August, Tuesday 13th., 2024
Paris 2024!The First Hybrid-ic in both Sports and Arts OLYMPIC GAMES Ever!
Ευτυχώς
που διεξήχθησαν οι ΟΛΥΜΠΙΑΚΟΊ ΑΓΩ'ΝΕΣ 2024 στο Παρίσι για να
ενημερωθούμε κι εμείς οι υπόλοιποι από τον Διεθνή παραπαίοντα χυλό
Επικοινωνίας και Τέχνης της Νέας Τάξης Πραγμάτων και τα ασυνάρτητης
αντίληψης κι αγεωγράφητης ανθρωποαίσθησης αθύρματα της WOKE CULTURE
και των Τσαρλατάνων/Δημαγωγών χειριστών της πώς:
"Οι Ολυμπιακοί
Αγώνες είναι ένα καθαρά, ιμπεριαλιστικό δημιούργημα, βάσει του οποίου οι
Αγορές θα εργάζονται όλο και πιό αποτελεσματικά κι έτσι θα γεμίσει ο
κόσμος με άφθονα, όλο και πιό φτηνά προϊόντα και υπηρεσίες!"( ... σε
ελεύθερη μετάφραση)
Παραλλήλως, στην γοητευτική, αισθητικά άψογη,
αισθαντική, ατμοσφαιρική, moody academia, υποβλητική Τελετή Λήξης,
είχαμε την μοναδική ευκαιρία να δούμε γιά πρώτη φορά παγκοσμίως, ένα
μοναδικό και πρωτοεμφανιζόμενο στην ζωή της ανθρωπότητας Υβριδικό μείγμα
Ακρίδας και Δηλητηριώδους Τριχωτής Κάμπιας, το οποίο όμως ήταν ένας
Ταξιδιώτης που έπεσε από τον ουρανό και το οποίο φόραγε μιά πανοπλία
ολόχρυση, γεμάτη μικρά-μικρά καρουμπαλάκια γιατί τέτοιο ήταν το δέρμα
του από μέσα, όπως δηλαδή το δέρμα που έχουν οι Δράκοι κι εμείς έτσι
αναγνωρίσαμε πως πρόκειται για ένα μοναδικό Τριπλό Υβρίδιο!
Αυτό
το Παγκόσμιας Πρεμιέρας Υβρίδιο χορεύοντας ευλίγιστα βούτηξε την
Ελληνική Σημαία και με τσαχπινιά και χάρη την προώθησε καταλλήλως -του
Χαμού της Ελλάδας και τού Θρήνου του Θανάτου- ώστε κάτι περίεργα
ολόγκριζα ;ανθρωπάκια; με τεράστια γουρλωτά, λοξά, μαύρα μάτια, να
επωφεληθούν της ευκαιρίας και να κατακυριεύσουν τα Ολυμπιακά
Δαχτυλίδια/Σύμβολα, να τα τσαπατσουλίζουν πέρα-δώθε και να ακυρώνουν τον
Κόσμο όπως μέχρι τώρα τον γνωρίζαμε...
Ήταν εξαιρετικά
αξιοσημείωτο το γεγονός πως ενώ το βεργολυγερό Τριπλό-Υβρίδιο-Χορευτής
στροβιλίζονταν ανάλαφρα, πλήν όμως περιπαθώς, μικρές αστραπές κι
άπειρες φλόγες και φλογίτσες και σπίθες φωτιάς, σαν από σπίρτο,
ξέφευγαν από την υπέρλαμπρη, καρουμπαλάτη, τριχωτή πανοπλία του, απ' τα
μακριά του ολόχρυσα φλόγινα νύχια και τις μακριές μεταλλικές τρίχες του
και σκορπίζονταν ολόγυρα στον Κόσμο...
Περίπου τότε και ο
Εκφωνητής της Τελετής εξέφρασε την μεγάλη του πικρία και την βαθειά του
συμπόνια προς την ταλαίπωρη την Ελλάδα, που εντελώς συμπτωματικά,
ακριβώς τότε είχε τυλιχτεί μέσα σε ολέθριες πυρκαγιές...
Επίσης
είναι πολύ εντυπωσιακή, μα φοβάμαι λίγο νοσηρή, η αντίληψη του Μεγάλου
καλλιτέχνη/Τελετάρχη να περιφέρει επίμονα, γυναικεία σώματα ακέφαλα,
όπως, π.χ. την Νίκη των Ανθρώπων. Ακέφαλη, μαρμαρωμένη κι αβοήθητη,
χωρίς τουλάχιστον ένα ωραίο 3D AI κεφάλι, ζωντανεμένο έστω και στα
ψέμματα, δεν έχει καμμιά ελπίδα να επικρατήσει, παρ' όλη την τάχα μου
δόξα με την οποία την επιδαψιλεύουν... Θλίψη!
