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Saturday, 10 May 2014

~ I'm a Faerie ~

The sun rises and a beam of light shines through,
golden sunlight with a dusting of sparkles.
The sparkle slowly spreads around the room;
the curtains flutter gently in the summer breeze,
scented with a thousand different blooms. 

I awaken and yawn and stretch in my down bed
and breathe in the sweet air, sweet as sugar to me.

I sit up and smile as I throw the covers to the side.
At the window I am cheerily greeted
by a chorus of birds chanting their sweet melodies.
I lean on the window sill to greet the day 
and revere our Mother Gaea for her beauty and splendor. 

I express gratitude as she cradles all living beings in her loving arms.
My skin is a light, creamy color and my hair is of gold;
My heart is filled with love for all living beings.
I can only speak the truth as I can only hear the truth.
I will give you my heart and ask for nothing in return.
I will be there when you need me,

Without expectations. 

I am a fairy.
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Composed by me Cynthia ©



Hi all, here is a critical essay that may enlighten some of you as to how Shakespeare's fairies came about...

One of the most noticeable and entertaining elements of Shakespeare's A Midsummer Night's Dream is the presence of the fairies. Titania, Oberon, Puck, and the attendant fairies all affect the human beings in the woods, and provide glimpses into the fairy realm. Although Shakespeare applies several important aspects of the Elizabethan belief in fairies to A Midsummer Night's Dream, Shakespeare alters the conception of fairies not only within the context of the play, but for all time.

Fairies in Elizabethan England were of the same basic size and shape as humans. People were often mistaken for fairies because the size of a fairy was thought to be that of a short human, so there would be no noticeable difference in physical size. Since Elizabethan fairies looked like humans, they, of course, did not have wings. Elizabethan folk also thought that fairies were beautiful and of dark complexion, which reflected their association with wickedness. They often dressed in green due to their association with nature. Shakespeare, who was of course familiar with these ideas of fairies, presents the fairies of A Midsummer Night's Dream as beautiful and associated with nature, but this is where the physical similarities to Elizabethan folk beliefs ends. In the play, Shakespeare describes his fairies as tiny creatures with wings, and this is the first time in literature that fairies are described in this manner. It is not the last, as the poets and playwrights of his time adopted Shakespeare's diminutive description of fairies.

Shakespeare also alters the Elizabethan conception of the identity and behavior of fairies. One of the most striking aspects of Elizabethan fairy behavior was that fairies were linked closely with the home and the farm. Elizabethan fairies loved cleanliness enough to reward humans for keeping their homes clear of dirt and clutter, and they often punished messy people. They also needed humans for beef, bread, drink, and bath water, which people, fearful of fairy wrath, willingly supplied. What fairies wanted most, however, was milk and cream. Because of this, fairies were often associated with the dairy industry, and were frequently possessed herds of cattle because of their fondness for dairy.

Fairy reward and retribution was often swift and significant because of their wickedness. The Elizabethans thought that fairies either were fallen angels, the souls of dead humans, or beings without souls that existed between Heaven and Hell. Because of this supernatural status, fairies had magical powers that they put to use for their own benefit. When humans followed fairy dictates, fairies were known to cure diseases, bring an abundance of food (including fairy bread, which was considered to be nearly divine), clean houses, protect, bring fortune, and tell the future. However, the foolish mortals who did not appease the fairies could suffer a variety of punishments. 

The most popular fairy punishment was pinching, which often left victims with blue bruises all over their bodies. Fairies were also known to create changelings (babies who were born one gender and changed to the other), to abduct both children and adults, blight crops, destroy livestock, and bring disease. The "commoners" of the Elizabethan period were afraid of fairies and tried to appease them. This representation of fairies as malicious beings is quite different from A Midsummer Night's Dream, where fairies are harmless sprites who may play tricks on humans, but eventually help them without being bribed to do so. Titania cares for the Indian boy out of love for her late votress, and Oberon orders Puck to resolve the Athenians' love situation without any kind of reward. Both rulers even bless the bridal beds at the end of the play. This beneficence is a far cry from the fear-inspiring fairies to which Shakespeare's Elizabethan audiences were accustomed.

One aspect of fairies that Shakespeare left intact was their enjoyments. Shakespeare's fairies in A Midsummer Night's Dream enjoy dancing and music, which was the favorite pastime of the fairies of Elizabethan folklore. Fairies were thought to dance in fairy circles, which humans were forbidden to see. Any person spying on fairy circles would be punished by pinching.

Shakespeare's correlation of fairies to night is also consistent with the folklore of his time.
Although the fairy "hours" were midnight and fairies were occasionally known to work magic in the day, the main time for fairies was night. Fairies were also active in the summer, and not known to appear after All Hallows' Eve (Halloween). Shakespeare is consistent with this idea of "fairy time" in the play.

Shakespeare departs again from the Elizabethan conception of fairies, however, when it comes to the characterizations of his fairies. While the idea of Oberon as the fairy king was familiar to the Elizabethans, the name of Titania for the fairy queen was not. Titania's name was probably taken from Ovid's Metamorphosis, which describes the fairy queen in a similar vein to the moon goddess Diana. Despite this difference, Titania's train is consistent with the folklore—her time is from midnight to sunrise, she and her fairies sing and dance, she has jewels, and she has possession of a changeling. Shakespeare does add flowers to Titania's image, which had not been previously associated with fairies.

Oberon's character in the play appears to be consistent with the folklore in the beginning, but changes significantly by the end of the play. When Oberon and Titania meet, Oberon's anger over Titania's refusal to give him the Indian boy has caused Oberon to take his frustrations out on the weather and on the humans around him. He also wants to use the love juice in order to make Helena run away from Demetrius. This lack of regard for mortals is exactly what the Elizabethans would have expected from the fairy king. By the end of the play, however, Oberon orders Puck to cure Lysander while leaving Demetrius under the love spell. Oberon has changed from the stereotypical fairy into a benevolent one for no reason other than to avoid any further conflict.

