ve seen in Renaissance painting.
The portrayals of Magdalene’s assumption into heaven connect us back to the Tarot. Mrs. Jameson observes, dryly, that Italian paintings of Magdalene’s assumption began “to recall the idea of a Venus Meretrix.”19 Let us consider Giovanni Lanfranco’s La maddalenan portata in cielo, (fig. IX) and Sandro Botticelli’s Birth of Venus (fig. X). Jameson is quite correct in her observation, despite her negativity towards this shift. In the Lanfranco, Magdalene’s hair barely covers her nude body as she is borne aloft by three putti. She holds out her hands at an angle, and below her is the world’s expanse of mountains, lakes, and forests. It is sexual and chaste, physical and divine. Her figure is very much the Platonic divine love, the ideal Venus. In some of the Assumptions, she is al
Nikki.
© 2008 2012 Lloyd Thrap Photography for Halo Media Group
All works subject to applicable copyright laws. This intellectual property MAY NOT BE DOWNLOADED except by normal viewing process of the browser. The intellectual property may not be copied to another computer, transmitted , published, reproduced, stored, manipulated, projected, or altered in any way, including without limitation any digitization or synthesizing of the images, alone or with any other material, by use of computer or other electronic means or any other method or means now or hereafter known, without the written permission of Lloyd Thrap and payment of a fee or arrangement thereof.
No images are within Public Domain. Use of any image as the basis for another photographic concept or illustration is a violation of copyright.
Please view in full screen mode.
Lloyd Thrap modelshopstudio™.
Lloyd-Thrap-Creative-Photography
All works subject to applicable copyright laws. This intellectual property MAY NOT BE DOWNLOADED except by normal viewing process of the browser. The intellectual property may not be copied to another computer, transmitted , published, reproduced, stored, manipulated, projected, or altered in any way, including without limitation any digitization or synthesizing of the images, alone or with any other material, by use of computer or other electronic means or any other method or means now or hereafter known, without the written permission of Lloyd Thrap and payment of a fee or arrangement thereof.
No images are within Public Domain. Use of any image as the basis for another photographic concept or illustration is a violation of copyright.
Victorian. Photo by: Lloyd Thrap Creative Photography & modelshopstudio™ Model. Jamie.
© 2016 2020 Photo by Lloyd Thrap Photography
for Halo Media Group and modelshopstudio™
All works subject to applicable copyright laws. This intellectual property MAY NOT BE DOWNLOADED except by normal viewing process of the browser. The intellectual property may not be copied to another computer, transmitted , published, reproduced, stored, manipulated, projected, or altered in any way, including without limitation any digitization or synthesizing of the images, alone or with any other material, by use of computer or other electronic means or any other method or means now or hereafter known, without the written permission of Lloyd Thrap and payment of a fee or arrangement thereof.
No images are within Public Domain. Use of any image as the basis for another photographic concept or illustration is a violation of copyright.
Lloyd Thrap's Public Portfolio
Facebook Lloyd-Thrap-Creative-Photography
OLYMPUS DIGITAL CAMERA
Licca as Vocaloid Hatsune Miku in concert. Miku is a popular computer generated singer and dancer created in Japan whose fame has spread around the world.💙👩💙🎶
I just read Miku is on a world tour and her performance will be in USA and Canada this year, has already been in several countries. She is a hologram with synthesized voice, but continues to bring in crowds!
just a photo I took for some beads I am selling on an auction site, thought they were kind of pretty so I shared them with you...
"Vought Corporation has conducted a conceptual design study and aerodynamic analysis of a Vertical Attitude Takeoff and Landing (VATOL) fighter/attack aircraft. The "Superfly" VATOL configuration is illustrated...The salient features are the close coupled canard-delta wing planform and the two augmented turbofan engines fed by fixed ramp inlets. Axisymmetric gimballed nozzles and wingtip reaction jets provide attitude control in vertical attitude hover and transition. Conventional landing gear permit short takeoffs from ships or normal runway operation. Extensive use of composite materials make a single engine vertical landing capability a feasible design goal.
The SF-121 configuration was synthesized to objective performance guidelines. The principal sizing constraints were:
- Supersonic Intercept mission radius = 150 NM (278 km) at Mach 1.6
- Sustained load factor = 6.2 g at Mach 0.6 10,000 feet (3,048 m)
- Single engine thrust/weight = 1.03 with afterburner.
