#healing New Anti Aging photos

A few anti aging images I found:

IMG_1127G Pierre Wtewael 1596 1660 Utrecht Adoration des Bergers Vers 1630 Utrecht Centraal Museum Fils de Joachim excellente réussite financière et sociale Son of Joachim excellent financial and social success
anti aging
Image by jean louis mazieres
Pierre Wtewael 1596 1660 Utrecht
Adoration des Bergers Vers 1630
Utrecht Centraal Museum
Fils de Joachim excellente réussite financière et sociale
Son of Joachim excellent financial and social success

LES FEMMES DANS LA CULTURE CATHOLIQUE ET ORTHODOXE

Les femmes ont une image très favorable et très présente dans la religion catholique et dans celle orthodoxe. Une image dont témoigne l’art de la peinture, avec ses innombrables représentations de la Vierge Marie, et des multiples Saintes. Images de la femme qui ont été fondamentales dans la religion et la culture populaire.
Bien sûr Marie et les Saintes n’ont rien à voir avec la déesse de l’Amour, (Aphrodite -Vénus) ou de la chasse (Artemis-Diane).
C’est l’image de la Vierge et de la Mère qui prévaut avec le christianisme. L’Amour toujours, mais l’un profane et l’autre sacré. Thème d’un tableau du Titien.
Cette image de la femme, même "seulement" vierge et mère, a beaucoup contribué à créer une situation sociale et politique de la femme infiniment plus favorable en Europe que dans d’autres civilisations, notamment la Chine et l’Islam. La civilisation indienne étant sur ce point différente.
Aux racines de la culture européenne, les déesses Grecques avaient certes un statut éminent, pratiquement équivalent aux Dieux. Mais le rôle de la femme grecque, humaine, mortelle, était habituellement tout à fait limitée à la vie privée. Dans la société romaine, il est vrai, la situation était très différente, dès la fin de la République.
Il semble que l’importance du rôle social de la femme dans la société européenne, a eu ses sources essentielles dans la culture des peuples de l’Europe au Nord des Alpes : Celtes, Germains, Scandinaves, Slaves.
Mais le rôle de la religion chrétienne, catholique et orthodoxe, à ces époques, a été aussi très déterminant dans un sens favorable.
C’est un constat de fait qui déplait beaucoup à certaines idéologies, profanes ou religieuses, actuellement dominantes en Europe, acharnées, depuis trois siècles à donner des religions catholiques et orthodoxes l’image de doctrines tout à fait abrutissantes et rétrogrades.
Cette propagande est totalement démentie par l’art (peinture et sculpture) des siècles passés. Mais pas seulement part l’art, aussi par l’histoire politique et économique : Ces idéologies, qui travestissent les faits historiques, veulent ignorer que le grand démarrage politique et économique de l’Europe, totalement autonome, son expansion première, se situe vers l’an 1000, en pleine époque de domination de ces religions accusées d’être totalitaires et obscurantistes.
Un second départ, économique, se situe, après la peste noire, vers 1400-1450, en Italie, Flandre, dans les vallées du Rhin et du Danube, sur les bords de la Mer Baltique. Toujours en pleine période de domination idéologique de la religion catholique. En effet la "Renaissance", si elle ouvre des horizons nouveaux, tournés d’ailleurs vers le passé de l’antiquité gréco-latine, n’a rien de fondamentalement anti-catholique et n’a pas porté atteinte aux valeurs dominantes en Europe. Or c’est à cette époque que se mettent en place les mécanismes du premier grand capitalisme commercial et que l’Europe entreprend ses Grandes Découvertes.
C’est pour dissimuler ces faits que les historiens européens au service des nouvelles idéologies, ont inventé, dès le 17è siècle, et surtout au 19è, les appellations mensongères, de "Moyen Age", de "Temps Modernes", de "Renaissance", de "Reforme" et bien sûr, la cerise sur le gâteau: "les Lumières".
Pour en revenir à la situation de la femme dans l’histoire européenne, l’histoire officielle à destination du grand public dissimule aussi que c’est à partir des "Lumières", en conséquence de la révolution française et de l’Empire que le statut juridique, social et politique de la femme régresse, considérablement, en Europe de l’ouest, jusqu’après la seconde guerre mondiale. Le "Code Civil" est en effet totalement misogyne.
Ces "Lumières" dans lesquelles l’Occident contemporain baigne totalement sont tout simplement la Nouvelle Religion. C’est cette nouvelle religion qui impose son art dans les Musées d’Art Contemporain. Ces musées où la femme a été remplacée par des carrés blancs. Nous n’admirons plus de "Vierge à l’Enfant" ni de "Sainte X", mais nous avons la chance d’admirer des "Sans Titre 33" qui nous laissent béants d’interrogations sur les valeurs réelles qui animent nos élites.
Il est vrai que les femmes se rattrapent dans les rues et la publicité de ce quelles sont moins représentées dans les musées d’art contemporain.