Another difference in the depiction of fairy characters is Robin Goodfellow, or Puck. Robin Goodfellow was a familiar figure to the Elizabethans. His laugh, sense of humor, and reputation as a prankster made him a popular folk character. He was not, however, a fairy, because his tricks were never fatal. Only practical jokes and humorous accidents were attributed to him. Robin Goodfellow was also a spirit of the home, and was often depicted with a candle and a broom because he loved to clean houses as a reward for bread and cream. (This is the reason why he is shown with a broom at the end of the play). While Shakespeare maintains Robin Goodfellow's mischievous personality, he completely changes some significant facets of his character. As mentioned previously, Robin Goodfellow was not a fairy. Shakespeare not only makes him a fairy in A Midsummer Night's Dream, but he also makes him Oberon's jester and servant. The change of Robin Goodfellow's name to Puck is also significant. A "puck" is a devil, not a joker, which directly contrasts Robin Goodfellow's character not only in Elizabethan folklore but in the play as well. Robin has no interest in the humans in the play other than for sport, and he has no association with the home save for carrying the broom. Although A Midsummer Night's Dream marks Robin Goodfellow's first appearance on the English stage, only his sense of humor and prankish nature remain from the famous figure of Elizabethan folklore.

Shakespeare, then, transforms the whole conception of "fairy" from wicked tricksters to harmless "shadows." Robin highlights this transformation in the epilogue to the play:
If we shadows have offended,Think but this, and all is mended.That you have but slumb'red hereWhile these visions did appear.And this weak and idle theme,No more yielding but a dream (V, i, ll. 412-417).

For the first time, fairies are no longer to be feared but dismissed as nothing more than a dream. Because of the beauty of the fairy imagery and the immense popularity of both Shakespeare and the play, Shakespeare's literary contemporaries perpetuated his descriptions of fairies given in A Midsummer Night's Dream. The fact that we now see fairies as tiny, harmless creatures with wings and magical powers that live in the woods is due to this play. Although Shakespeare gives prominence to the Elizabethan folk belief of fairies by highlighting them in the play, he changes the popular idea of fairies in A Midsummer Night's Dream from wicked spirits to shadows and dreams, a transformation which lasts to this day.

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Friday, 9 May 2014

Meeting fairies

Meeting fairies

If there’s one thing those who love fairies wish for, it’s to see a fairy, or to hear from someone who has. Almost 45 years ago something rather special happened. R. Ogilvie Crombie, or Roc as he was affectionately known by friends, went for a walk in the RoyalBotanic Garden in Edinburgh, and had an experience there that proved life-changing. ‘It was a glorious day’, Roc recollects. ‘I wandered about for a while enjoying the beauty and peace of the rock garden and other favourite spots. Eventually I began walking along a path skirting the north side of Inverleith House, which is situated on rising ground in the centre of the Gardens and houses the ModernArtGallery.’

‘Leaving the path I crossed an expanse of grass, dotted with trees and bushes, to a seat under a tall beech tree. When I sat down I leant my shoulders and the back of my head against the tree. I became, in some way, identified with this tree, became aware of the movement of the sap in the trunk and even of the infinitely slow growth of the roots. There was a decided heightening of awareness and a sense of expectation. I felt completely awake and full of energy. There was a tension in the air, almost as if the air itself were beginning to shimmer. I sat there in utter contentment.’

‘Suddenly I saw a figure dancing round a tree about twenty yards away from me—a beautiful little figure about three feet tall. I saw with astonishment that it was a faun, the Greek mythological being, half human, half animal. He had a pointed chin and ears and two little horns on his forehead. His shaggy legs ended in cloven hooves and his skin was honey-coloured. I looked at him in amazement, and even did the obvious: I pinched myself. I was awake.’

‘I wondered for a moment if perhaps he was a boy made up for a school show. Yet he could not be—something about him was decidedly not human. Was he an hallucination? There were one or two other people walking about in the Gardens. I looked at them and then back at this beautiful little being. He was still there and seemed to be as solid and real as they were. I tried hard to analyse this experience and explain him away. Suddenly I was brought up sharp—what was I trying to do? Here was a strange and wonderful experience. Why should I not accept it, see what happened and analyse it later? I watched the little being with delight as he circled around another tree. He danced over to where I was sitting, stood looking at me for a moment and then sat cross-legged in front of me. I looked at him. He was very real. I bent forward and said: ‘Hallo’. He leapt to his feet, startled, and stared at me. ‘Can you see me?’


‘I don’t believe it’, he said. ‘Humans can’t see us.’

‘Oh, yes,’ I assured him. ‘Some of us can.’ As Roc began to converse with this small being, called Kurmos, he began to learn about the extraordinary world of nature spirits – what their role is, and how they view humans. ‘He told me that many of the nature spirits have lost interest in the human race, since they have been made to feel that they are neither believed in nor wanted. ‘If you humans think you can get along without us, just try!’ said Kurmos.

‘Some of us do believe in you and want your help. I do, for one.’ replied Roc, who went on to reflect, ‘The wonderful thing about this meeting was the sense of companionship, I felt an amazing harmony with this wonderful little being sitting beside me. A communication was taking place between us that did not need to be put in words. We sat for some time without speaking. Eventually I rose and said I must return home. ‘Call me when you return here and I will come to you’, he said.

From this unexpected meeting Roc went on to have a series of extraordinary encounters with nature spirits. During these meetings Roc was shown how fairies live, their purpose in tending nature, and how life is for them here on earth.

Roc was also shown what it was like for a tree to be rooted deep in the earth, and just how alive plants and trees are, by experiencing their lives from the inside.