'Οσο για την
αποκεφαλισμένη Μαρία Αντουανέτα που κρατούσε στα χέρια της το κεφάλι
της, πόσο μίσος εξέπεμπε ο ήχος της φωνής της κι ο λόγος της όταν
'υποσχόταν' σε όλους εμάς, τους εκτός ΞΥΠΝΗΤΉΣ ΚΟΥΛΤΟΎΡΑΣ Δυτικούς
Χριστιανούς 'Κεφαλαιοκράτες Ιμπεριαλιστές', δηλαδή τους 'Αριστοκράτες'
κατά την διεστραμμένη-χειραγωγημένη γνώμη τους, πως έρχεται κι η δική
μας σειρά για την κρεμάλα!Χυδαίο!GROSS!:
"Ah ça ira ça ira ça ira Les aristocrates à la lanterne
Ah ça ira ça ira ça ira Les aristocrates on les pendra ".
Πάντως,
ως γυναίκα, αν ποτέ βρισκόμουν στο περιβάλλον του Τελετάρχη/καλλιτέχνη
θα απέφευγα να μείνω μόνη μαζί του για οποιονδήποτε λόγο... Δεν ξέρει
κανείς ποτέ πότε τα περίεργα συμπλέγματα ζωντανεύουν ενεργά...!
Πολύ
βάσιμη και λογική βέβαια είναι και η περίπτωση ο Χρυσός Ταξιδιώτης να
μην εκπροσωπεί Insectoids και λοιπούς κατοίκους του Σύμπαντός μας, αλλά
να προσωποποιεί τον Εωσφόρο, τον εκπεσόντα Άγγελο, το Δαίμονα του Κακού
που τελικά και σύμφωνα με το story επικρατεί πλήρως στην Γή...
Και
άλλα πολλά σενάρια ίσως προκύψουν, διότι ως γνωστόν, η αληθινή τέχνη
και η χοντρή κατάμουτρη Προσβολή/ Απειλή/Κοροϊδία χωράνε πολλή
ανάλυση...!
Μην παραλείψετε να προσέξετε τα 'δόντια' της
'Ακριδούλας με τα ωραία δόντια' στις φωτό που ακολουθούν και να τα
συγκρίνετε με την μεγέθυνση της φωτό το Ταξιδευτή.Ποιό τέλεια ομοιότης
δεν υπάρχει!
Μαρία Λ. Πελεκανάκη
<<... It isn’t only that the final medal count, with the U.S. .... offers a rough match for the state of the current global competition between the two great powers. It is that the Olympic Games reflect the current structure of the global order.
The
Olympics are a distinctly Western and even imperialist creation....
The
blended ideals of competition and cooperation at the heart of the Games
don’t only symbolize the principles behind free governments and free
markets. They embody them. The creative synthesis of competition and
cooperation is how democratic capitalism works. The rules of sports such
as basketball and tennis exist to make the competition more thrilling
and to allow true excellence to shine forth. In the same way,
constitutional order allows free competition between political ideas.
Similarly, the laws and rules that surround markets exist to allow
markets to do their work more efficiently, and to fill the world with an
ever-growing abundance of ever cheaper and better goods and services...>>
A.
The Golden Voyager character at the Olympics 2024 closing ceremony...
NASA's Golden Voyager Record
gets first vinyl release
Cadre and designed by Kevin Germanier,
is inspired by NASA's 1977 Voyager Golden
Record
The Golden Voyager descends into the stadium as a light show takes place on Sunday.
B.
Acrida
...the prominent features such as the compound eyes that provide the
grasshopper with a wide field of vision, enabling it to detect predators
and locate potential mates. We will also examine the antennae, which
serve multiple sensory functions, allowing the grasshopper to perceive
its environment by detecting movement, vibration, and chemical cues.
The head is an intricate structure that houses important sensory organs such as the compound eyes and antennae. These sensors enable the grasshopper to detect environmental cues, locate suitable food sources, and communicate with others of its kind.
Η Ακριδούλα με τα ωραία δόντια
THE 'S M I LE ! CHEEEESE!!!' GENUS
The mouthparts of a grasshopper consist of several components, each serving a specific purpose. The most prominent part is the mandibles, which are strong, tooth-like structures located on the sides of the head. These mandibles are used to cut and tear through plant material, allowing the grasshopper to consume leaves, stems, and other vegetation. The mandibles are attached to powerful muscles, which give the grasshopper the ability to exert significant force and efficiently process its food.
Other important parts of a grasshopper’s mouth include the maxillae and the labium. The maxillae are located just behind the mandibles and are responsible for manipulating the food and helping to push it towards the mandibles. The labium, on the other hand, is located under the maxillae and acts as a protective cover for the mouthparts, preventing debris and other particles from entering the grasshopper’s mouth.
In conclusion, the mouth of a grasshopper is a complex and
specialized structure that allows these insects to efficiently feed on
plant material. The mandibles, maxillae, and labium work together to
ensure that the grasshopper can process its food and extract the
necessary nutrients for survival. Understanding the anatomy of
grasshopper mouthparts is crucial for studying their feeding behaviors
and their role in ecosystems as herbivores.
Γ.
Spongy Moth Caterpillar
Toxic hairy caterpillars of okinawa | Okinawa Nature Photographyokinawanaturephotography.com
Δ.