WOMEN IN THE CATHOLIC AND ORTHODOX CULTURE

Women have a very favorable image and a strong presence in the Catholic and Orthodox faiths. An image reflected in the art of painting, with its innumerable representations of the Virgin Mary, and the multiple holy women. Images of women who have been fundamental in religion and popular culture.
Of course Mary and the holy women have nothing to do with the goddess of Love (Aphrodite-Venus) or hunting (Artemis-Diana).
It is the image of the Virgin and the Mother that prevails with Christianity. Love always, but the first profane and the other sacred. Theme of a painting by Titian.
This image of the woman, even "only" virgin and mother, has greatly contributed to creating a social and political situation for women infinitely more favorable in Europe than in other civilizations, notably China and Islam. The Indian civilization being on this point different.
At the roots of European culture, the Greek goddesses had certainly an eminent status, practically equivalent to the Gods. But the role of the Greek, human, mortal woman, was usually quite limited to private life. In Roman society, it is true, the situation was very different, from at the end of the Republic.
It seems that the importance of the social role of women in European society has had its essential sources in the culture of the peoples of Europe north of the Alps: Celts, Germans, Scandinavians, Slavs.
But the role of the Christian religion, Catholic and Orthodox at these times, was also very decisive in a favorable sense
It is a factual statement that is very displeasing to certain ideologies, profane or religious, which are at present dominant in Europe, and which have for 3 centuries given of Catholic and Orthodox religions the image of completely stupid and retrograde doctrines.
This propaganda is totally contradicted by the art (painting and sculpture) of past centuries. But not only by art, also by political and economic history: These ideologies, which disguise historical facts, want to ignore that the great political and economic boom in Europe, totally autonomous, its first expansion, is located around the year 1000, in full period of domination of these religions accused of being totalitarian and obscurantist.
A second economic start, after the Black Death, took place in 1400-1450 in Italy, Flanders, in the valleys of the Rhine and the Danube, on the shores of the Baltic Sea. Still in the midst of ideological domination of the Catholic religion. Indeed, the "Renaissance", if it opens new horizons, turned moreover towards the past of Greco-Latin antiquity, has nothing fundamentally anti-Catholic and has not violated the dominant values in Europe . It was at this time that the mechanisms of the first great commercial capitalism were put in place and that Europe was undertaking its Grandes Découvertes.
It is to conceal these facts that European historians at the service of the new ideologies, invented, from the 17th century, and especially in the 19th, the false names, "Middle Ages", "Modern Times", "Renaissance" , "Reform", and of course, the icing on the cake: "the Enlightenment".
To return to the situation of women in European history, the official history destined for the general public also conceals that it was from the "Enlightenment", as a consequence of the French Revolution and the Empire, that political, legal and social status of women regressed considerably in Western Europe until after the Second World War. The "Civil Code" is indeed totally misogynous.
These "Lights" in which the contemporary West totally bathes are simply the New Religion. It is this new religion that imposes its art in the Museums of Contemporary Art. These museums where the woman was replaced by white squares. We no longer admire "Madonna and Child" or "Holy X," but we are lucky enough to admire " Untitled 33" which leaves us the open mouth with questions about the real values that animate our elites.
It is true that women compensate in the streets and the advertising, the fact thatthey are less represented in the museums of contemporary art.

Looking up
anti aging
Image by Martin_Heigan
Setting up to capture the ancient light of the Universe.

A quick photo of my widefield Astrophotography gear, while I was setting up for a long weekend of Astrophotography at the annual Kambro Star Party (Northern Cape, South Africa).

When we photograph the Universe, Telescopes are like time machines that look back into the distant past. It allows one to capture the very distant faint light of Nebulae, Galaxies and Stars that took thousands, millions, and even billions of years to reach us.

“The size and age of the Cosmos are beyond ordinary human understanding. Lost somewhere between immensity and eternity is our tiny planetary home." – Carl Sagan.

Martin

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Merlin Helicopter At Southend Air Show 2011
anti aging
Image by Feggy Art
The AgustaWestland AW101 (rebranded from EH101 in June 2007) is a medium-lift helicopter for military applications but also marketed for civil use. The helicopter was developed as a joint venture between Westland Helicopters in the UK and Agusta in Italy (now merged as AgustaWestland). The aircraft is manufactured at the AgustaWestland factories in Yeovil, England and Vergiate, Italy. The name Merlin is used for AW101s in the British, Danish and Portuguese militaries.

In Spring 1977, the UK Ministry of Defence issued a requirement for an anti-submarine warfare (ASW) helicopter to replace the Royal Navy’s Westland Sea Kings. Westland responded with a design designated the WG.34 that was then approved for development. Meanwhile, the Marina Militare (Italian Navy) was also seeking a replacement for its (Agusta-built) Sea Kings, leading Agusta to discussions with Westland about the possibility of a joint development. This culminated in the joint venture being finalised in November 1979 and a new London-based company, EH Industries Limited (EHI), being formed in June the following year to manage the project.

As the design studies progressed, EHI became aware of a broader market for an aircraft with the same capabilities as those required by the British and Italian navies. On 12 June 1981, the UK confirmed their participation, with an initial budget of £20 billion to develop nine pre-series examples. A major agreement securing funding for the development of the EH101 program was signed by both the British and Italian governments in 1984. At the 1985 Paris Air Show at Le Bourget, Agusta showed a mock-up of a utility version of the new helicopter, leading to a more generalised design that could be customised. After a lengthy development, the first prototype flew on 9 October 1987.

In 1989 demand for the EH101 was uncertain, the American Blackhawk was providing competition with potential export customers, and neither Britain or Italy had placed production orders yet. The Canadian government had expressed considerable interest in 1991 in acquiring up to 43 EH101s to replace their own aging naval helicopters; however with the end of the Cold War they were branded as excessive by several politicians and the acquisition was aborted in 1993. Britain maintained its commitment to the project, ordering 22 EH101 helicopters in February 1995; Italy also pressed ahead with its order for 16 EH101s in October 1995.

The first group of production EH101s for the RAF began arriving in 1997. In 2002 Westland made an unsolicited and unsuccessful offer to provide the MoD with an enhanced version of the Merlin to meet the UK’s demand for lift capability. Westland and Agustaclosing down EHI as a separate entity shortly afterwards. Consequently in June 2007 the EH101 was re-branded as the AW101.

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