Alain is going to be joining me here at swissmiss studio mid october. "His" computer is sitting here at the studio, lonely, waiting for him. And today, it asked the question: "Alain, where are you?" Took a picture and sent it off to him. And what you see above is his answer.

Answering the theme for February, which was "Red". Here's the guitarist from Friday's gig at the Duke of York in Belfast.

#Answer Yes or No...:)

~Up theo tâm trạng thou

~K thic cmt thì FAV nhá đó kug là cách tl ák :)

~Hết tuần này sẽ up pic mới

~ Tôi đã bắt đâu thay đỗi

~ Khoảng cách xa dần theo thời gian

~ K wt t thì lam s bk t đã change :-<

~ Tôi ước

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@ Mong ước sẽ thành hiện thực. Khoãng cách ta sẽ gần hơn hay la sẽ mãi xa

 

P.s:Cmt cho pic dứi nha tks nhìu dắm :).

An old man sits in the Park and working crossword puzzles.

Instant Chemical Soup — part 5

Read this story on Medium featuring further experiments in instant photography deconstruction.

 

Read the story, view the gallery, please leave your feedback! and expect more soon in the series of galleries at medium.com/tag/instant-chemical-soups/latest

Colorado Model Sara Lynn

Music = www.google.com/url?q=http://popup.lala.com/popup/36056946...

 

Thanks for all the comments, favs, messages and voice-mails lately... and thank God for Google translate!

 

We'll be answering this question "do you have relationships with your models?"

 

here = dollen.com/newsletter/index.html

Stand still.

The trees ahead and bushes beside you

Are not lost. Wherever you are is called Here,

And you must treat it as a powerful stranger,

Must ask permission to know it and be known.

The forest breathes. Listen. It answers,

I have made this place around you.

If you leave it, you may come back again, saying Here.

No two trees are the same to Raven.

No two branches are the same to Wren.

If what a tree or a bush does is lost on you,

You are surely lost. Stand still. The forest knows

Where you are. You must let it find you.

-David Wagoner

Answer me, these questions three.

An acquaintance card evidently used for responding to other cards that asked the question, May I C U Home? (see below).

 

Answer to May I C U Home To-night

You ask to see me home to-night: what if I should refuse?

I hope you would not blame me, for doing as I choose,

I must look out for number one, and know you'll say, "That's right,"

And with thanks for your kind offer, you may C me home to-night.

fragments from an exhibition at kunstinstituut Melly Rotterdam NL

Two hawks were calling to each other and I was standing practically under the tree where this one was perched.

Face study

Portland, Oregon

May 2025

All flower photos have already been taken. Many times over. Why do we keep shooting them?.. Because they are nice :)

“You take delight not in a city's seven or seventy wonders, but in the answer it gives to a question of yours.” (Italo Calvino, Invisible Cities)

 

New York, Dec/2017

Police patrol - No 4. of a documentary series published by L'Itinéraire, a street magazine sold by people who have a rough life. I have the priviledge to coach some writers and to take pictures to support their articles.

[ProCamera + Slow Shutter Cam + Lightroom Mobile + RNI Films + Snapseed]

After a night full of fighting crime, the caped crusader finds the highest ledge and watches over the crime ridden Gotham city.

pienw.blogspot.com/2024/05/de-haagse-school-in-een-ander-...

 

The Hague School in a Different Light, an exposition at the Kunstmuseum, The Hague

pienw.blogspot.com/2024/04/op-scherp-fotorealisme-nader-b...

 

"Blue Caddy by Don Eddy" at the exhibition "In Focus. A Closer Look at Photorealism", Centraal Museum, Utrecht

It was only later readers of Milton, says Appelbaum, who thought of "apple" as "apple" and not any seed-bearing fruit. For them, the forbidden fruit became synonymous with the malus pumila. As a widely read canonical work, Paradise Lost was influential in cementing the role of apple in the Fall story.

 

This month marks 350 years since John Milton sold his publisher the copyright of Paradise Lost for the sum of five pounds.

 

His great work dramatizes the oldest story in the Bible, whose principal characters we know only too well: God, Adam, Eve, Satan in the form of a talking snake — and an apple.

 

Except, of course, that Genesis never names the apple but simply refers to "the fruit." To quote from the King James Bible:

 

And the woman said to the serpent, "We may eat the fruit of the trees of the garden; but of the fruit of the tree which is in the midst of the garden, God has said, 'You shall not eat it, nor shall you touch it, lest you die.'"

"Fruit" is also the word Milton employs in the poem's sonorous opening lines:

 

Of Mans First Disobedience, and the Fruit

Of that Forbidden Tree, whose mortal taste

Brought Death into the World, and all our woe

But in the course of his over-10,000-line poem, Milton names the fruit twice, explicitly calling it an apple. So how did the apple become the guilty fruit that brought death into this world and all our woe?

 

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The short and unexpected answer is: a Latin pun.

 

In order to explain, we have to go all the way back to the fourth century A.D., when Pope Damasus ordered his leading scholar of scripture, Jerome, to translate the Hebrew Bible into Latin. Jerome's path-breaking, 15-year project, which resulted in the canonical Vulgate, used the Latin spoken by the common man. As it turned out, the Latin words for evil and apple are the same: malus.

 

In the Hebrew Bible, a generic term, peri, is used for the fruit hanging from the Tree of the Knowledge of Good and Evil, explains Robert Appelbaum, who discusses the biblical provenance of the apple in his book Aguecheek's Beef, Belch's Hiccup, and Other Gastronomic Interjections.

 

"Peri could be absolutely any fruit," he says. "Rabbinic commentators variously characterized it as a fig, a pomegranate, a grape, an apricot, a citron, or even wheat. Some commentators even thought of the forbidden fruit as a kind of wine, intoxicating to drink."

  

A detail of Michelangelo's fresco in the Vatican's Sistine Chapel depicting the Fall of Man and expulsion from the Garden of Eden

Wikipedia

When Jerome was translating the "Tree of the Knowledge of Good and Evil," the word malus snaked in. A brilliant but controversial theologian, Jerome was known for his hot temper, but he obviously also had a rather cool sense of humor.

 

"Jerome had several options," says Appelbaum, a professor of English literature at Sweden's Uppsala University. "But he hit upon the idea of translating peri as malus, which in Latin has two very different meanings. As an adjective, malus means bad or evil. As a noun it seems to mean an apple, in our own sense of the word, coming from the very common tree now known officially as the Malus pumila. So Jerome came up with a very good pun."

 

The story doesn't end there. "To complicate things even more," says Appelbaum, "the word malus in Jerome's time, and for a long time after, could refer to any fleshy seed-bearing fruit. A pear was a kind of malus. So was the fig, the peach, and so forth."

 

Which explains why Michelangelo's Sistine Chapel fresco features a serpent coiled around a fig tree. But the apple began to dominate Fall artworks in Europe after the German artist Albrecht Dürer's famous 1504 engraving depicted the First Couple counterpoised beside an apple tree. It became a template for future artists such as Lucas Cranach the Elder, whose luminous Adam and Eve painting is hung with apples that glow like rubies.

  

Enlarge this image

Eve giving Adam the forbidden fruit, by Lucas Cranach the Elder.

Wikipedia

Milton, then, was only following cultural tradition. But he was a renowned Cambridge intellectual fluent in Latin, Greek and Hebrew, who served as secretary for foreign tongues to Oliver Cromwell during the Commonwealth. If anyone was aware of the malus pun, it would be him. And yet he chose to run it with it. Why?

 

Appelbaum says that Milton's use of the term "apple" was ambiguous. "Even in Milton's time the word had two meanings: either what was our common apple, or, again, any fleshy seed-bearing fruit. Milton probably had in mind an ambiguously named object with a variety of connotations as well as denotations, most but not all of them associating the idea of the apple with a kind of innocence, though also with a kind of intoxication, since hard apple cider was a common English drink."

 

It was only later readers of Milton, says Appelbaum, who thought of "apple" as "apple" and not any seed-bearing fruit. For them, the forbidden fruit became synonymous with the malus pumila. As a widely read canonical work, Paradise Lost was influential in cementing the role of apple in the Fall story.

 

But whether the forbidden fruit was an apple, fig, peach, pomegranate or something completely different, it is worth revisiting the temptation scene in Book 9 of Paradise Lost, both as an homage to Milton (who composed his masterpiece when he was blind, impoverished and in the doghouse for his regicidal politics) and simply to savor the sublime beauty of the language. Thomas Jefferson loved this poem. With its superfood dietary advice, celebration of the 'self-help is the best help' ideal, and presence of a snake-oil salesman, Paradise Lost is a quintessentially American story, although composed more than a century before the United States was founded.

 

What makes the temptation scene so absorbing and enjoyable is that, although written in archaic English, it is speckled with mundane details that make the reader stop in surprise.

 

Take, for instance, the serpent's impeccably timed gustatory seduction. It takes place not at any old time of the day but at lunchtime:

 

"Mean while the hour of Noon drew on, and wak'd/ An eager appetite."

What a canny and charmingly human detail. Milton builds on it by lingeringly conjuring the aroma of apples, knowing full well that an "ambrosial smell" can madden an empty stomach to action. The fruit's "savorie odour," rhapsodizes the snake, is more pleasing to the senses than the scent of the teats of an ewe or goat dropping with unsuckled milk at evening. Today's Food Network impresarios, with their overblown praise and frantic similes, couldn't dream up anything close to that peculiarly sensuous comparison.

 

It is easy to imagine the scene. Eve, curious, credulous and peckish, gazes longingly at the contraband "Ruddie and Gold" fruit while the unctuous snake-oil salesman murmurs his encouragement. Initially, she hangs back, suspicious of his "overpraising." But soon she begins to cave: How can a fruit so "Fair to the Eye, inviting to the Taste," be evil? Surely it is the opposite, its "sciental sap" must be the source of divine knowledge. The serpent must speak true.