Not all meetings were happy ones. Visiting a forgotten childhood haunt, he experienced in graphic detail how the neglect of nature reflects our own loss of spirit, and how much hurt we cause when we do not care for the natural world.

So who was Roc? Born into an artistic family just over a hundred years ago, he excelled at maths and science, and was fascinated by parapsychology. In quiet moments he enjoyed rambling in the hills close to home. When he was nine he was diagnosed with heart problems, for which there was no treatment. Though Roc didn’t know this at the time, it was the combination of these very experiences that would make possible the extraordinary experiences that lay ahead.

When he left school Roc joined the Marconi radio company, then served as a radio operator in the First World War. At war’s end he went to EdinburghUniversity, studying physics, chemistry and maths, but had to leave due to illness. In his early thirties, he suffered a serious heart attack and was unable to work. This left Roc free to indulge his lifelong love of hill walks, fresh air and bathing in the sea. He also wrote and directed plays, and later on regularly appeared on Scottish television playing small character parts.

Alongside these passions, Roc was interested in the deeper mysteries of life. His connection with the natural world deepened during the ten years he spent living in an isolated rural cottage. Here there was no electricity. He had to fetch his water from a nearby spring. Without modern comforts to fall back on, he became increasingly aware of the powerful presence of nature, as he immersed himself in the deeper rhythms of life. He returned to Edinburgh in 1949 and lived in a flat close to the city centre. It was here also he would have several otherworldly encounters with the fairy realm, which helped him realise just how close nature spirits are to our human world.

Most of Roc’s experiences with nature spirits occurred during the last decade of his life. It was during this period the fledgling Findhorn community was established, which was to experience its own miracles, thanks to the nature spirits. Though he never lived at Findhorn, Roc was central to some of these miracles. One day while at home in Edinburgh he got a clear sense all was not well with the fairies at Findhorn. Roc rang to see what was going on. It transpired that a flowering gorse bush had been cut back without consultation, and so a number of elves who lived in the flowers had lost their homes. Yet again the fairies were far from impressed.

Towards the end of his remarkable life the fairies showed Roc how his passions, ill health and need to withdraw from life made their communications possible, and Roc in turn reminds us that, if he could see fairies, then so too can we.

by Maggie Hamilton

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Thursday, 8 May 2014

Once upon a full moon

Hi dear friends and followers, today I wish to share another one of my short narrative with you. Have a great read and please feel free to share your thoughts with us, they are valuable to me. Thank you

Once upon a full moon

Helen and I were late getting back home from our foraging in the woods behind Farmer Jenkins' barn. We had completely lost track of the time and before we had reached the trail that went by the base of the giant yellow birch, we were exhausted and needed to stop to rest.
The moon had come up over the horizon over the valley and shone like a bright, warm, yellow sphere, casting not just shadows but spreading a different colour of aura-like energy around everything we could see.

Helen was the first to notice and she shook my shoulder and pointed for me to look. “Must be the ground mist," I responded.

"Look over there!" she said excitedly, again pointing to her left this time.

In the valley below us another sphere shone, this one a bright cobalt blue colour. We went down onto our hands and knees, not sure if we should stand as we may be spoted by what ever it was. We both looked at each other for a second, and Helen cried out, "The bushes over there! In a crouched position we ran and dove into the bushes, scaring the life out of a squirrel which caused our hearts to skip a beat or two!
The sky above glowed with a blend of blue, purple, red, other colors. We held our breath, not daring to move. Then the cobalt blue sphere just seemed to blink out. Sitting up I asked Helen if she had heard or seen anything like that before. She shrugged her shoulders then said, “Ummmm, only on those UFO programs they have on TV. The moon had set already and as I looked to the east I could see the early glow of first streaks of morning on the horizon.

But that didn't make sense, I reasoned. The moon had just risen when we got here, which couldn't have been more then an hour ago.

Walking across the path, we again sat on an old root from the huge yellow birch. I remember something I nearly screamed to Helen. "It wasn't an alien abduction. It was a visitor from another reality or dimension. Remember?" Helen shook her head indicating she had no such recall.

"The light beings who radiate light from their body that that gives the appearance of wings. Their energy is so strong, but it's all pure love. They are here and they have been for a very long time. And the little people, remember them?” Helen stiffened like she had been stung by a bee, then said, “Yes I do remember the little people,. They were great, I loved them.”

“Do you remember why they appeared to us?”
“Yes, because they knew we would believe in them and also knew we could be trusted not to say anything until the right time comes.”

"I'll race you!" I said to Helen as I began to run. It felt good to feel the rush of air on my cheeks and my hair fluttering behind me as I ran, a free spirit among free spirits, because the spirit is one thing no one can imprison.

Dad was waiting at the bottom of the hill as I bade Helen farewell and shouted breathlessly, “See you tomorrow!”

I ran to my dad wrapping my arms around him, just holding him. Not another word was said.

Written by me, Cynthia ©.

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Wednesday, 7 May 2014

ROBBERT van den BROEKE PHOTOGRAPHS: "Light" Phenomena


"Light" Phenomena
Nancy Talbott
BLT Research Team Inc.

- PART 1 -

Robbert, self-portrait, daytime-September 2004.

All photos in this report are taken by Robbert v/d Broeke unless
otherwise noted & may not be reproduced without written permission
from him, or the BLT Research Team.

March, 2012 - UPDATE

In the years since this report was posted we have learned thatsome of the apparent photo "anomalies" presented here can be deliberately created -- in particular the large pink light-balls & brilliant white or yellowish light stripes along the edges or corners of the photos.

Depending on the cameras used and the position of the flash relative to the lens, as well as the positioning of the photographer's hands -- we now realize that some of these "light anomalies" could be explained.

Neither Robbert nor I have ever tried to create these effects -- but since we have learned that such effects can be created deliberately, we caution readers to keep in mind that some of these photos may have been inadvertently caused by inappropriate handling of our cameras and, if so, are not then "anomalous" at all.

