It's easier to smile while at sea

Racehorses

The desert honours the ragtag kingdom
With a dashing star and the storm mouth's tang

The Quinotaur is a mythical sea creature mentioned in the 7th century Frankish Chronicle of Fredegar. Referred to as "bestea Neptuni Quinotauri similis",[1] (the beast of Neptune which resembles a Quinotaur) it was held to have fathered Meroveus by attacking the wife of the Frankish king Chlodio and thus to have sired the line of Merovingian kings.

The name translates from Latin as "bull with five horns," whose attributes have commonly been interpreted as the incorporated symbols of the sea god Neptune with his trident, and the horns of a mythical bull or Minotaur. It is not known whether the legend merged both elements by itself or whether this merger should be attributed to the Christian author.[2] The clerical Latinity of the name does not indicate whether it is a translation of some genuine Frankish creature or a coining.

The suggested rape and subsequent family relation of this monster attributed to Frankish mythology, correspond to both the Indo-European etymology of Neptune (from PIE '*nepots', "grandson" or "nephew", compare also the Indic and Avestan 'Apam Napat', "grandson/nephew of the water")[3] and to bull-related fertility myths in Greek mythology, where for example the Phoenician princess Europa was abducted by the god Zeus, in the form of a white bull, that swam her to Crete.

Karamoko Keita

my spanish cousin

“The painting was created in 1888 by Julius Grimm (1842-1906), a German scientific photographer whose techniques of mapping the surface of the moon became famous when his acclaimed Atlas der Astrophysik was published in 1881. After meeting the Grand Duke Friedrich I von Baden, an astronomy enthusiast, in 1887, Grimm decided to paint a representation of the moon, based on his photographs, to be presented to the Grand Duke. The painting shows the moon as it can never be seen in reality: fully lit across the entire surface at once. The painting’s highly textured surface faithfully represents the actual landscape of the moon, which Grimm determined with precision by examining the shadows cast during the various lunar phases. When lighted from the direction Grimm indicated with a painted arrow, the ridges of paint cast shadows that create the photorealistic effect of the painting.” — EON

Rendering work for Richard black, Murry river. 2

phone hom,e

RATATAT @ The Corner

walked & & drowned

The gods are watching.

Today our Gregorian calendar is expected to be used for eternity. It only needs to be adjusted by one day every three thousand three hundred years. Because of our technologically based civilization, we measure years with numbers of seasons and have no need to look toward the heavens. Time is provided by computers with such accuracy, that we take it for granted. The concept of time is so engraved in our imagination, that we are dumbfounded by the realization that time does not even exist. Our scientists have merged time and space into a common set of equations with the appellation of "space-time" to signify a higher essence called reality. Regardless of the mathematical precision of our "space-time" coordinates, both space and time are imaginary. They are concepts that our teachers have passed down to us in order to help us to learn, by rote, the knowledge of modern civilization. Chinese, Jewish, and Muslim calendars are living examples of other methods for marking the passing of the seasons. These calendars are based upon events in the heavens, just like ancient people and other creatures did 30,000 years ago. Being can only be understood in a relative sense. Where a being is with respect to another being is the only measure of "space-time." Einstein’s celebrated theory of relativity is proof of this fact. We can choose to ignore this fact, but it does not cease to be the core essence of existence.