 

So saying, her rash hand in evil hour

Forth reaching to the Fruit, she pluck'd, she eat:

Earth felt the wound, and Nature from her seat

Sighing through all her Works gave signs of woe,

That all was lost.

But Eve is insensible to the cosmic disappointment her lunch has caused. Sated and intoxicated as if with wine, she bows low before "O Sovran, vertuous, precious of all Trees," and hurries forth with "a bough of fairest fruit" to her beloved Adam, that he too might eat and aspire to godhead. Their shared meal, foreshadowed as it is by expulsion and doom, is a moving and poignant tableau of marital bliss.

 

Meanwhile, the serpent, its mission accomplished, slinks into the gloom. Satan heads eagerly toward a gathering of fellow devils, where he boasts that the Fall of Man has been wrought by something as ridiculous as "an apple."

 

Except that it was a fig or a peach or a pear. An ancient Roman punned – and the apple myth was born.

 

The first tale in the Bible tells of the expulsion of Adam and Eve from the garden of Eden. This was in consequence for having tasted the “forbidden fruit” of the tree of the knowledge of good and evil. Christian iconography and popular culture represent the fruit as an apple. But a careful reading of the passage leads one to the conclusion that, in fact, the actual fruit is never mentioned in the book. How, then, did the apple become this symbol of temptation and sin?

 

A standard version of Genesis 3:3-5 says:

 

But of the fruit of the tree which is in the midst of the garden, God hath said, Ye shall not eat of it, neither shall ye touch it, lest ye die. And the serpent said unto the woman, Ye shall not surely die: For God doth know that in the day ye eat thereof, then your eyes shall be opened, and ye shall be as gods, knowing good and evil.

 

According to Robert Appelbaum’s book Aguecheek’s Beef, Belch’s Hiccup, and Other Gastronomic Interjections, the confusion may be due to a sort of joke of St. Jerome, who first translated the Bible into the vulgar Latin. (This version is still known as “The Vulgate” even today.) It turns out that the Latin words for apple, and for evil, are the same: malus. According to Appelbaum, the Hebrew word, peri, which was used to refer to the fruit in the Bible, can refer to any type of fruit, a fig, a pomegranate, a grape, or even a peach or a lemon. Some Bible commentators even believe that the forbidden fruit may have been a drink that produced an intoxication in those who drank it. Hence they gained “knowledge of good and evil.”

 

St. Jerome translated “peri” with the word “malus.” It’s an adjective meaning “evil,” though as a noun, it means “apple,” from trees known even today as Malus pumila. However, as Appelbaum points out, malus may refer not only to the apple, but to any fruit with seeds: pears are a species of malus, as are figs, peaches, and others.In religious iconography, there was no clear consensus for several centuries on exactly what type of fruit it was from this tree of which humanity’s first parents couldn’t eat. Michelangelo painted a fig tree in the Sistine Chapel. Durer depicted an apple tree, as did Lucas Cranach, the Elder. But another Appelbaum hypothesis in explaining the apple’s preeminence over other seeded fruits comes from the English poet, John Milton. His Paradise Lost was published in 1667. For Milton, the semantic ambiguity of the malus should not have been a mystery, versed as he was in ancient languages like Latin and Hebrew. Appelbaum notes that it’s possible Milton appreciated St. Jerome’s joke as a reference to intoxication or drunkenness from apple cider, popular in his own time. Paradise Lost refers on a couple of occasions to the fruit of this problematic tree and refers to it as an apple.

Another possible explanation may come from the Golden Apple of Discord. In Greek mythology, this was the work of the goddess Eris, (a temptress, as Satan had been for the Hebrews). According to the myth, Eris was angry at having not been invited to the wedding of Peleus and Tetis (parents of the great warrior Achilles). She presented the wedding guests with a golden apple which would reveal who among them was “the most beautiful of all.” Three goddesses fought amongst themselves: Aphrodite, the goddess of love and beauty; Hera, the guardian of the home and childbearing and wife of the great Zeus; and Aphrodite, daughter of Zeus and goddess of wisdom. To settle the dispute, Zeus consulted a Trojan shepherd and mortal, Paris, to choose from among the three goddesses which was the most beautiful. The three goddesses tried to bribe him in turn with new gifts. Finally, Paris decided for Aphrodite, who had promised him the love of the most beautiful woman of all. This was none other than Helena. Helena’s abduction by Paris is the mythical origin of the Trojan War. And thus the apple is also at the center of the most epic dispute in Greek civilization.

  

The Apple and the Heart

 

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Romanesque iconography more frequently used the apple as the forbidden fruit. The lengthy list of images in the three studied countries represents a significant part of our corpus. Among them, one can cite in Spain, Amandi, Añes, Avilés, the Bible of Burgos, the Bible of San Isidoro, Covet, Estany, Estibaliz, Frómista, Loarre, Mahamud, Peralada (figure 6), Porqueras, Rebolledo de la Torre, San Pablo del Campo, Sangüesa, Santillana del Mar, and Uncastillo. In France, Airvault, Andlau, Arles, Aulnay, the Bible of Corbie, the Bible of Marchiennes, the Bible of Souvigny, Cahors, Chalon-sur-Saône, Chauvigny (Figure 3), Cluny, Courpiac, Esclottes, Guarbecque, Hastingues-Arthous, the Hortus Deliciarum, Lescure, Mauriac (in the Auvergne), Melay, Moirax, Montpezat, Neuilly-en-Donjon, Nîmes, Poitiers (Sainte-Radegonde Church), Provins, Saint-Benoit-sur-Loire, Saint-Gaudens, the Sauve-Majeure, Targon, Tavant, Thuret, Toirac, Varax, Verdun, and Vézelay. In Italy, Galliano, Modena (figure 4), Parma, Pisa, Sant’Angelo in Formis, and Sovana.

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Over subsequent centuries, the apple was continually present in the iconography of the original sin. [45] For illustrative purposes, note that in the Gothic...[45] It was frequently used as the forbidden fruit in literature, particularly in the twelfth century by Marie de France, [46] Marie de France, Yonec, v. 152, in Les Lais de Marie...[46] in the thirteenth century by Robert de Boron, [47] Le Roman du Graal: manuscrit de Modène, ed. Bernard...[47] and in the fifteenth century by Sebastian Brandt. [48] Sebastian Brandt, La Nef des fous [Das Narrenschiff],...[48] In paroemiology, this seems to be the meaning of a proverb from the beginning of the thirteenth century: “mieux vaut pomme donnée que mangée” (better an apple given than eaten). [49] Joseph Morawski, ed., Proverbes français antérieurs...[49] In hagiography, the apple is the forbidden fruit in, for example, the Cantigas de Santa María. [50] Alfonso X of Castile, Cantigas de Santa María, 353,...[50] An interesting case also appears in the breviary: the Hail Mary—appearing in the twelfth century from a passage in the New Testament [51] Luke, I, 28, 42. Henri Leclercq, “Marie, mère de Dieu,”...[51]—refers only to a “fruit,” but an anonymous commentator from Northern France specifies at the end of the thirteenth or beginning of the fourteenth century that it concerns the “fruit of the apple tree.” [52] Munich, Bayerische Staatsbibliothek, Cod. Gall. 34,...[52] Anchored in Western imaginations ever since, the apple has even replaced the fig among modern scholars, in parallel to the cultural process that saw the heart where previously there had been the liver. [53] See Hasenohr, Prier au Moyen Âge: n. 38. Regarding...[53]

Figure 3. - Capital at the entranceway to the choir of the church

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The reasons behind this almost unanimous choice are unclear, however. We may allude to the more or less widespread presence of the apple throughout all of Western Europe. We may observe the old Celtic symbolism of the apple as the fruit of knowledge. We may recall its symbolic capital as a sign of power, wealth, lies, lust, discord, and transgression. [54] Michel Pastoureau, “Bonum, malum, pomum. Une histoire...[54] We may suppose that just as the garden of Hesperides recalls the Garden of Eden (both sheltering a snake that defends the sacred tree), the apple tree “with fruits of gold” in the Greek myth influenced the medieval interpretation of the biblical account. We may thus argue the ancient association between this tree and Eden, which led to naming the carob the “apple of Paradise” in Hebrew. [55] L. Ginzberg, Les Légendes des juifs, 219, n. 70.[55] We may also consider the authority of Saint Augustine, who hesitantly accepted the possibility of the apple being the fruit of sin, perhaps influenced by the existence of thirty different varieties of apples in the Roman world at the time. [56] Augustine, La Genèse au sens littéral en douze livres...[56] We may wonder especially whether in popular medieval etymology there was not certain confusion between the words malum “badly” and malum “apple” as well as between malus “malicious” and malus “apple tree;” these phonetic identities may have had semantic implications indicating the evil character of the fruit. [57] Among the transformations affecting the Roman world...[57]

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The increasing popularity of the apple in this role was perhaps also related to its round shape and red color, which drew it closer to the heart, being the organ that was linked to the blood of Christ and that Christianity and its doctrine perceived as the center of the human being. In this sense, the precedents were strong; the doubt surrounding the identity of the forbidden fruit reflected another, more ancient doubt regarding the central organ of the body in the diverse cultures that, in a more or less direct way, provided the foundations for medieval Christian culture. Whereas the Egyptians perceived the heart as the center of the human being, [58] The Book of the Dead, ed. and trans. E. A. Wallis Budge,...[58] the Hebrews attributed sacred powers to the liver, while regarding the heart as the seat of feelings and wisdom, and the source of life. [59] See, for example, Genesis, 20:5; Job, 9:4; Proverbs,...[59] The two organs fought for the role of the principle of life among the Babylonians [60] Alexandre Piankoff, Le “Cœur” dans les textes égyptiens...[60] and Greeks. [61] In mythology, the liver is the central element in the...[61]