Beginning in the early to mid-1990s, when Robbert van den Broeke was just a teenager, he began to regularly record strange objects and light phenomena in his photographs. In some instances he would see something unusual prior to taking photos, but often the anomalies were only apparent on the developed film (or, since 2002, on the LED screen of his digital camera). By now (Spring, 2009) Robbert has taken literally thousands of bizarre photographs using many different cameras--most of which have been catalogued by date in an archive which I estimate must contain a minimum of 10,000 photographs.

I have been visiting Robbert and his family for 10 years, usually spending 2-3 weeks each summer with them in their home in Hoeven, Holland. During this time I have personally witnessed a variety of amazing incidents, most of which have included the production by Robbert of hundreds of anomalous photographs. I have observed him closely as he has taken an enormous range of very strange photos, using several different cameras in both daytime and at night and I have never seen anyindication that he has deliberately manipulated either the cameras or the physical environment to produce these bizarre events or the photographic images.

Since I am aware that photographic images can be manipulated and because I am not technically sophisticated myself, I have enlisted the expertise of an MIT-trained analyst in evaluating many of Robbert's images and have also carried out some control experiments myself. At the end of each section I've provided the relevant results from these exercises.

Additionally, although I have seen many of the thousands of photographs taken by Robbert when I have not been present and although those photographs are every bit as curious as those contained in this report it seemed sensible that, in this introductory report, I use primarily those photos taken by Robbert while he was in my presence and using my camera. During the early years I paid close attention to everything he did, and didn't, do. In recent years I have sometimes been less rigorous, although I have continued to devise new strategies in my attempts to figure out what is going on.

The majority of photographs in this report were taken with my Pentax Optio 33WR digital camera, which was donated to BLT Research in 2002. Because I am an amateur photographer the camera is always set in "auto" mode, although it does have many other capabilities. Robbert, who also has very little technical inclination, has always used the Pentax in the "auto" mode (as he does with all other cameras he uses). Photos taken by anyone other than Robbert, or with any camera other than my Pentax, are so labeled.

Because Robbert has consistently throughout the years I have known him reported his awareness of an external "energy" or "presence" when these photos occur, and because he also reports a similar awareness when crop circles are occurring in his area of Holland and/or when he subsequently visits these crop formations, I suspect there is a connection between the anomalous photographs and the crop circles themselves and most likely a connection with many or all of the other highly unusual events which are a continuing part of his life experience.

The knee-jerk reaction of some people to this idea that an invisible, external energy may be influencing physical events, particularly individuals who consider themselves to be "well-educated," is to dismiss it -- without any real investigation. Robbert has been accused of using a computer to create or manipulate images and entire TV production units have been similarly indicted as having been his confederates. Charges such as these would have been recognized as superfluous had any of these critics bothered to find out whether Robbert even had a computer. [Which, until recently, he did not.] Further, the general intensity of such attacks suggests their high emotional content a reaction to a perceived challenge or threat to the "status quo" (in conjunction, in my opinion, with a real feeling of helplessness) rather than an intellectual or analytical assessment.

Of course these critics may now accuse me of duplicity also, thus adding emphasis to the need for each reader to decide for themselves the reliability and import of this report. For the record I assert that, during the years when most of the photographs included here were taken, Robbertdid not have a computer and had no access to a computer nor even the faintest idea of how to operate one. Further, he took the majority of these photographs using my camera when I was present with him, and I saw the images immediately after he had taken them. THERE WAS NO COMPUTER.

However, a fact which may be quite relevant is emphasized in my Pentax's Operating Manual (p. 1). Here it clearly states that "...the camera may not function correctly when used in surroundings such as installations generating strong electromagnetic radiation or magnetic fields." I suspect that these energies may also impinge upon the operating systems of many, if not all, modern cameras.

And, since evidence of unseen energies around Robbert is accumulating elsewhere, I have to ask why should we not believe Robbert when he says he is aware of an unusual "energy" or "presence" when these strange photographic images begin to appear? In 2009, in a world where physicists work on theoretical models of "reality" in terms of light waves and quantum particles and biophysicists discuss nonlocal effects of biophoton emissions, isn't it actually archaic not to consider the possibility that invisible influences of whatever origin have something to do with the creation of these strange photographs?

Some areas of this photo appear to be double-exposed.

It is impossible to represent here the total range or scope of anomalous photographs taken by Robbert over the last 10 years. He often takes several hundred photos/day and the anomalies change constantly. But after 10 years of observation I am certain that--whatever is causing these anomalies--it is considerably more sophisticated than technical manipulation by Robbert or anyone else. Here are the important facts:

Photo anomalies can (& regularly do) occur on any camera used by Robbert;
A huge range of anomalies appear on both film and digital cameras;
Robbert takes the photographs in the immediate company of the camera-owners;
Regardless of the camera being used, some images will be absolutely normal;
Robbert perceives an "energy" or "presence" as the anomalous images begin;
Once the anomalies begin, they may continue for minutes or even hours;
Robbert often does not know what sort of anomaly will occur;
He is certain that a spiritual energy, external to him, is responsible for the images;
The cameras are always set in "auto" mode;
None of the"explanations" presented by critics fit the actual facts.

In the 1990s Robbert began taking photos primarily at crop circle sites near his home, using the family's 35mm film camera. In 2002 he began using an Olympus digital camera regularly, and now uses it almost exclusively (except when clients or other people are present, when he often uses their cameras). Since he often takes hundreds of photographs every week the digital camera saves the considerable costs associated with film; it also provides Robbert with instant feed-back which has, I am fairly certain, sharpened his ability to sense when and under what conditions he is most likely to obtain anomalous photos.