The resulting point design has a VTO weight of 23,375 pounds (10,603 kg), a wing aspect ratio of 2.3 and a wing reference area of 354 square ft (32.89 square meters). The SF-121 is capable of short takeoffs with a 10,000 pound (4,536 kg) overload in 400 feet (122 m) . The combat performance objectives were exceeded by a wide margin.”
And from the abstract:
"A conceptual design study was performed of a vertical attitude takeoff and landing (VATOL) fighter/attack aircraft. The configuration has a close-coupled canard-delta wing, side two-dimensional ramp inlets, and two augmented turbofan engines with thrust vectoring capability. Performance and sensitivities to objective requirements were calculated. Aerodynamic characteristics were estimated based on contractor and NASA wind tunnel data. Computer simulations of VATOL transitions were performed. Successful transitions can be made, even with series post-stall instabilities, if reaction controls are properly phased. Principal aerodynamic uncertainties identified were post-stall aerodynamics, transonic aerodynamics with thrust vectoring and inlet performance in VATOL transition. A wind tunnel research program was recommended to resolve the aerodynamic uncertainties."
Both above are excerpts from the "STUDY OF AERODYNAMIC TECHNOLOGY FOR VSTOL FIGHTER/ATTACK AIRCRAFT - PHASE I FINAL REPORT" published by the Vought Corporation in 1978, available (for now) at:
ntrs.nasa.gov/citations/19790001857
Additional discussion, to include graphic extracts from the above document, to include my photo, with correction, at:
www.secretprojects.co.uk/threads/vought-ltv-sf-106-and-sf...
Credit: SECRET PROJECTS Forum website
My sincere thanks to Rolf Schmidt (see/read below), allowing for the corrected description above. I'll retain my following lackadaisical & woefully wrong initial description to retain context for our discourse in the comment section below:
“The Short Take-Off and Landing/ Maneuver Technology Demonstrator (STOL/MTD) Joint Test Force completed the first phase of F‑15 STOL tests. The goal of the program was to demonstrate that an F-15 fitted with new technologies could land without navigational aid from the ground, on a bumpy field only 1,500 feet in length and 50 feet wide at night, in bad weather, with a 30-knot crosswind.
In 1975, Langley Research Center began to conduct sponsored programs studying two-dimensional thrust vectoring nozzles; government and industry studies of non-axisymmetric two-dimensional (2-D) nozzles in the early 1970s had identified significant payoffs for thrust-vectoring 2-D nozzle concepts. In 1977, Langley started a system integration study of thrust-vectoring, thrust-reversing, and 2-D nozzles on the F-15 with McDonnell Douglas Corporation (MDC). In 1984, the Flight Dynamics Laboratory, the Air Force Aeronautical Systems Division awarded a contract to McDonnell Douglas for an advanced development STOL/MTD experimental aircraft. The aircraft used in the STOL/MTD program has flown several times since the successful STOL/MTD program completion in 1991 that used thrust vectoring and canard foreplanes to improve low-speed performance. This aircraft tested high-tech methods for operating from a short runway. This F-15 was part of an effort to improve ABO (Air Base Operability), the survival of warplanes and fighting capability at airfields under attack.
The F-15 STOL/MTD tested ways to land and take off from wet, bomb-damaged runways. The aircraft used a combination of reversible engine thrust, jet nozzles that could be deflected by 20 degrees, and canard foreplanes. Pitch vectoring/reversing nozzles and canard foreplanes were fitted to the F-15 in 1988. NASA acquired the plane in 1993 and replaced the engines with Pratt & Whitney F100-229 engines with Pitch/Yaw vectoring nozzles. The canard foreplanes were derived from the F/A-18's stabilators. Prior to August 15, 1991, when McDonnell Douglas ended its program after accomplishing their flight objectives, the F-15 STOL/MTD plane achieved some impressive performance results:
- Demonstrated vectored takeoffs with rotation at speeds as low as 42 mph
- A 25-percent reduction in takeoff roll
- Landing on just 1,650 feet of runway compared to 7,500 foot for the standard F-15
- Thrust reversal in flight to produce rapid deceleration
Above paraphrased from:
www.aftc.af.mil/News/On-This-Day-in-Test-History/Article-...
Credit: Air Force Test Center (AFTC) website
Check out what’s going in the image, like the one coming in for a landing…I think. It’s completely vertical! Like the crazy shit the soulless Soviet/Russian bastards used to demonstrate at air shows. Then there’s the starboard quarter elevator/platform, or whatever it’s called…in a vertical position…with an F-15 STOL/MTD attached! Huh? And…is the approaching aircraft coming in to land on the similarly vertical port elevator/platform??? I mean, it looks to be headed right for it. If so, I suppose the arresting cable acts like the wire on the back of wall art. 😉
As if all of that crazy stuff wasn’t enough, this beautiful work is apparently by the hand of a female artist, Patricia (Tricia) Martin. Outstanding! Possibly a Vought artist.