20

In the third century BC, the medical school in Alexandria established the physiological model that went on to prevail throughout the following two millennia: the brain was attributed with neurological sensitivity, movement, and functions, the heart with enthusiasm and the vital spirit. [62] Mary J. Carruthers, The Book of Memory: A Study of...[62]

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Isidore of Seville affirmed that in the heart “lies all concern and the source of knowledge, [as] with the heart we understand, and with the liver we love.” [63] Isidore of Seville, Seville’s Etymologies: The complete...[63] Sharing his opinion, more than five centuries later, Hildegard of Bingen considered the attribute of the heart to be knowledge and that of the liver to be sensitivity. [64] Hildegard of Bingen, Causae et curae, II, 1–12, ed....[64] For her, the heart was the point of contact between the body and the soul, the terrestrial and the divine; it was “almost the essence of the body [since it] governs it,” being the residence of the soul. [65] Hildegard of Bingen, Scivias, I, 4, 16, ed. A. Führkötten...[65] It is thus not by chance that she imagined the forbidden fruit to be an apple. [66] Hildegard of Bingen, Scivias, III, 2, 21, ed. Führkötten...[66] For Saint Bernard, the heart was the seat of faith. [67] Bernard of Clairvaux, In Nativitate Beatae Mariae,...[67] For his adversary, Pierre Abélard, when God wants to examine the feelings of men, he probes their hearts. [68] Pierre Abélard, Ethics, ed. and trans. D. E. Luscombe...[68] Chrétien de Troyes considered the heart to be the place where mystical union occurs with our purest self, [69] Chrétien de Troyes, Cligès, vv. 708–716, trans. Micha,...[69] since this organ is the seat of love, [70] Chrétien de Troyes, vv. 4302–4306, trans. Micha, 1...[70] memory, [71] Chrétien de Troyes, Le Conte du Graal ou le Roman de...[71] and life. [72] Chrétien de Troyes, Cligès, vv. 3668–3673, trans. Micha,...[72] Vincent of Beauvais regarded the heart as the principal “spiritual organ.” [73] Vincent of Beauvais, Speculum historiale, I, 32 (Graz:...[73] The evolution in the hierarchy of meanings did not affect the importance attributed to the heart: while troubadours and courtly love previously spoke of “the hearing of the heart,” the eye and the heart were later associated. [74] Guy Paoli, “La relation œil-cœur. Recherches sur la...[74] At the start of the thirteenth century, a poem established the relationship between the heart and the phallus, between feeling and sexuality, by telling the story of a character killed by the husbands of his mistresses, who tore off these two organs and gave them to their adulterous wives to eat. [75] Lai d’Ignauré, trans. Danielle Régnier-Bohler, in Le...[75]

22

The new collective feeling in relation to the heart was present in the idioms that were forming. From the Classical Latin cor, synonymous with “memory” (also with “thought,” “intelligence,” and “heart” [76] This is still the meaning of the word for Saint Augustine...[76]) were derived “recorder” in French, ricordari in Italian, and recordar in Castilian and Portuguese. Although the heart as the center of memory appears in the root of the Castilian and Portuguese words decorar, this link is even more explicit in the phrases par cœur in French (appearing in around 1200), de cor in Portuguese (dating to the thirteenth century), and by heart in English (attested around 1374 and based on the acceptance of herte as “memory,” which existed from the start of the twelfth century [77] Rey, Dictionnaire historique, 1:442; José Pedro Machado,...[77]). However, the heart was not only regarded as the seat of memory. In English, it was associated with courage (towards 825), emotions (1050), love (about 1175), and character (1225). [78] The Oxford English Dictionary, 5:159.[78] In medieval Italian, the heart (core prior to 1250, then cuore) was reputed as being the center of feelings, emotions, and thoughts. [79] Manlio Cortelazzo and Paolo Zolli, Dizionario etimologico...[79]

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Most often, the association occurred between the organ and a feeling, thought to derive from it directly, as attested in various Western languages: curage in French (appearing in 1080, then written as courage and used as a synonym of cœur “heart” until the seventeenth century), coraggio (prior to 1257) in Italian, coraje in Castilian and coragem in Portuguese (both from the fourteenth century), herzhaftigleit in German (from the fifteenth century derived from herz “heart,” written herza in the eighth century), and courage in English (around 1500, written as corage in around 1300). English presents an interesting case, showing the psychocultural hesitation between the liver and heart as the seat of positive feelings: the compound liver-heartedness, literally “without liver or heart,” designates the idea of “cowardly.” Further evidence of the moral importance attached to this organ is found in the word cordial, which initially carried the neutral meaning of “relative to the heart” and later acquired the positive sense of “nice” and “pleasant,” not only in French, English, Castilian, and Portuguese, but also in Italian (cordial) and in German (herzlich).

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The symbolic value of the heart in the twelfth century was also seen in Jewish culture. Whereas the Pirkei Rabbi Nathan, a text predating the tenth century, establishes several comparisons between the parts of the universe and parts of the human body without even citing the heart, in the second half of the twelfth century, Maimonides considered it the center of the human body. [80] Samuel S. Kottek, “Microcosm and Macrocosm According...[80] He was probably influenced by Aristotle, for whom the human body developed from the heart, which was a very influential idea after the Christian rediscovery of the Stagirite. Thus, some Romanesque representations of the creation of Adam depict him coming to life not by a “breath on the face” (in faciem eius spiraculum vitae) as the Bible states, [81] Genesis, 2:7.[81] but by the hand of God touching his heart. This is the case, for example, in a manuscript from the abbey of Saint-Martial de Limoges, [82] Breviarium ad usum S. Martialis Lemovicensis (Paris:...[82] which was illuminated in around the year 1100, as well as in a relief carved a few years later on the northern facade of the cathedral of Santiago de Compostela.

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The importance of the heart in Romanesque culture also transpires in its growing metaphorical use. On the political level, it became the “king” of the human body in the same way as the king is the “heart” of the social body. [83] Jacques Le Goff, “Head or Heart? The Political Use...[83] On the literary level, the rhetorical figure of the heart spread like a book in which an ordinary individual, saint, or even Christ could write their amorous (including erotic) and spiritual emotions. [84] On the evolution of this metaphor, see Ernst Robert...[84] On the architectural level, the cruciform design of churches situated the altar—the place where the mystery of the incarnation was reproduced—in the position occupied by the heart. [85] It is no coincidence that in Medieval French, the same...[85] On the liturgical level, the Christianization of the Holy Grail rendered it the receptacle holding the blood of Christ, symbolically transforming it into a heart. [86] Begoña Aguiriano, “Le cœur dans Chrétien,” Senefiance...[86] On the geographical level, in the same way as the heart was the center of the human body, the sepulcher of the Lord was the heart of the world, according to a sermon by Peter the Venerable. [87] Peter the Venerable, In laudem sepulcri Domini, PL,...[87] On the linguistic level, from the thirteenth century, the word designated the center of something in French and Italian, as it did later in English (beginning of the fourteenth century) and Castilian (sixteenth century). [88] This meaning was applied to the city by Aristotle in...[88] In this cultural context, when the Abbess of Bingen declared that Adam made of clay was merely an empty body before being filled with a heart, liver, lungs, stomach, and internal organs by God, [89] Hildegard of Bingen, Causae et curae, II, 20, ed. Kaiser,...[89] she seemingly established a hierarchy of organs. Thus, the growing importance of the Sacred Heart of Jesus in spirituality from the twelfth century seems to have been the conclusion of a long process in which this organ gained in medical and symbolic value. [90] Jean-Vincent Bainvel, “Cœur sacré de Jésus (dévotion...[90]

Exegetical Doubt

 

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An interesting example of the rivalry between the fig and the apple in terms of the symbolic function of forbidden fruit is seen in the sculptures on the western facade of the small rural Castilian church of San Quirce, close to Burgos, which was completed in 1147. Here, eleven modillions illustrate several episodes of the myth of Adam, from the creation of protoplasm to the judgment of Cain, while in between them, ten metopes depict scenes that are sometimes difficult to relate to those of the modillions, although each stage of the cycle is identified by inscriptions. [91] These inscriptions are now almost illegible, but they...[91] The ensemble forms an iconographic discourse with two aspects: the subject is evil, as much at its origin (original sin) as in some of its manifestations (sex, death, and bodily impurity).

27

This latter topic is visible on the two metopes at each end, where the artist depicts a man defecating. This was not a simple curiosity or obscenity, as the placement of these scenes is significant: the first being compared with the sin of Adam and the second with that of Cain. In fact, an inscription close to the representation of the original sin illuminates the link between the events depicted on the metope and modillion: MALA CAGO. No doubt, the man who speaks and acts in this way is both the paradisiacal Adam who has just eaten the forbidden fruits as well as the symbol of all human beings, his “posthumous sons,” as defined in a contemporaneous sermon. [92] Julien of Vézelay, Sermons, XV, ed. and trans. Damien...[92] However, the exact interpretation of the inscription poses an important problem.