It's important to emphasize that many of Robbert's photos (at crop circle sites or at other locations unrelated to any known anomalous event) are totally normal, containing none of the strange effects presented in this report. This is true regardless of the camera he is using, whether he is indoors or out, the time of day or night, weather conditions, etc. the photos usually becoming anomalous only if or when he senses the presence of what he describes as an unusual "energy."

"Fuzzed" light in kitchen, light "stripes" in front of Buddha-head statue;
there is no light source above the table (camera flash did fire).

Brilliant "light ring" photographed in field near Hoeven, late afternoon.
(Robbert's 3 Mega Cam--flash did not fire.)

When Robbert becomes aware of the presence of this "energy" (a change in his experience of his immediate environment) his photos always become abnormal, although in many different ways. The anomalies are likely to continue in dozens or even hundreds of sequential photos for anywhere from perhaps 5 minutes up to as long as 20-25 minutes. And then, as suddenly as they began, the anomalies cease to occur and the images again are normal. Multiple sequences of anomalous photos may occur on any given day or night.

To reiterate, the anomalies occur regardless of whose, or what type of, camera Robbert is using, what time of day or night, whether he is indoors or out, or any other variable that I have been able to determine. The only constant factors I have observed are as follows:
Robbert usually indicates that he has become aware of the presence, in his immediate environment, of an "energy" which is not normally there;
He often describes this energy as a "loving" presence, but sometimes defines it as "UFO" or "healing" energy;
Robbert simply aims the camera in the general direction of the "energy" (he does not necesssarily look through the the view-finder) and then takes multiple shots;
He is very often (but not always) surprised by the images that appear;
The cameras are always set in "auto" mode.

Chandelier is on camera flash is only other light source. Light is peculiar
throughout & left third of photo appears superimposed.

Since I first began studying crop circles I, too, have begun to take strange-looking photos, both on film and with the Pentax (a few of these are included in this report). These now occur slightly more frequently than in the early 1990s--and some always occur when I am staying with Robbert but in my case they're not as varied, or as dramatic, nor as frequent as with Robbert.

It should be noted that I keep the Pentax in a case which I carry on my person; when I am sleeping it is kept next to my bed. It is only out of my possession if/when Robbert asks to use it. At these times I am always present and able to watch whatever Robbert is doing for as long as I please.

In more recent years when, day after day and night after night, Robbert is taking dozens or hundreds of photographs and obtaining anomalies one after the other, he will sometimes walk off into another room in his house (or another section of the field when we are outdoors) and I no longer always go with him. At these times (so far) the photo anomalies he continues to get if he walks away are of the same type and variety and intensity that I have seen he was capturing when we were standing close to each other and I was watching him intently.

My camera is used only by Robbert or me and both of us have only an amateur's understanding of how it (and other cameras) functions. Because of this our various cameras are always set in the "auto" mode, and both of us simply point the camera and then push the button, counting on the camera to figure out the focus, shutter speed, and whether or not the flash should go off. The only difference in photographic style between us is that Robbert usually aims the camera lens in the direction of the unseen "energy" something I don't do, because I generally don't perceive it's presence.

Again, unless otherwise noted, all photos here have been taken by Robbert, using my Pentax camera. In many instances the camera's flash was triggered; in others it did not fire, even when the ambient light would seem to indicate it should have. We hope to carry out an evaluation of this factor in the future.

"Smoky" Stuff

Invisible smoke-like substance which appeared when Robbert felt
the "energy" present. (Photo: taken with 35mm camera.)

Beginning in the early 1990s people interested in crop circles began sending me photos they had taken in or near crop circle fields which contained a "smoke-like" foggy-looking material they had not observed visually. Most crop circle photos are taken during the warm, dry summer months when no fog is present and most crop circle enthusiasts don't smoke. People who do smoke don't--when they are in the fields. In colder conditions, visitors to the crop circles soon realized that their exhaled breath might cause a similar effect and began taking care to rule out this possibilty also. Robbert has captured this "smoke-like" effect in crop circle fields many times, as have I when with him in Holland.

Invisible "smoke" in July, 1999 crop circle, Hoeven (no one smoking,
no fog present). (Photo taken with Robbert's 35mm camera.)

Invisible "smoke" in crop circle field, Holland, 2007. Again, no one
is smoking, no fog present, car has been sitting for 1-2 hrs.
(Photo: N.Talbott, w/Pentax.)

Bluish "smoke" in crop circle field near Hoeven, August 2007.
It was a mild evening, no one was smoking, no fog was present.

This smoke-like anomaly does not occur only in photos taken in crop circle fields. One afternoon while I was sitting alone in the family's back garden I repeatedly photographed the same thing; although I couldn't see it with my eyes and was not smoking, it appeared on 4 or 5 photographs and then disappeared. No one else was home at the time and I was sitting, admiring the dolphin statues at either end of the fish pond, and thinking how pretty the pink flowers rising up from the lily-pads were.

Invisible "smoke" in Robbert's garden one afternoon. I was not smoking.
(Photo: N.Talbott, w/Pentax.)

On another occasion in 2004 I had picked up a "flu" on the airplane to Holland and had to stay in bed for several days. Robbert was sitting with me one night and began to take photos randomly, when suddenly smoke-like anomalies began appearing in one photo after another. Neither of us was or had been smoking, and neither of us saw the "smoke" with our eyes.

"Smoke" in Nancy's room (no one is smoking) - Hoeven, 2004.

"Smoke" anomaly in Robbert's living room, Hoeven, 2004.
(Robbert's 3 MegaCam; flash did not fire.)

In most cases these smoke-like anomalies (as well as the various other types) are not visible to Robbert or to anyone else present. In some cases, however, light phenomena and other artifacts have been visible to Robbert--or he has had a clear mental image of the anomaly that subsequently appears on the film or digital chip. This ability of Robbert's to actually "see" something which is not visible to other people but which subsequently appears on the photographs is, as far as I can tell, sporadic.