Indirect confirmation of the above is found in her respectful April 18, 2022 recollection of fellow Vought artist Howard Ernest Hicks, upon his passing:
“I worked with Howard and Brenda for many years. He was an exceptional artist and interesting character. He entertained with handstands and bagpipe music while his artwork nurtured the reputation of our entire team. He also gave joy to hundreds of retirees with his exit caricatures and promoted many charitable actives. In one notable year, his art work was part of the promotion of our food drive, collecting 955,000 cans for the community.
Patricia (Tricia) Martin”
Above at/from:
www.legacy.com/us/obituaries/name/howard-hicks-obituary?i...
Credit: “Legacy” website
Finally, at the same site, from an April 16, 2022 post, possibly by another Vought artist:
“Brenda, I´m sorry for your loss. Howard was a good mentor to me early in my career at Vought. What an illustrator he was! I will miss him.
Regrettably, I will be on company travel on Monday, so I will not be in attendance.
-take care,
Paul
Paul Nagata”
The recognizable profile of the Pelican Nebula soars nearly 2,000 light-years away in the high flying constellation Cygnus, the Swan. Also known as IC 5070, this interstellar cloud of gas and dust is appropriately found just off the "east coast" of the North America Nebula (NGC 7000), another surprisingly familiar looking emission nebula in Cygnus. Both Pelican and North America nebulae are part of the same large and complex star forming region, almost as nearby as the better-known Orion Nebula. From our vantage point, dark dust clouds (upper left) help define the Pelican's eye and long bill, while a bright front of ionized gas suggests the curved shape of the head and neck. This striking synthesized color view utilizes narrowband image data recording the emission of hydrogen and oxygen atoms in the cosmic cloud. The scene spans some 30 light-years at the estimated distance of the Pelican Nebula. via NASA
Microstructures grown by MOCVD (metalorganic chemical vapour deposition). Material synthesized by the group of Professor Marco Sacilotti / UFPE
Courtesy of Mr. DYEGO Maia , CETENE
Image Details
Instrument used: Quanta SEM
Magnification: 7,000x
Horizontal Field Width: 36,6μm
Voltage: 30kV
Spot: 3,0
Working Distance: 8,3
Detector: SE and BSE (MIX)
Jacqueline. Photo by Lloyd Thrap Creative Photography for modelshopstudio™ — in Albuquerque.
Lloyd Thrap's Public Portfolio
Come "LIKE" my fanpage please =)
Per favore premere "LIKE" mio fanpage
Por favor, dale un "ME GUSTA" a mi página de fans
Si us plau fes clic al "M'AGRADA" a la meva pàgina de fans
「いいね！」/ 「LIKE」ボタンを押してね！
Bitte klick "GEFÄLLT MIR" auf meiner Fanpage
請來我臉書網頁按讚!
Lloyd-Thrap-Creative-Photography
© 2013 2025 Lloyd Thrap Photography for Halo Media Group
All works subject to applicable copyright laws. This intellectual property MAY NOT BE DOWNLOADED except by normal viewing process of the browser. The intellectual property may not be copied to another computer, transmitted , published, reproduced, stored, manipulated, projected, or altered in any way, including without limitation any digitization or synthesizing of the images, alone or with any other material, by use of computer or other electronic means or any other method or means now or hereafter known, without the written permission of Lloyd Thrap and payment of a fee or arrangement thereof.
No images are within Public Domain. Use of any image as the basis for another photographic concept or illustration is a violation of copyright.
The recognizable profile of the Pelican Nebula soars nearly 2,000 light-years away in the high flying constellation Cygnus, the Swan. Also known as IC 5070, this interstellar cloud of gas and dust is appropriately found just off the "east coast" of the North America Nebula (NGC 7000), another surprisingly familiar looking emission nebula in Cygnus. Both Pelican and North America nebulae are part of the same large and complex star forming region, almost as nearby as the better-known Orion Nebula. From our vantage point, dark dust clouds (upper left) help define the Pelican's eye and long bill, while a bright front of ionized gas suggests the curved shape of the head and neck. This striking synthesized color view utilizes narrowband image data recording the emission of hydrogen and oxygen atoms in the cosmic cloud. The scene spans some 30 light-years at the estimated distance of the Pelican Nebula. via NASA ift.tt/2frkU7N