28

A few decades ago, historiography considered this a pun, as the individual excretes both “apples” and “evils.” [93] Pérez de Urbel and Whitehill, “La iglesia románica...[93] This interpretation is based on three elements: the facade’s inscription, a capital inside the church on the same subject that undoubtedly depicts an apple, and finally, the ancient roots of the tradition perceiving the forbidden food of Paradise in this fruit. However, on the modillion’s scene, the forbidden fruits rather resemble figs, an impression reinforced by a nonformalistic reasoning. Indeed, the fig traditionally had an explicitly sexual character, while the apple, though related to Aphrodite, the goddess of love, had a more sensual, rather than explicitly sexual connotation. This is shown, for example, in an Icelandic saga from the thirteenth century in which the love philter is an apple, or even in some mythologies, where the rejuvenating and beautifying virtues attributed to the fruit remain in the etymology of “pomade,” a scented, cosmetic, and curative substance with apple. [94] See Pastoureau, “Bonum, malum, pomum;” Rey, Dictionnaire...[94]

29

The fig’s association with sexuality is seemingly expressed during the third quarter of the twelfth century in the iconographic design of the doorway of Barret Church in Poitou. Here, the three capitals on each side establish a spatial and symbolic relationship, which was very common in the Romanesque imagination. Looking at them, starting with the capital closest to the entry on the left-hand side, the first represents the original sin with the fig as the fruit, the second depicts a character in a very obscene pose, and the third, which is double, shows an eagle on one side and a monster devouring a sheep on the other. Symmetrically, on the right-hand side, the first capital depicts lions leaning against each other, the second, two doves embracing, and the final one, a centaur and a dove. The message seems rather evident: sin (that is to say, the fig and sex) leads to unnatural and erotic acts, thus to the death of the soul, which is devoured by the demon (eagle and monster); on the other hand, those who join Christ (the lion) will be innocent (doves), embracing peace and purity, thus calming the animal that exists in every human being (centaurs).

30

Indeed, the sexual meaning of the fig was accepted within traditional culture and did not disappear with its Christianization. Throughout the centuries, the fig tree was associated with Dionysus, and, at least in its Roman version, Bacchus. The image of the god was always carved in the wood of the fig tree, with a basket of figs being the most sacred object at the festivals that celebrated him, the Bacchanalia. As the protector of orchards, particularly of the fig tree, Dionysus was confused with his son, Priapus, born of Aphrodite. In the processions paying homage to this god of fertility, who was endowed with a disproportionately large penis, there was a large phallus carved in the wood of the fig tree, the leaves of which were also seen as an ithyphallic symbol. [95] Brosse, Mythologie des arbres, 290–291. The fig’s sexual...[95] This notion of sexual exuberance is also found in a version of an episode of the Dionysus myth by the Christian apologist Clement of Alexandria (around 150–250). [96] Clement of Alexandria, Protreptique, II, 34, 3–4, ed....[96] In a similar manner, although he calls the liver iecur and not ficatum, Isidore of Seville implicitly makes this link by affirming that in this organ “lies pleasure and concupiscence. [97] Isidore of Seville, Seville’s Etymologies, XI, I, 125,...[97]

31

The popular gesture of “making the fig” should also be mentioned here, associated with the fruit through its name and shape. This association is observed in Castilian, in which two words (higo/higa) appeared at the same time, in around 1140. [98] Joan Corominas, Diccionario critico etimológico de...[98] This gesture assumed “an obvious sexual connotation” [99] Jean-Claude Schmitt, La Raison des gestes dans l’Occident...[99] in the popular tradition of several societies, and even in the medieval West, where it can either denote the female sex organ (predominant meaning), its state of excitation (in this case, the tip of the thumb between the index and middle fingers imitates a swollen clitoris), copulation (the thumb is the penis between the vaginal lips), or a phallus (rarer meaning). [100] Desmond Morris et al., Os gestos: suas origens e significado...[100] It is probably with this latter meaning that formerly, in Bavaria, a young man confirmed his intention to marry by sending a silver or gold fig to his lover, who could refuse the demand by returning the gift or accept it by returning a silver heart. [101] José Leite de Vasconcelos, A figa (Porto: Araújo e...[101] The far la fica was an aggressive and derogatory gesture frequently used by Italians in the Middle Ages, not only on a daily basis, but also in emotionally charged situations. In 1162, angry with the Milanese who had forced his wife to mount a mule backwards, thus facing the tail of the animal—a very ancient position signifying contempt—Frederick I Barbarossa seized the city and, on penalty of death, forced the prisoners to remove a fig from the anus of a mule with their teeth. [102] Quoted by Leite de Vasconcelos, A figa, 80; by Jerome...[102] The inhabitants of Pistoia had carved into their castle of Carmignano two large arms with hands making the sign of the fig towards the enemy city of Florence—which, humiliated, went on to conquer the place in 1228. [103] Giovanni Villani, Cronica, VI, 5, ed. Ignazio Moutier...[103] In Dante, a robber condemned to Hell makes the sign of the fig against God Himself. [104] Dante Alighieri, Divina Commedia, Inferno, XXV, 1–3,...[104] The gesture and expression ficha facere are found, with the same derisory meaning, in all Romanesque cultures, and even outside of them. [105] Leite de Vasconcelos, A figa, 42–56, 72, 76–81, and...[105] Although this gesture has a talismanic function, that of casting off the evil eye and other dangers, this seems to be precisely due to its sexual connotation, that of warding off sterility in life. [106] Leite de Vasconcelos, A figa, 27–41, 57–59, and 91...[106]

32

In this sense, the scene of the paramount sin depicted on the third modillion at San Quirce, in addition to adopting the ancient interpretation of the original sin as a sexual sin, [107] See Martin Elze, Tatian und seine Theologie (Göttingen:...[107] prepared the observer to encounter, three metopes along and just after the expulsion from Paradise, a representation of the carnal relationship of protoplasm. [108] Pérez de Urbel and Whitehill (“La iglesia románica...[108] Thus, according to our hypothesis, the word malum would not have been used here with its specific meaning of “apple,” but rather in the broader sense of “fruit with pulp” (as opposed to nux, “fruit with hard skin”), [109] Although the former meaning was eventually enforced...[109] so that the pun of the inscription would signify “to expel evils and fruits.” Whether conscious or not of the inscription’s ambiguity, the sculptor at San Quirce thus revealed the interesting coexistence of two exegetical traditions, that of the apple, present in the representation of the original sin inside the church, and that of the fig, visible on its facade. An even more meaningful coexistence if it is accepted that a single artist carved both the capital and the modillion. [110] A situation that de Lojendio (Castilla 1) regards as...[110]

33

This exegetical doubt is not an isolated case appearing in a monastic community in the center of Castile. The formation of the French word “pomme” provides an interesting indication in this context. Although, from the beginning of the fifth century, the Latin word pomum (“fruit” in a generic sense) gained the specific meaning of “fruit of the apple tree” in Northern Italy and the majority of the Ibero-Romance area—a meaning preserved in the Provençal and Catalan poma—Italian, Castilian, Portuguese, and Galician eventually favored the traditional form malum, from which they derived mela, manzana, maçã and mazá, respectively. [111] Both the Spanish word manzana (attested in 1112 as...[111] Pomum preserved its broad sense in these four languages in the form pomo (poma in the case of Galician). By the same evolution, the collective forms pomario in Italian and pomar in Castilian, Portuguese, Provençal, and Galician derived from the Classical Latin pomarium.

34

In contrast, the medieval Latin of Gaul had used, from the end of the eighth century, the word pomarius to denote the apple tree, from which derived the vernacular name of this specific fruit (pume) from the generic term (pomum) in 1080. [112] The word appeared in the Chanson de Roland as pume;...[112] At the same date appeared the French word verger (orchard), denoting land planted with various fruit trees, taken from the Latin viridiarum (from viridis, “green”). Faced with these facts, it is not absurd to assume that the French linguistic evolution unconsciously avoided the supposedly negative character of this fruit, as expressed through the word malum. Furthermore, the apple is a positive symbol in Celtic culture, [113] Françoise Le Roux and Christian-Joseph Guyonvarc’h,...[113] which was heavily present in the territory of the future France, particularly in the context of the “folkloric reaction” of the twelfth century. [114] Jacques Le Goff, “Culture cléricale et traditions folkloriques...[114]

35

In accordance with its archetypical character as the fruit par excellence, the word was used in the formation of many syntagms, and even, around 1256, in the curious expression “pomme de paradis” (apple of paradise) denoting the banana. [115] Rey, Dictionnaire historique. It is interesting to...[115] Although in terms of vocabulary, we note a French resistance to the association of the apple with the fruit of sin, in terms of iconography, as seen above, such identification was established without problem. This was also the case in popular literary works, such as the first French theatrical text from the middle of the twelfth century or a sermon from the same time. [116] Respectively Le Mystère Adam: Ordo representationis...[116] Similarly, in this and the subsequent century, there were various love stories generally beginning with a betrayal (hearts metaphorically devoured) and ending with the death of the two protagonists (one of them literally devouring the other’s heart without realizing it [117] Accounts collected in Régnier-Bohler, ed., Le Cœur...[117]). To a certain extent, these stories consciously or unconsciously rewrote the drama of the original demise: betraying the confidence of the Creator (“from the tree . . . you will not eat”) by eating the apple/heart (“the knowledge of good and evil”), the human being was the cause of his own perdition (“the day you eat of it, you will surely die”), as Adam and Eve had hearts full of arrogance (“you will be like gods” [118] Genesis, 2:17; 3:5. On the close relationship between...[118]).

The Tree and Androgyny

 

36

This search for the identity of the Romanesque forbidden fruit must still consider the tree in relation to the primordial couple. The position of these three elements provides some important information. One of the symbolic and physical solutions used was to portray the primi parentes on the same side of the tree, with Eve always being closer to it (figure 4). The most common composition placed the tree between Adam and Eve, as already found on the sarcophagus of San Justo de la Vega in Leon, dated to the end of third century or the beginning of the fourth century and currently held in the archaeological museum of Madrid. It would be simplistic to think that this position on both sides of the tree simply responded to the desire for symmetry in Romanesque art, [119] As considered Guerra, Simbología románica, 107.[119] because the form is almost always a fragment of the contents that emerged. [120] Gerardus Van Der Leeuw, La Religion dans son essence...[120] In the eleventh to thirteenth centuries, this scheme probably referred to two very pressing questions related to the contemporary phenomenon of the sacralization of marriage.