Opinion | The Hard Power Behind Olympic Triumph
Opinion by Walter Russell Mead
Paris
The Summer Olympics were a triumph for the beleaguered President Emmanuel Macron, for the city of Paris and above all for the athletes. The Games reminded the world why we look to France for elegance and why France receives more tourists than any country in the world.
ιθξIt isn’t only that the final medal count, with the U.S. and China tied for the most gold medals and the Americans winning the most medals overall, offers a rough match for the state of the current global competition between the two great powers. It is that the Olympic Games reflect the current structure of the global order.The Olympics are a distinctly Western and even imperialist creation. Coubertin saw the 19th-century British ethos of amateur athletics as described in books such as Thomas Hughes’s “Tom Brown’s School Days” both as a revival of the best traditions of the ancient Greeks and as a key contributor to Victorian Britain’s culture of economic and political liberty at home. Those conditions in turn gave Britain the power to uphold the Pax Britannica. Coubertin believed that an international Olympic movement could promote world peace by uniting nations in a peaceful competition and strengthen France by encouraging the young to develop their physical and mental capacities through athletic training.
More than this, the principles Coubertin identified in athletic competition stand at the core of the culture of ordered liberty that propelled the West to global leadership in the 19th century and can still power the world to new heights of prosperity and freedom today.
The blended ideals of competition and cooperation at the heart of the Games don’t only symbolize the principles behind free governments and free markets. They embody them. The creative synthesis of competition and cooperation is how democratic capitalism works. The rules of sports such as basketball and tennis exist to make the competition more thrilling and to allow true excellence to shine forth. In the same way, constitutional order allows free competition between political ideas. Similarly, the laws and rules that surround markets exist to allow markets to do their work more efficiently, and to fill the world with an ever-growing abundance of ever cheaper and better goods and services.
At the Games as in the wider world, those ideals aren’t always fully realized. Still, despite their shortcomings and their distinctively Western and even imperialist origins, the Olympics have been widely embraced around the world. The competition has made humanity run faster and jump farther than ever before. The closing ceremony, in which athletes and Paris 2024 volunteers representing more than 200 nations peacefully carried their flags, offered something as close to the realization of a united humanity as we are likely to see.
But there is something else to be learned from the spectacle. The Olympics, like the broader world order, can’t be taken for granted. There is, for example, the constant threat of cheating and attempts to “game” the system in various ways. At the Olympics, such efforts can compromise the fairness of given competitions. Carried to extremes, they would turn the Games into a mockery. In the wider world, systemic cheating and abuse threaten the survival of the global trading system.
There is another threat to the Olympic Games and to the peace of the wider world. French authorities were on high alert during every moment of the games. The opening day witnessed dangerous acts of sabotage, and much worse would have occurred without the dedication and competence of the security forces. Phenomenal athletes such as ace swimmer Katie Ledecky and your Global View columnist’s rowing nephew, Nick Mead, could carry their country’s flag in the closing procession only because 45,000 police, 10,000 soldiers and 22,000 private security personnel were vigilant over the Games.
The Paris Games were a triumph for French and Western soft power, broadcasting an inspiring vision of the best humanity can achieve. But the Games succeeded only because they were protected by a ring of steel. Hard power was the necessary foundation of all the joy, all the excellence and all the competitive drama that made the Games so great.
In these dangerous times it would be catastrophically foolish to forget that the same truth holds in the wider world. The culture of ordered liberty that Coubertin saw in amateur sport can still bring freedom and prosperity to America and the wider world—but the arena of peaceful competition must always be defended.
E.
Who’s the person behind the Golden Voyager character at Olympics closing ceremony?
ALBAWABA - As expected, the 2024 Paris Olympics closing ceremony has also been the main talk of social media users causing massive interaction and triggering wide reactions, especially the Golden Voyager character.
Netizens online have been questioning the idea behind the Golden Voyager character at the Olympics closing ceremony.
Since the controversy that surrounded the Olympic opening ceremony which reportedly depicted "The Last Supper," the closing ceremony also ignited "satanic speculations" due to the Golden Voyager character.
Many claimed that the Golden Voyager represents "Lucifer" and the story of the demon being kicked out of heaven and arriving on Earth. A person said: "The show started with ‘The Golden Voyager,' descending from the sky, like Lucifer’s fall from heaven, leg bent and positioned like the Hanged Mans, who, in the occult, represents the ultimate surrender."
But, who's the person behind the Golden Voyager character:
Arthur Cadre, a French dancer, was the person who performed the Golden Voyager at the closing ceremony of the Olympics in France which was held on Aug. 11.
Cadre, 32, is a dancer-breaker-contortionist who performed the lead role in Records, the closing ceremony in Paris, which was created and directed by Thomas Jolly.
Kevin Germanier, the French fashion designer who created the custom for the Golden Voyager, said that it needed 20,000 beads and references to the human body.
According to Vogue France, the design was inspired by "the Golden Record traveler, the golden disc that has traveled through the universe, serving as an interstellar message in a bottle for other space travelers."
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