Attempts to Replicate "Smoke" Anomaly

I and others have attempted to replicate these smoke-like photo effects. In none of the trials indoors using cigarettes did the anomalies ever come close to those we are labeling "smoke" anomalies in this report.

For my replication attempts outdoors I chose a particular field where Robbert regularly gets photo anomalies. Below are photographs taken by me at this location, at the same time of night, same time of year, same weather and temperature conditions, and using the same Pentax camera. I deliberately blew smoke from a cigarette in front of the lens and then took these shots.

"Smoke" anomaly created by cigarette smoke (mosquitoes were out
on this night & those close to the lens are reflecting the camera flash).
(Photo: N.Talbott w/Pentax.)

Another attempt to replicate "smoke" anomaly using cigarette smoke.
(Photo: N.Talbott, w/Pentax.)

Although very few of Robbert's photo anomalies occur in really cold weather (there are usually no crop circles occuring in winter and he doesn't spend as much time out in the fields when it's very cold), I thought I should include an example of another type of "smoke" effect that can occur due to exhaled breath when the temperatures are low.

This particular photograph, taken by a colleague, mimicks closely some of the "smoke" anomalies captured by Robbert. However, the temperature conditions necessary to cause this photo of exhaled breath have not been present when Robbert's photos were taken.

"Smoke" anomaly caused by exhaled breath in 24 degree air.
(Photo: BLT colleague w/digital camera.)

"Orbs" or Light-Balls (BOLs)

Probably the most common photographic anomaly associated with the crop circles so far (and also now found on photos taken by people not involved with crop circles) involves small tennis to softball-sized translucent to semi-opaque light balls, often called "orbs" or BOLs. As has been pointed out repeatedly (http://, and FAQ.html), tiny dust particles, insects, moisture droplets, snowflakes etc. if they are close to the lens--can reflect the light of the flash, thus producing light-balls and other strange effects. This occurs particularly frequently with modern cameras which have become smaller and smaller, thus causing the flash to be located very close to the lens.

Typical "orb" or BOL-type photograph taken in Robbert's backyard,
July, 2004. (Camera is Robbert's Olympus digital.)

Years ago Robbert began finding the same small tennis ball to baseball-sized, semi-translucent to opaque "orbs" in his photos also, although he was unaware that the phenomenon was occurring in many other people's photographs around the world. Some of Robbert's "orbs" were taken at local crop circle sites in various fields around Hoeven where, in several cases, he actually saw light-balls with his eyes. Soon he was also photographing them regularly in his back yard or inside his home.

The BOL photos which occur inside Robbert's home are often very extreme, particularly if the camera is aimed at Robbert and, most particularly, if he is experiencing an awareness of the presence of an "external energy" when the photographs are taken. It should be noted that Robbert's mother is a meticulous housekeeper and the likelihood that dust particles can account for these photos is, in my opinion, highly unlikely.

Brilliant "orbs" or BOLs photographed when Robbert is focusing
his attention. (Photo: taken with 35mm camera)

BOLs continue to appear, even when Robbert relaxes. Room lights were not on.
(Photo: taken with 35mm camera)

Beginning in 2006 many of these BOL or "orb" type photos taken outside are of large spheres which are now frequently pink or purple or orange in color. These first appeared on my camera in France in September, 2006, (see: and then continued to appear on my camera when I arrived in Holland in October--at which point Robbert also began getting them, both on his camera and on mine. Often these larger mostly translucent and pink-colored spheres occur in conjunction with the smoke-like anomaly.

Large pink BOL w/smaller translucent light balls & "smokey" stuff.

Large pink BOLs were first seen on Nancy's &
Robbert's cameras in 2006.

Pink, purple & orange BOLs occurred at many fields we visited in 2006,
even in fields where no crop circle had ever appeared.

In 2006 Robbert and I were present when a new crop circle occurred in the field in front of us. On several nights before and on the actual night the new formation occurred we photographed dozens of larger pink, orange and purple BOLs (

Often, if we have been up late at night trying to document one or another of the events which constantly occur around Robbert we find that dozens or hundreds of the small translucent-to-white light balls will suddenly start to appear on the camera. These photos are often interspersed with other types of anomalies and will suddenly appear, and then disappear, with no observable alteration in the basic environment. Same camera, same location, same light conditions, same temperature, same everything, insofar as we can determine. Just as suddenly as they begin to appear, they stop.

Small "orbs" in Robbert's office where he sees clients
for readings or healing sessions.

"Orbs" in the upstairs hallway.

"Orbs" downstairs one very active night. Clearly these are not caused by insects
or mist, & they only appeared on one of several shots taken at that same time.

Attempts to Replicate "Orbs" & Light Balls

Because a majority of the "orb" photos we have seen are taken outdoors and are thought to be associated with mist in the air, or insects flying close to the lens, we attempted to reproduce this effect outside when we knew there was moisture in the air or insects were present. We took dozens and dozens of shots on various evenings many on clear nights also but concentrated on nights when the air felt dank enough that we could be certain the dew-point was high. We went to the same locations we visit regularly, but waited for nights when Robbert was not experiencing anything unusual.

In spite of many attempts on dry, clear nights we were only able to reproduce a few orb-type light balls the majority of these "test" shots producing mostly photos with no anomalies at all. On one night we did get a few faint "orbs," as well as many mosquitoes which were out in force that evening.

A few small "orbs" occurred on this clear dry night
when hordes of mosquitoes also happened to be out.
(Photo: N.Talbott w/Pentax)

On nights when we knew there was moisture in the air--but nights when Robbert was not experiencing anything unusual--we drove to the fields we always visit, and at about the same time of night. Both of us got dozens of photos showing hundreds of small, mostly translucent light-balls--clearly caused by the camera's flash reflecting off mist close to the lens. These "test" photos do not look exactly like most of the BOL photos we've taken on dry nights, or inside the house.