Figure 4. - Relief on the western façade of Modena Cathedral (Emilia-Romagna), circa 1100.

37

On the one hand, by placing Adam and Eve at an equal distance from the tree, the iconography referred to a certain social egalitarianism and moral leveling between man and woman, even if the snake is almost always turned towards the woman. The side occupied by each character varied. We have already considered the position of Eve on the right-hand side of the tree as an “iconographic tradition,” a scheme with only three exceptions, in Saint-Antonin, Bruniquel, and Lescure. [121] Jean-Claude Fau, “Découverte à Saint-Antonin (Tarn-et-Garonne)...[121] In fact, the woman appears on the left in several other cases: for example on the sculptures in Anzy-le-Duc, Airvault, Butrera, Cergy, Cervatos, Covet, Embrun, Gémil, Girona, Lavaudieu, Lescar, Loarre, Luc-de-Béarn, Mahamud, Manresa, Moirax, Montcaret, Peralada (figure 6), Saint-Étienne-de-Grès, Saint-Gaudens, Sangüesa, San Juan de la Peña, Toirac, Verona, and Vézelay. Similarly, on the frescos in Aimé, Fossa, and San Justo in Segovia, on the illuminations of the Bible of Burgos, the Exultet 3 of Troia, and the Hortus Deliciarum, on a metal medallion from the Archbasilica of St. John Lateran, and on the mosaics in Monreale and Trani.

38

In addition, the central position of the tree, separating Adam and Eve, insinuated a rupture of the initial unity, at least on the psychological level. The tree, that is to say knowledge, revealed the existence of contradictory traits in human beings, made in the image and resemblance of God, the androgyne par excellence. “God created man in his own image, in the image of God he created him; male and female created he them:” [122] Genesis, 1:27.[122] this is why the human being was initially double, and thus, inherently complete and microcosmic. [123] There were several types of microcosmic man in the...[123] Removing Eve from the rib of Adam was a surgery of separation, because they were formed from the same bones, they were “one flesh.” [124] Genesis, 2:23–24.[124] In this manner, the sacred text was interpreted from first half of the first century, initially by the Jew, Philo of Alexandria, and subsequently by Ambroise, Augustine, Gregory the Great, Isidore, the pseudo-Remigius of Auxerre, Guibert of Nogent, Pierre Lombard, Bernard, and others, who all regarded Eve as the image of the woman from within man. [125] Michel Planque, “Ève,” in Dictionnaire de spiritualité...[125]

39

Augustine, in particular, implicitly recognized the androgyny of the first man when he said that the devil “cannot tempt us only by the means of this animal part, which appears in a single man as an image or a model of woman.” [126] Augustine, Del Genesis contra los maniqueos [De Genesi...[126] Following a reasoning based on that of Saint Paul, he saw Adam-Eve as the complementarity of spirit and flesh, a comparison that was adopted by many thinkers in the Romanesque period. Since in the Bible, “Adam” was originally the generic name denoting a human being (Genesis, 1:19) and only later became the name of a person (Genesis, 3:17), Augustine interpreted the word “man” (Genesis, 1:26) as “human nature.” [127] Augustine, De Trinitate, I, 7, PL, vol. 42, col. 8...[127] Saint Anselme, who was very influential in the twelfth century, agreed that “Adam” should initially include Adam and Eve. [128] Anselm of Canterbury, La Conception virginale et le...[128] While trying to explain how Adam’s prohibition of the fruit also implied Eve, Petrus Comestor stated that it was transmitted to the woman through man; [129] Petrus Comestor, Historia scholastica, 15, PL, vol....[129] thus implicitly suggesting the unity of the two individuals, and the androgyny of the being to whom it was forbidden to eat the fruit.

40

While the medieval Church did not formally accept the divine and the androgyny of Adam, it was still familiar with it. It is thus found in a text from the New Testament: “There is neither male nor female: for you are all one in Jesus Christ.” [130] Galatians, 3:28.[130] This appeared in an apocryphal text: “When you make the two one, and when you make the inside like the outside and the outside like the inside, and the above like the below, and when you make the male and the female one and the same, so that the male not be male nor female . . . then will you enter the kingdom [of God].” [131] Il Vangelo di Tommaso, 22, trans. Mario Erbetta (Casale...[131] This was a noncontemptible part of the thought of Clement of Alexandria [132] In a piece of literature that is today lost, Hypotyposes,...[132] (around 150–215), Origen [133] According to him, based on Luke, 20:36, there will...[133] (185–254), Gregory of Nyssa [134] Gregory of Nyssa, La Création de l’homme [De opificio...[134] (around 330–390) and, through them, of Johannes Scotus Eriugena [135] Johannes Scotus Eriugena, Periphyseon, IV, PL, vol....[135] (around 810–870). It undoubtedly belonged to the cultural and psychological milieu of the first Christian centuries. [136] Wayne A. Meeks, “The Image of the Androgyne: Some Uses...[136]

41

While the androgyne of Eden had disappeared, it was because of sin. For some thinkers, the human being henceforth became aware of its duplicity, since that time it was broken and characterized by the genitals, which was visible proof of the original sin: sexus comes from sectio (“cut,” “separation”), a term derived from secare “to cross,” which only assumed a specifically sexual meaning in the Middle Ages. [137] Du Cange, Glossarium mediae et infimae latinitatis,...[137] It is thus not by chance that Adam said “me” for the first time after the sin. [138] “Mulier, quam dedisti mihi sociam, dedit mihi de ligno,...[138] Although, undeniably, the original sin and sex were closely linked, the way in which events had transpired was the subject of debate. [139] Emmanuele Testa, Il peccato di Adamo nella Patristica...[139] One stream of thought interpreted the sin as a sexual offence: for example, the Jew Philon and some Church fathers, including Clement of Alexandria and Saint Ambrose. [140] Philo of Alexandria, De opificio mundi, 151–152, trans....[140] In the Romance period, the majority of theologists from the school of William of Champeaux (1070–1121) also considered that this sin involved concupiscence, although Guillaume himself saw it as an act of disobedience in which sensualitas managed to dominate ratio. [141] Odon Lottin, “Les théories du péché originel au XIIe...[141]

42

Another group reversed the question, seeing sex rather as a consequence of the sin. The Physiologus, an influential allegorical, zoological treatise translated into Latin in the fifth century, stated that the elephant and its partner, which “personified” Adam and Eve, were unaware of intercourse until the female had eaten the fruit of the Mandragora officinarum and given it to the male: “because of that, they had to leave Paradise.” [142] El Fisiólogo: bestiário medieval, 20, ed. Francis J....[142] The main proponent of this train of thought was Saint Augustine, according to whom the human being before the sin practiced sex without concupiscence. [143] Augustine, La Genèse au sens littéral [De Genesi ad...[143] The error of the first couple would then have been one of pride, which led to the error of disobedience and then to carnal error. [144] In the first part of his interpretation, Augustine...[144] Another proponent of this idea was Johannes Scotus Eriugena in the eighth century, who considered that before the sin, the human being was only one, and that the resulting division of the sexes would cease in the eternal life. [145] Johannes Scotus Eriugena, Periphyseon, V, 20, PL, vol....[145] His thought continued to exert a certain influence; in the fourteenth century, it led Meister Eckhart to regard “any division” to be “bad as such,” thus perceiving the number two as the sign of the fall. [146] Meister Eckhart, Commentaire de la Genèse, 88 and 90,...[146] The Romanesque representations of the initial sin hesitated in choosing between these theological positions. Showing a preference for the second, several images accorded sexual attributes to Adam and Eve just after the ingestion of the fruit: for Adam, generally a beard [147] For Hildegard of Bingen, Causae et curae, II, 5–7,...[147] (figures 1, 2, 3, 4, and 5), seldom a penis (figure 5), and for Eve, usually breasts (figures 1, 2, 3, 4, 5, and 6). A minority of images seem to attribute the initial sin to a sexual act, an iconographic and theological concept that was perhaps expressed for the first time on the bronze door of Hildesheim Cathedral in Germany between 1011 and 1015. [148] William Tronzo, “The Hildesheim Doors: An Iconographic...[148] Here, Adam appears to the left of the tree and behind him is another tree on which a small dragon is standing. Eve is to the right, close to another tree with the snake. The fruit is the apple, one in right hand of Adam and the other in the right hand of Eve, being stretched out towards Adam. There is another apple in the left hand of Eve, whose folded arm merges with her vagina. A similar illustration was used in Rebolledo de la Torre in 1186. In the Alardus Bible, the snake that gives the fruit to Eve is at the height of her vagina, recalling a male sexual organ about to penetrate her. The southernmost façade of the Church of Santa María in Sangüesa in Navarre, which dates from the second half of the twelfth century, seems to portray the same design. Here, the scene of sin is situated immediately below the personification of Lust, showing a woman whose naked breasts are attacked by toads and snakes. [149] Despite the great diversity of iconographical material...[149] This association between lust and the original sin was not uncommon; as Sangüesa was on St. James’s Way, the most travelled road by Occitans and Italians, we may hypothesize that its iconographic message expressed the opinion of many pilgrims on the subject. In this sense, this image from Navarre ratified at least two other images known to these pilgrims.

