Monterey Bay Aquarium

Love Begins

⁂
tumblr dot com
ojovivo
hello vonnie
Peter Solarz
h
Today's Document
Cosmic Funnies
almost home

tannertan36

No title available
Keni
taylor price

Discoholic 🪩
NASA

No title available
dirt enthusiast
Alisa U Zemlji Chuda

seen from Türkiye

seen from United States

seen from United Kingdom

seen from Germany

seen from United States

seen from United States

seen from Mexico

seen from Switzerland

seen from Japan
seen from Germany
seen from South Africa
seen from China

seen from United States

seen from Malaysia

seen from United Kingdom

seen from Malaysia

seen from Türkiye
seen from United States

seen from United States
seen from T1
@ghost-ofthe-tmblr
“The song of a sorceress snared his soul when he came to another world, another self, across space and time. . .”
Virgil Finlay (1914–1971), illustration to “The Dark World” by Henry Kuttner
Fantastic Story Magazine Vol. 6 #3, Winter 1954
source
Tod eines Geizhalses (ca. 1485/1490, Öl auf Holz) - Hieronymus Bosch
Psychological Warfare
During the Vietnam War, Trinh Thi Ngo known to American troops as "Hanoi Hannah"broadcast English- language propaganda over Radio Hanoi. Her messages aimed to demoralize U.S. soldiers by highlighting American casualties, reading names of the dead or captured, and playing anti-war songs. Despite being mocked by some, her broadcasts were notable for their detailed knowledge of U.S. military operations, often citing information from sources like the Stars and Stripes newspaper. Her final broadcast aired in 1973 as U.S. forces withdrew. She passed away in 2016 at the age of 85.
.
How to Attract Attention in 5 Minutes: Sophia Loren and Jayne Mansfield
This took place in April 1957. A formal dinner hosted by Paramount Pictures was held at Romanoff’s restaurant in Beverly Hills in honor of Sophia Loren’s successful film career. The photographs featured two undeniable sex symbols of the 20th century: Jayne Mansfield and Sophia Loren. Yet that evening, Jayne managed to draw all the attention to herself. She arrived at the Paramount party, organized specifically for the Italian diva, in an outfit that effectively overshadowed Sophia, who was expected to be the center of attention. Sophia Loren commented on the famous images only in 2015: “Paramount organized a party for me. Everyone from the film world was there; it was incredible. Then Jayne Mansfield walked in, the very last to arrive.” That same year, 20th Century Fox signed Mansfield and began heavily promoting her as Hollywood’s leading blonde, deliberately positioning her as a rival to Marilyn Monroe. Mansfield’s popularity was built on her provocative persona and her fondness for unexpected public displays. “She walked straight to my table. She knew everyone was watching her. She sat down. And then… look at the photo. Where are my eyes? I’m staring at her chest because I was afraid they were about to fall onto my plate. You can see the fear on my face. I was terrified her dress might explode, boom, and everything would scatter across the table.” Sophia Loren admitted that fans often ask her to sign that particular photograph, but she always refuses out of respect for Jayne Mansfield’s memory, following Mansfield’s tragic death in 1967.
Der Maskenball (1949/Öl auf Leinwand) - Arthur Kampf
El mundo de los vampiros | 1961 | dir. Alfonso Corona Blake
Albín Brunovský (1935–1997)
“Tornádo ženského jména” (Tornado of a Woman’s Name)
lithograph, n.d. — source
The Dark Legacy of the Middle Ages: Shams al-Ma’arif and the Frontiers of Human Will
Deep within the dimmest corridors of Islamic occult tradition, one name resonates with a persistent chill: Ahmad al-Buni. His magnum opus, Shams al-Ma’arif, is far more than a mere grimoire; it is one of the most perilous bridges ever constructed between the human mind and the unknown. While it has been etched into collective memory as a simple manual for summoning spirits, the work is, in truth, the manifestation of a vast system that intertwines the mystical mathematics of letter science with a complex cosmological hierarchy. According to Buni’s own narrative, this knowledge was not a product of armchair imagination but a heritage filtered through the dusty shelves of ancient cities like Jerusalem, Damascus, and Alexandria—and even from the depths of pyramids in the Egyptian city of Akhmim, hidden since before the Great Flood.
When we examine this legacy through a realist lens, the hybrid nature of its origins becomes impossible to ignore. Buni’s roots as an Algerian scholar explain the visible traces of Hebrew Kabbalah and Syriac culture within his naming conventions and ritual structures. In this regard, the book serves as a mystical crucible, melting down the entire esoteric accumulation of the Mediterranean basin. Yet, what truly makes this work haunting is not its formulas, but the psychological dominion those formulas exert over the human practitioner.
The process of contacting the jinn, contrary to popular belief, is not an instantaneous encounter but a grueling phase of psychological and physical conditioning. This period, known as Riyadat, demands total social isolation and a disciplined taming of the body through specific diets. Meanwhile, the mind is driven into a trance-like state through the rhythmic repetition of specific prayers and numerical sequences. This is, essentially, a controlled dissolution of the ego. After days of solitude and intense focus, the human mind stretches its perception of reality, drifting into that hazy threshold where it can finally "touch" the other side.
The ritual reaches its zenith with the summoning of the seven jinn kings and the act of securing their seals. Al-Buni describes this stage with the gravity of a state protocol. The slips of paper hanging around the practitioner’s head and the eerie atmosphere created by candlelight are designed to push the summoner’s willpower to its absolute limit. There is no negotiation here; it is an act of absolute subjugation established through the authority of Divine Names. However, this authority is a double-edged sword. Buni’s jarring warning at the end of the text serves as a reminder that this is not merely a metaphysical event, but a profound test of character. If the heart is weak—if fear seeps into the will—the wounds these "great sovereigns" leave upon the mind can be irreparable. "Refrain from looking at them," Buni cautions; for that gaze is, in reality, a confrontation with the darkest depths of one's own soul.
The fact that this book still takes center stage in modern treasure-hunting forums and clandestine discussions proves that the human desire for easy wealth often triumphs over our most primal fears. The "faster than lightning" assistance promised by Buni continues to feed the primitive, ambitious side of the modern human lurking beneath a rational exterior. Ultimately, Shams al-Ma’arif has not merely sat on shelves for centuries as a book; it stands before us like a mirror, testing human audacity and the ultimate boundaries of the will.
Aleksandra Waliszewska
“The Fourth Horseman 2005" art by Laurie Lipton
Donato Giancola
Inglourious Basterds dir. Quentin Tarantino | 2009
Nicolas Bruno, The Embellished Collection