"Orbs" caused by camera flash reflecting off mist close to the lens.
Note that surface of bridge is dry.
(Photo: N.Talbott w/Pentax)

Another "test" shot showing "orbs" caused by droplets of mist
reflecting the camera's flash.
(Photo: N.Talbott, w/Pentax)

Because it is clear that we can deliberately approximate at least some of the strange photographic effects obtained by Robbert I try to pay attention to both the environment and Robbert's behavior when he is using my camera. I have also conferred with an analyst who has extensive photographic expertise, so as to understand the conditions required to replicate, or approximate, these anomalies.

In every trial carried out so far (more of these trials will be presented farther on), the conditions which were demonstrated as necessary for even an approximationwere not present when Robbert obtained his unusual photos.
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Here we explore more recent phenomena, some that have not even been clasified yet but I personally endorse as phenomenas I have seen personally 
- See more at:

Tuesday, 6 May 2014

10 Fascinating and Frightening Legends From Around the World

10 Fascinating and Frightening Legends From Around the World

Myths, legends and lore exist in all cultures, and in all regions, around the world. Such stories teach us how to live, what morals to uphold and the consequences of straying from the well beaten path. Stories of monsters, redemption, humiliation and the constant battle of good vs. evil can all teach us something about who we are and how we live. Now we’ll embark on a trip across time and cultures and explore 10 legends and myths from around the globe.

1. Tibet: The Hidden Himalayan City of Shambhala

A depiction of the 4 sided palace inside Shambhala

It is said that between eight mountain ranges, resembling a lotus, lays an invisible city that very few have access to. Those who have risen to the highest level in the spiritual plane can enter its gates through the mist. Lakes filled with jewels and grand palaces adorn the city. Mentioned in the ancient scripts of the Kalachakra Tantra, this city has an instrumental role when the apocalypse nears.

When greed and corruption fill the earth, a united army of evil will descend upon these mountain peaks. The veil of the city will lift and the King of Shambhala will leave his palace and meet the evil army at the gates. An immense battle will rage, but ultimately return good to the lands.

2. Central America: El Cadejo

This beast, built similarly to a dog, lurks in the dark corners of cities and villages, waiting upon hapless victims. Smelling of sulphur and urine, it rattles through graveyards, attacking and eviscerating anyone who dare go out after dark.

There are three types of black cadejo, ranging from the devil incarnate to its scouts and minions. However, if a victim is lucky, a white cadejo will be waiting nearby. White cadejos are said to protect those wandering late at night, and can fend off all but the most evil of black cadejos.

3. Poland: The Obra Water Monster

In the western region of Poland, it’s said there lurks a snake monster so large that it makes a habit of pulling anything that lurks too close to the lake underwater. Witnesses report seeing swans, dogs and various birds snatched into the lake, never to break the surface again. Even more terrifying, this creature is rumored to try to overturn the boats of fisherman on the lake. Because of this, many avoid the sparsely populated shores of Lake Obra after dusk.

4. Iran: Zahhāk

Ths story speaks of a boy who was born with little moral character and easily influenced by others. Persuaded by the whims of an evil magician, Zahhak kills his own father, and heads down a path of his own destruction. One day, the magician kisses Zahhaks on both shoulders, and out of them grew two snakes that feast on the brains of humans. If Zahhak did not feed them, the magician told him, the serpents would feast on his own brain.

The legend of Zahhak, who in later stories ends up taking the throne and slaughtering two men daily, is said to represent the way in which men dispossess themselves from their own homicidal lust. In essence, the devil on his shoulders is making him do things he otherwise wouldn’t.

5. Taiwan: Hoko Po, the Tigress Witch

This is an ancient fairytale of sorts, which speaks to the danger of letting those you don’t know into your home. Two daughters, left alone while their mother travels to a nearby village, let an old woman in their house late one night. The old woman, claiming to be their great aunty, lulls them to sleep and then begins to feast on the younger daughter. The older daughter, who wakes and catches her, is chased through the home and woods by the Tigress Witch, only to use trickery to the Witches’ ultimate demise.

The Tigress Witch story has a similar theme to fairytales told the world over. Such themes include the danger of those we don’t know, and the danger that an old woman without children presents (she hungers for them, but that hunger has turned to eating their flesh).

6. Argentina and Uruguay: Luz Mala

The legend of ‘bad light’ is popular in Northeastern Argentina and Uruguay. It is said that wispy streaks of light begin to appear hovering over the ground when the barrier between the spirit world and the human world is low. Often concurring with the driest months in the year, this light is said to be a bad omen, a manifestation of the devil, and a visible manifestation of spirits’ pain. Those who are said to have followed the light have found human remains at its source.

7. Arabia: The Ifrit

An Ifrit is an ancient Arabian myth of a demon-like creature that inhabits the Earth below ruins. On land they can take the shape of dogs or hyena, and often attempt to lure unsuspecting humans to their death. However, in their underground lairs they live much as humans do, with kings and societies and even marriage. Ifrits cannot be defeated in any sort of human battle, but magical conjuring can help undo the spells they place on humans.

The Ifrit is still feared in modern times, and indeed many believe Ifrits live below the pyramids of Egypt. In fact, going there at night is seen as taking a huge risk with your life.

8. Zimbabwe: Nyami Nyami, the Zambezi River God

The Nyami Nyami is said to have the head of a fish and the body of a snake. Responsible for all life in the Zambezi River, he can either bring bountiful harvests upon the people living on its shores, or destroy their crops. Often depicted as being fair and just, the Nyami Nyami was generous for many years, as he and his wife swam the great river.

However, when the Kariba Dam was built, it was said it separated Nyami Nyami from his wife forever, and he withdrew away from the human world. Multiple floods and deaths on the Zambezi since the dam’s construction have been blamed on the anger of this river god.