43

The first image from Provence, dated to the second quarter of the twelfth century, is located a few kilometers from Tarascon in Saint-Etienne-du-Grès, on the tympanum of Saint-Gabriel’s chapel, where Daniel appears next to the original sin (prefiguration of Christ, the new Adam) with lions (a common symbol of lust): an opposition of scenes suggesting the sexual signification of the sin. As already mentioned, it is true that the contrast between the two scenes did not necessarily mean that the artist interpreted the sin “as a vulgar sin of lust, but its consequence was to introduce turmoil and even shame into a domain that had emerged wholly pure from the hands of the Creator.” [150] Gérard de Champeaux and Sébastien Sterckx, Introduction...[150] However, the authors of this comment—a longstanding phenomenon in medieval art studies—seem inclined towards adapting the intentions of the Romanesque artist to the theologically correct reading, rather than considering other interpretative possibilities beyond the domain of ecclesiastical culture. It is significant, for example, that on the same area of the tympanum, the two scenes are chronologically inversed, first portraying Daniel and then the sin.

44

The second image from Italy figures on the mosaic of Otranto (1163–1165). The branches of the forbidden tree pass between the legs of the characters, insinuating the sexual nature of the sin. This seems all the more evident given that Adam and Eve are each situated in a circle, rendering the characters isolated, separated, and autonomous entities in their respective domains, domains most certainly resulting from the primordial androgyne being cut in two. This assumption is reinforced by the fact that the forbidden fruit is represented as the fig (with its strong sexual connotation, as already seen) and illustrated in a suggestive way by the mosaic artist, the priest Pantaleon: the thinner part of the fig held by Eve is facing downwards and placed between her breasts, as though forming a third breast; the fig in Adam’s hand is in the inverse position, reminding us of the male genitals. [151] The same sexual presentation appeared towards the end...[151]

Figure 5. - Illumination from the in Troia (Puglia), Archivio Capitulario, middle of the eleventh century.

 

Figure 6. - Capital in the western gallery of the monastery cloister

45

Taking the geographical distribution of the Romanesque images into account, we see that the function attributed to the fig as the forbidden fruit was mainly expressed in the cultural milieu related to the Greco-Judaic world, while the apple appeared in association with the Romano-Christian world. This is perhaps due the specific links established in these cultural areas between each fruit and a bodily organ. In the images where the fig is used, Eve is often portrayed with the fruit on the right-hand side of the tree, like the liver in the human body. [152] In this regard, I evidently mean a statistical trend,...[152] In the images with the apple, the tendency is for Eve and the fruit to appear on the left-hand side, just like the heart in the body (figures 3 and 6). In both instances, the forbidden fruit was the symbol of the rupture of the unity of Eden and the birth of the disjointed humanity that characterizes history.

Notes

 

[1]

On the methodological issues affecting the construction and analysis of an iconographic corpus, some good comments have been made by Jérôme Baschet in “Inventivité et sérialité des images médiévales. Pour une approche iconographique élargie,” Annales HSS 51 (1996): 93–133.

 

[2]

Genesis, 2:16–17; 3:1–12.

 

[3]

Jeremiah, 1:14. Jerome, Expositio quattuor Evangeliorum, Patrologia Latina (PL), vol. 30, col. 549d–550a.

 

[4]

Midrash Rabbah, Genesis, XV, 7, trans. Bernard Maruani and Albert Cohen-Arazi (Paris: Verdier, 1987), 1:183 [Midrash Rabbah, Genesis trans. Harry Freedman and Maurice Simon, 2 vols. (London: Soncino Press, 1939)]; Genesis Rabbah I (Genesis 1–11), trans. Luis Vegas Montaner (Estella: Verbo Divino, 1994), 188–189 [Genesis Rabbah I, trans. Samuel Rapaport (London: Routledge, 1907)].

 

[5]

Following the interpretation of Marcel Durliat, Pyrénées romanes (La-Pierre-Qui-Vire: Zodiaque, 1978), 42.

 

[6]

Vita Adae, 36–42: “The ‘Vita Adae’,” ed. J. H. Mozley, The Journal of Theological Studies (1929): 121–149 (English manuscripts); “La Vie latine d’Adam et Ève,” ed. Jean-Pierre Pettorelli, Archivum latinitatis Medii Aevi (1998): 5–104 (German manuscripts); 2 Henoc 22:8: Slavonic Apocalypse of Enoch, trans. Francis I. Andersen, in The Old Testament Pseudepigrapha, ed. James H. Charlesworth, 2 vols. (London: Darton, Longman & Todd, 1983–1985), 1:92–221; L’Évangile de Nicodème, 19, ed. André Vaillant (Geneva, Paris: Droz, 1968), 59–61.

 

[7]

In this instance, the capital over the door of Miègeville, dated to around 1100–1118, does not depict the scene of the sin, but rather that of the expulsion from Paradise, where the fruit behind Adam and Eve (the couple being situated between God on one side and an angel on the other) is the grapevine.

 

[8]

Midrash Rabbah, Genesis, XV, 7 and XIX, 5, trans. Maruani and Cohen-Arazi, [trans. Freedman and Simon], 184 and 217; Genesis Rabbah I, trans. Vegas Montaner, 190–225. Ethiopic Apocalypse of Enoch, XXXII, 3–6, trans. Ephraim Isaac, in The Old Testament Pseudepigrapha, 1:28. Greek Apocalypse of Baruch, 4–8, trans. Harry E. Gaylord, The Old Testament Pseudepigrapha, 1:667; Apocalypse of Abraham, XXXIII, 7, trans. Ryszard Rubinkiewicz and Horace G. Lunt, The Old Testament Pseudepigrapha, 1:700. In the first century AD, Eliezer ben Hurcanus’s Chapters only specifies that “Noah found a grapevine coming from the Garden of Eden:” Los Capítulos de Rabbí Eliezer, XXIII, 4, trans. Miguel Pérez Fernandez, (Valencia: Institución San Jerónimo, 1984), 174. Louis Ginzberg nevertheless believes that this text probably alludes to a fragment from the tree of knowledge: Les Légendes des juifs [1909], trans. Gabrielle Sed-Rajna (Paris: Éd. du Cerf, 1997), 1:302, n. 59. According to the same author (Les Légendes des juifs, 219, n. 70), “the oldest and widespread opinion identifies the forbidden fruit with the grape, which traces back to an ancient mythological idea considering wine to be the beverage of the gods.”

 

[9]

David Romano, “Jueus a la Catalunya carolingia i dels primers comtes (876–1100),” in Exposiciò dins la formació de l’Europa medieval (Girona: Ajuntament de Girona, 1985), 113–119. Hilário Franco Júnior, “Le pouvoir de la parole: Adam et les animaux dans la tapisserie de Gérone,” Médiévales 25 (1993): 113–128.

 

[10]

Arturo Graf, Il Mito del Paradiso terrestre (1892; reprint, Rome: Edizioni del Graal, 1982), 65; Gioacchino Volpe, Movimenti religiosi e sette ereticali nella società medievale italiana: secoli XI–XIV fourth ed. (Florence: Sansoni, 1972), 17–40; Cinzio Violante, La Società milanese nell’età precomunale (Bari: Laterza, 1974), 220–231. Priests in Spain in the seventh century offered a bunch of grapes to believers during the Eucharist, which could also be a reaction against the idea of the grapevine as the forbidden fruit (third Council of Braga [675], prologue and canon 1: Concílios visigóticos e hispano-romanos, ed. and trans. José Vives (Barcelona and Madrid: CSIC, Instituto Enrique Florez, 1963), 371–373).

 

[11]

Michel Tardieu, Trois Mythes gnostiques: Adam, Éros et les animaux d’Égypte dans un écrit de Nag Hammadi (II, 5) (Paris: Études augustiniennes, 1974), particularly 88–89, 142–144, and 166–169.

 

[12]

Paul Deschamps, “Notes sur la sculpture romane en Bourgogne,” Gazette des Beaux-Arts (1922): 61–80.

 

[13]

Deschamps, “Notes sur la sculpture.”

 

[14]

Joseph de Ghellinck, “L’eucharistie au XIIe siècle en Occident,” in Dictionnaire de théologie catholique (Paris: Letouzey et Ané, 1913), vol. 5, col. 1233–1302. Iconography was also influenced by the phenomenon in which the Crucified was depicted as a bunch of grapes, as seen on the thirteenth-century metal relief on the door of the Church of Sion in Switzerland. This was reproduced by Erich Neumann, The Great Mother: An Analysis of the Archetype, trans. Ralph Mannheim (1955; reprint, Princeton (N. J.): Princeton University Press, 1972), pl. 114.

 

[15]

Roger Dion, Histoire de la vigne et du vin en France des origines au XIXe siècle (Paris: author publication, 1959), 245–247.

 

[16]

Auguste Gaudel, “Péché originel,” in Dictionnaire de théologie catholique, vol. XII-1, col. 441 [quotation back-translated from the French].

 

[17]

Jacques Brosse, Mythologie des arbres (Paris: Plon, 1989), 299–300. The purity attributed to the olive rendered the olive tree the tree of life par excellence, as seen above, n.5.

 

[18]

Robert Saint-Jean and Jean Nougaret, Vivarais-Gévaudan romans (La Pierre-Qui-Vire: Zodiaque, 1991), 157–158. La Nuit des temps, 75.

 

[19]

Genesis, 3:7.

 

[20]

John, 1:48. This relationship between the fig and knowledge can be traced back to classical paganism: Plato, for example, called this fruit “the friend of philosophers,” according to Éloïse Mozzani, Le Livre des superstitions: mythes, croyances et légendes (Paris: Robert Laffont, 1995), 746.

 

[21]

Matthew, 21:19. Paul Sébillot, Le Folklore de France, vol. 6, La Flore (1906; reprint, Paris: Imago, 1985), 21; Mozzani, Le Livre des superstitions, 746.

 

[22]

Stuttgart Psalter, around 810 (Stuttgart: Württembergische Landes-bibliothek, Cod. Bibl. 172o 23, fol. 8).

 

[23]

Midrash Rabbah, Genesis XV, 7, trans. Maruani and Cohen-Arazi, 185; Génesis Rabbah I, trans. Vegas Montaner, 190–191.

 

[24]

Life of Adam and Eve (Apocalypse), xx, 4–5, trans. M. D. Johnson, in The Old Testament Pseudepigrapha, 2:281; Apocalisse di Mosè, trans. Liliana Rosso Ubigli, in Apocrifi dell’Antico Testa-mento, ed. Paolo Sacchi (Turin: UTET, 1989), 2:429; Vida de Adán y Eva (Apocalipsis de Moises), trans. Natalio Fernández Marcos, in Apocrifos del Antiguo Testamento, ed. Alejandro Diez Macho (Madrid: Cristiandad, 1982), 2:330.

 

[25]

Testament of Adam 3c, trans. Stephen E. Robinson, in The Old Testament Pseudepigrapha, 1:994; Testamento de Adán III, 4 (R II), trans. F. J. Martínez Fernández, in Apocrifos del Antiguo Testamento, 5:433.

 

[26]

Il Combattimento di Adamo, 40, ed. and trans. A. Battista and B. Bagatti (Jerusalem: Franciscan Printing Press, 1982), 110.

 

[27]

Theodoret of Cyrus, Quaestiones in Genesim, II, 28, Patrologia Graeca (PG), vol. LXXX, col. 125 c.

 

[28]

Tertullian, Adversus Marcionem, I, 2, 2, ed. Ernst Kroymann (Turnhout: Brepols, 1954), 443. Corpus christianorum. Series latina, 1; Hugh of Saint Victor, Adnotationes elucidatoriae in Pentateuchon, Patrologia Latina (PL), vol. CLXXV, col. 42 a-b; Pierre Comestor, Historia scholastica, 23, PL, vol. CXCVIII, col. 1073 b-c. Even at the end of the Middles Ages, several authors still thought in this manner: Meister Eckhart, Commentaire de la Genèse, 97 and 205, ed. and trans. Fernand Brunner et al. (Paris: Éd. du Cerf, 1984), 360 and 518. L’Œuvre latine de Maître Eckhart, 1.

 

[29]

Das Tristan-Epos Gottfrieds von Strassburg, v. 17944, ed. Wolfgang Spiewok (Berlin: Akademie-Verlag, 1989), 251. Deutsche Texte des Mittelalters, 75.

 

[30]

Beryl Smalley, “Andrew of Saint-Victor, Abbot of Wigmore: A Twelfth-Century Hebraist,” Recherches de théologie ancienne et médiévale 10 (1938): 358–373; Beryl Smalley, The Study of the Bible in the Middle Ages (Oxford: Basil Blackwell, 1983), 149–172 and 179–180; Esra Shereshevsky, “Hebrew Traditions in Peter Comestor’s Historia Scholastica,” The Jewish Quarterly Review 59 (1968–1969): 268–289.

 

[31]

Brosse, Mythologie des arbres, 285–286.

 

[32]

Jean Beleth, Summa de ecclesiasticis officiis, 125, ed. Herbert Douteil (Turnhout: Brepols, 1976), 239–241; Gervase of Tilbury, Otia Imperialia: Recreation for an Emperor, trans. S. E. Banks and J. W. Binns (Oxford: Oxford University Press, 2002). In the thirteenth century, the theme appeared in several well-known texts, such as La Queste del Saint Graal, ed. Albert Pauphilet (Paris: Honoré Champion, 1980), 210ff. and Jacobus de Voragine’s Golden Legend: Legenda aurea, vulgo Historia Lombardica dicta, LXVIII, ed. Theodor Graesse (1846; reprint, Osnabrück: Otto Zeller, 1969), 303–304.

 

[33]

Exodus, 29:13, 22; Leviticus, 3:4, 10, 15; 4:9; 7:4; 8:16, 25; 9:10, 19.

 

[34]

Tobit, VI, 7.

 

[35]

Hesiod, Théogonie, v. 524, ed. and trans. Paul Mazon, thirteenth reprint (Paris: Les Belles Lettres, 1996), 51. Coll. des Universités de France [Theogony, trans Hugh G. Evelyn-White (Cambridge, MA: Loeb Classics, 1914)].

 

[36]

Anacreon, “Fragment 33,” vv. 28, 32, in Carmina Anacreontea, ed. Martin L. West (Leipzig: B. G. Teubner, 1984), 25.

 

[37]

Horace, Odes, IV, 1, 12, ed. and trans. François Villeneuve (Paris: Les Belles Lettres, 1927), 152 [The Complete Odes and Satires of Horace, trans. Sidney Alexander (Princeton NJ: Princeton University Press, 1999)].

 

[38]

Plato, Timée, 71 a, d, ed. and trans. Albert Rivaud (Paris: Les Belles Lettres, 1985), 198 [Timaeus and Critias, ed. Thomas K. Johansen, trans. Desmond Lee (London: Penguin, 1977)].

 

[39]

In the Romanesque period, there was at least one allusion to the Latin Cupid (called only Amores) sending an arrow to the heart: Chrétien de Troyes, Cligès, v. 455, trans. Alexandre Micha (Paris: Honoré Champion, 1982) [Cliges, trans. W. W. Comfort (London: Everyman’s Library, 1914)]. A medieval collection of classical mythology, written between 875 and 1075, says that the gods sent an eagle to punish Prometheus by attacking his heart (not the liver, as Hesiod declared): Premier Mythographe du Vatican, I, 1, 3, ed. Nevio Zorzetti, trans. Jacques Berlioz (Paris: Les Belles Lettres, 1995), 2. The transposition of the symbolic role of the liver to the heart became so ingrained that modern scholars have more than once taken one for the other, as, for example, the translator of Horace, Odes, ed. and trans. Villeneuve, n.36 or that of Anacreon, Odes, trans. Frédéric Matthews (Paris: Presses Universitaires, 1927), 91.

 

[40]

Jacobus de Voragine, Legenda aurea, XXV, ed. Graesse, 120. Eve

How much mass do flocculent spirals hide? The featured true color image of flocculent spiral galaxy NGC 4414 was taken with the Hubble Space Telescope to help answer this question. The featured image was augmented with data from the Sloan Digital Sky Survey (SDSS). Flocculent spirals -- galaxies without well-defined spiral arms -- are a quite common form of galaxy, and NGC 4414 is one of the closest. Stars and gas near the visible edge of spiral galaxies orbit the center so fast that the gravity from a large amount of unseen dark matter must be present to hold them together. Understanding the matter and dark matter distribution of NGC 4414 helps humanity calibrate the rest of the galaxy and, by deduction, flocculent spirals in general. Further, calibrating the distance to NGC 4414 helps humanity calibrate the cosmological distance scale of the entire visible universe. via NASA ift.tt/2gsbMns

Shot on Fomapan 200 Creative using a Canon EOS 1N with a Canon EF 50mm F1.4 (June - July 2022)

Gray ghost surprise!!

It's always good to wash your fruit in the morning. You may ask...."But why?".....The answer...because it means you're facing your big sliding glass doors and might spot something wonderful out in the open space behind your house. That's exactly what happened. I saw a hawk come swooping in and land right behind my fence. I assumed it was our resident red-tailed hawk.....but when I went over to look...it was flying away from me and I could see it had a white patch on top of it's tail which could only mean a Northern Harrier. However, what I didn't expect was that it was a MALE harrier or as many call it a Grey ghost!!! We have never seen a male harrier hunting behind our house. I made some inaudible sounds with my excitement.....grabbed my camera and bolted out of the back door. I really didn't expect it to hang around very long, and it didn't. It flew out of sight, but then back in sight, and then repeated this numerous times. Finally he started making some circles and made a few passes right in front of me. He also managed to fly with some very nice fall colors behind him in the distance. I will have a few more to share, but here are some of my favorites.

Nikon Z9 with Nikkor 180-600mm F5.6-6.3 lens at 600mm, 1/1600sec, F8, various ISO's from 360 to 720, handheld and cropped. (Please view images large for best details) Nov 16 2024 Northern Colorado

www.menachemkrinsky.com

Follow my work on Twitter & Facebook

But what are we up to?!?!

 

Answer - flying to Sevilla for JJ's birthday!!

Title: As Night Falls

  

(Shot with FUJIFILM GFX50R)

Hawaii. United States. 2019. … 8 / 8

(Today’s photo. Previously unreleased.)

 

My new novel.

B♭ (B-flat)

I'm releasing it. This will truly be the last time I share it.

I won't release any more after this.

It's just a rough draft from the beginning — more like notes.

If you're interested, please give it a read. :)

The setting is New York.

 

僕の新しい小説。

　B♭　（ビーフラット）

公開します。これで本当に最後の公開です。

これ以上は公開しません。

冒頭からの走り書きです。メモ程度です。

よかったら読んでください。:)

舞台はニューヨークです。

  

Images.

Bryony Jarman-Pinto … Water Come

youtu.be/z1ZAkZ5bSLs?si=56ao-cHyPzpnDsgp

  

::Photo Music and iTunes Playlist Link::

music.apple.com/jp/playlist/photo-music/pl.u-Eg8qefpy8Xz

  

_________________________________

_________________________________

 

B♭ (B-Flat)

Further excerpt released. Just a rough draft from the beginning. Like a note. Please read if you'd like. :)

Setting: New York City.

 

Red, Yellow, Blue——

It was just past 7 p.m. when a light drizzle began to fall on East 52nd Street.

Anaya Patel leaned against the wall of the building next to Tot Ramen, where she was supposed to meet someone, and absently stared at the traffic light at the intersection to her right.

It was already July, yet the summer felt cooler than last year’s. She regretted stepping out in just a T-shirt.