9. Native American Sioux: The Iktomi

The Iktomi (meaning spider) is a jokester and a trickster in many Sioux legends. He will cajole animals and humans alike into following his bidding, often ending in the subject of his trickery being made into a buffoon. While the qualities of the Iktomi are looked down upon in Sioux culture, he is used as a way to teach children of the consequences (i.e. humiliation) of not having sound moral character. However, Iktomi can turn occasionally, becoming a violent and dangerous character, and teaching the far more serious consequences of straying from cultural practices.

10. Australia: The Rainbow Serpent

The Rainbow Serpent Myths of Australia are as wide ranging as Aboriginal culture on the continent. In some stories, the serpent falls from the heavens, after creating the stars, and helps bring life to the land. In some stories the snake is a male, in others it is female.

However, one thing many stories have in common is that the snake is solitary and does not like being disturbed. In one telling, the Rainbow Serpent is so angry by the simple presence of a family around it, that it enters their hut at night and feasts on them. However, despite its somewhat cranky demeanor it is responsible for water supplies and therefore an incredibly important character in Australian deserts.

Mysteries of the kingdom of Shambhala

Sunday, March 18, 2012. Diposkan oleh everyday is mondaydi 12:18 PM

For thousands of years, there is a rumor circulating that somewhere in Tibet, among the snowyHimalayan peaks and secluded valleys, there is an untouched paradise, a kingdom where peace and universal policy that is indescribable. A kingdom calledShambhala.
James Hilton wrote about this mystical city in 1933 in his book "Lost Horizon". Hollywood and raised in the 1960 film production, "Shangri-la". Even the famous author James Redfield wrote The Celestine Prophecy is also writing a book called "The Secret of Shambhala: In Search of the Eleven Insight." The mysteriousShambhala is also regarded as a source for the Kalachakra, which is the highest branch of a mystical and esoteric in Tibet.

The legend of Shambhala has existed since thousands of years ago. We can find records of this kingdom in ancient texts such as the Kalachakra and Zhang Zhung that even existed before Buddhism entered Tibet.

Shambhala word comes from the Sanskrit word meaning "place of peace" or "Place of silence". This kingdom has a capital named Kalapa and ruled by the kings of the dynasty Kulika or Kalki. This is where living things are perfect and semi perfect meet and jointly guide the evolution of humanity. Only those who are pure in heart that can live in this place. There they will enjoy happiness and peace and will not even recognize the suffering.

It is said that in the kingdom, love and kebijakanlah ruling. Injustice never happened. Its people have a very deep spiritual knowledge and culture are based on law, art and knowledge are far higher than ever achieved by the attainment of the outside world.

Many adventurers and explorers have been trying to find this mystical kingdom. According to them, maybe Shambhala located in the mountainous region of Eurasia, hidden from the outside world. Some who do not believe that Shambhala find only a symbol, a liaison between the real world with a world that exists beyond. But, some others believe that Shambhala is a real world.

According to Zhang Zhung ancient text, Shambhalais identical to the Sutlej Valley in Himachal Pradesh.While the nation Mongolia identified it with certain valleys of southern Siberia.
Information about this kingdom up to the first western civilization by a Portuguese Catholic missionary named Estevao Cacella who heard this story from the locals. Then in 1833, a Hungarian scholar named Sandor Corrosion Csoma even provide the coordinates of Shambhala is believed to be between 45 'and 50' north latitude.

Interestingly, according to records of Alexandra David Neel who has spent most of his life in Tibet, Shambala was not only known in Tibet. Far in the north of Afghanistan, there is a small town called Balkh, an ancient town which is also known as the "mother of cities". Legend of the modern Afghan state that after the conquest by the Muslims, the city of Balkh is often referred to as a "wax up" or in Persian known as the "Sham-i-Bala". I do not know, we do not know for sure whether the city is connected with the mysterious Shambhala or not.

The legend of Shambhala then drew the attention of a follower of the esoteric and theosophy named Nicholas Roerich (1874-1947). In curiosity, he explored the Gobi desert to the mountains of Altai from 1923 until 1928. This trip took 15 500 miles and crossed the 35 highest mountain peaks in the world. But the tremendous effort it still can not find the kingdom.

Even the Nazis who are also highly related to the esoteric world of Shambhala search expedition ever sent in 1930, 1934 and 1938.However, none of them who managed to find it.Edwin Bernbaum writes in "The Way of Shambhala":

"While the explorers approached the kingdom, their journey becomes increasingly difficult to see. One of the Tibetan priest wrote that this event was intended to keep Shambhala from the barbarians who intend to master it."

What was written by Bernbaum is associated with a forecast of Shambhala. According to the prophecy, humanity will experience a degradation of ideology and humanity. Materialism will spread throughout the earth. When the "barbarians" are united under the command of a wicked king, then the fog that envelops the mountains of Shambhala will be lifted and the king's army with terrible weapons to attack the city.

Then the king of Shambhala to-25 named Rudra Cakrin will lead his troops to fight the Barbarian forces. In that battle, the evil king and his troops successfully destroyed and mankind will be restored to the peace.Some scholars such as Alex Berzin, using calculations from the Kalachakra Tantra, believed that these events will occur in the year 2424 AD.

As culture moves east to west, the myth of Shambhala rise from the mists of time. I think, a yearning for kedamaianlah which has caused the human race trying to find this utopian kingdom.Perhaps we will never find Shambhala, but perhaps also we need not look too far.

An ancient story of Tibet told that one day there was a young man preparing to search for Shambhala.After exploring the many mountains, he found a cave.Inside was an old hermit who then asked the young man: "Where are your goals so that you are willing to explore this deep snow?""To find Shambhala," replied the young man.

"Ah, you do not have to go far." Hermit said. "Behold the kingdom of Shambhala is in your own heart."Is there really a Shambhala in our hearts?
himalayas | Ancient Origins
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· by Lizabeth Paulat

· May 3, 2014