When the light turned green, Anaya squinted, narrowing her gaze.

Kana, her old classmate, was waving and smiling as she ran toward her——

 

The flat ceiling of Madison Square Garden seemed to bulge slightly with the heat of the crowd, or so it appeared to Jack.

Cheers welcoming the presidential candidate clashed with shouts of outrage, rattling deep inside his ears.

Jack scanned the arena quickly before glancing back down at his iPhone. Several social media apps were open at once, and furious posts streamed across the screen.

One post in the bottom right corner—on Meta—caught his eye.

A death threat.

Presidential candidate Justin Bradford was about to take the stage with his fiancée, Eleanor Blake.

As a red spotlight—the color of the Republican Party—lit up the center of the stage, the couple stepped out.

And at that exact moment, a gunshot rang out.

It was subtle enough to be missed at first—but Jack heard it. Two shots.

As chaos erupted around him, Jack quietly closed his eyes, picturing the trajectory.

The first bullet—likely from his right, near the PA system. But that area should have been covered by agents from his own unit.

He calculated the second shot. It probably came from the left side of the stage.

It was aimed with precision, taking into account the positioning of both Justin and Eleanor.

There might have been a leak.

Then came a second report.

His colleague Ben Holloway’s voice, calm as ever.

The heart was missed, but both bullets had hit. One had grazed it and lodged in the epigastric area, just under the diaphragm.

Jack replied, equally calm.

“Justin’s Bombay blood. I confirmed it three days ago with Bellevue Hospital. They have reserves stored.”

Ben responded in a low voice, as if nothing had happened.

“Understood.”

 

Justin was rushed to Bellevue, the closest hospital to Madison Square Garden.

Jack called Elijah Kane directly from his smartphone.

Using WhatsApp or any other messaging app was strictly forbidden in the Secret Service.

Elijah answered before the first ring ended.

“Jack, it’s bad. We don’t have it. No Bombay blood.”

Jack was stunned.

“I confirmed it three days ago. I spoke directly to the person in charge—can't recall their name—but I saw the blood bags myself.”

After a pause, Elijah replied.

“That person died in a car accident yesterday.”

 

Anaya Patel waited for her husband Arjun at Tot Ramen.

With her was Mika (Sato), her best friend since college—Japanese.

Just as the server placed a steaming bowl of ramen in front of her, Anaya’s phone rang.

The caller ID said Bellevue Hospital.

She answered without hesitation.

Mika looked on, concerned.

“Is this Anaya Patel? I’m Sasha Wilson from Emergency.

You may have heard—Republican presidential candidate has been shot.

We need your blood.

Stay where you are. A Secret Service vehicle is en route.”

Following Mika’s gaze, Anaya turned to the display above the counter.

A live report from MSG was playing.

Then, a man in a sleek blue suit with brown skin approached her.

“I’m Rohan Shah, Secret Service.

Please come with me to the hospital.

The car is ready.”

He reached for her hand with urgency.

Just then, Anaya’s iPhone buzzed again. An unfamiliar number.

She tapped it.

“Hello?”

“Anaya Patel?”

“Yes. Who is this?”

“Jack. Jack Vance. Secret Service. I’ll be there shortly.”

“How do you know where I am?”

“We’re professionals. We have our ways.”

“But the Secret Service guy is already here.”

“No—he’s not!” Jack’s voice roared through the phone.

At that instant, the man in front of her pulled a rifle from under his jacket and aimed it at her forehead.

A small gunshot rang through the restaurant.

Anaya froze.

She couldn’t speak.

As the man collapsed to the floor, another figure emerged—also pointing a gun at her.

It was her husband, Arjun.

“Freeze! FBI!”

NYPD officers in uniform and FBI agents in gray suits stormed in.

“Hands behind your head! Get down on the floor!”

The cliché movie-like commands rang out as Anaya trembled. Mika, too.

But probably no one shook more than Arjun.

Jack arrived moments later.

“Anaya Patel!”

Still trembling, Anaya answered without looking up.

“That’s me.”

Jack, drenched in sweat, pulled her upright.

“We’re going to the hospital.”

 

A message from Elijah arrived with a link.

Jack, now in the passenger seat with Anaya, tossed her his iPhone.

“Open it!”

She tapped it—it appeared to be a livestream.

“Good evening, New York. And Los Angeles.

My name is Zakaria Haddad.

That’s my real name.

A few years ago, I lived in Gaza.

Now I’m in a room that mimics one you know very well.”

A man with brown skin and a beard sat in what looked almost exactly like the Oval Office.

He looked at his watch, then back at the camera.

“It’s time for breaking news.

Keep your eyes on your phones.”

Just then, an alert popped up:

BREAKING: Former Democratic President Owen Reed reportedly shot at the Los Angeles Convention Center

Zakaria bowed his head slightly and chuckled.

“A sad headline, isn’t it?

But don’t be sad, America.

In Gaza, we endured 55,000 times worse.

We lost more than 55,000 loved ones.

We wept—endlessly.”

Still looking down, he clenched his fists and slammed the desk.

When he looked up, tears glistened in his eyes.

“We do not seek money.

Nor honor through death.

All we want—

are tears.

Tears equal to the ones we shed.

Only those tears can heal us.”

Placing both elbows on the desk and clasping his hands, Zakaria gently rested his chin on them. He closed his eyes, and a heavy silence filled the room. The corners of his eyes seemed to tremble ever so slightly. Then, slowly, he began to speak.

“I am just one among fifty-five thousand. Even if I disappear, the will of fifty thousand others will remain—unchanging, undying, carried forward. I am here to give voice to that will.”

Zakaria opened the desk drawer, took out a Glock 17, and slid the action, chambering a round. He raised the gun to his temple.

A Sunni Muslim, he looked straight into the camera and spoke with a hint of sarcasm.

“God bless you. America.”

Zakaria closed his eyes and pulled the trigger straight back. A dry crack echoed through the room.

The screen cut to black in an instant.

 

To be continued...

 

iTunes Playlist Link::

music.apple.com/jp/playlist/b/pl.u-47DJGhopxMD

  

Notes

1. "Bombay Blood Type (hh type)"

•Characteristics: A rare blood type that lacks the usual ABO antigens — cannot be classified as A, B, or O.

•Discovery: First identified in 1952 in Mumbai, India (formerly Bombay).

•Prevalence: Roughly 1 in 10,000 people in India; globally, about 1 in 2.5 million.

•Transfusion Compatibility: Only compatible with blood from other Bombay type donors.

2. 2024 Harvard University Valedictorian Speech – The Power of Not Knowing

youtu.be/SOUH8iVqSOI?si=Ju-Y728irtcWR71K

3. Shots Fired at Trump Rally

youtu.be/1ejfAkzjEhk?si=ASqJwEmkY-2rW_hT

 

_________________________________

_________________________________

  

Exhibition in 2025

Theme

The Nightfly

My next novel, B♭

This exhibition will reflect its imagery.

A portion of the novel will be excerpted and shared publicly.

 

Images

Taylor Swift – This Love [Japanese Translation]

youtu.be/PfJzQuqWSSE?si=Y2g0HzhoVjnR46zS

 

Mitsushiro Nakagawa

Organizer

Design Festa

designfesta.com

Venue

Tokyo Big Sight

www.bigsight.jp

Date

Fall 2025

Contact

exhibition.mitsushiro.nakagawa@gmail.com

 

_________________________________

_________________________________

 

_________________________________

_________________________________

 

“A.I. - About Apple’s Identity”

www.flickr.com/photos/stealaway/54271473379/in/dateposted...

 

---

 

### Will Apple Listen to Mark Zuckerberg’s Criticism?

I Don’t Think So—At Least Not for Someone Enchanted by the Apple Vision Pro.

 

Mark Zuckerberg, CEO of Meta, recently appeared on a well-known podcast, where he criticized Apple for failing to release an innovative product since the iPhone and for experiencing a decline in sales.

  

_________________________________

_________________________________

:

Photo Music and iTunes Playlist Link::

music.apple.com/jp/playlist/photo-music/pl.u-Eg8qefpy8Xz

_________________________________

_________________________________

 

消えた境界線から生まれたもの　～ 去ってゆく川村記念美術館を振り返って ～

www.flickr.com/photos/stealaway/54020588671/in/dateposted...

 

What Emerged from the Vanishing Boundaries~ Reflecting on the Departing Kawamura Memorial Museum ~

www.flickr.com/photos/stealaway/54020588671/in/dateposted...

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_________________________________

 

8mm film of our honeymoon resurrected after decades.

 

youtu.be/zH-dG7bMeL4?si=yLF5_f1m-LhAVdPp

 

_________________________________

_________________________________

 

Important Notices.

 

I have relaxed the following conditions.

I will distribute my T-shirt to the world for free.

m.flickr.com/photos/stealaway/50656401427/in/dateposted-p...

m.flickr.com/photos/stealaway/50613367691/in/dateposted-p...

 

_________________________________

_________________________________

 

_________________________________

_________________________________

 

Notice regarding "Lot No.402_”.

  

From now on I will host "Lot No.402_".

 

The work of Leonardo da Vinci who was sleeping.

That is the number when it was put up for auction.

No sign was written on the work.

So this work couldn't conclude that it was his work.

However # as a result of various appraisals # it was exposed to the sun.

A work that no one notices. A work that speaks quietly without a title.

I will continue to strive to provide it to many people in various ways.

 

October 24 2020 by Mitsushiro - Nakagawa.

  

Mitsushiro Nakagawa belong to Lot No. 402 _.Copyright©︎2025 Lot No.402_ All rights reserved.

_________________________________

_________________________________

 

Profile.

In November 2014 # we caught the attention of the party selected to undertake the publicity for a mobile phone that changed the face of the world with just a single model # and will conclude a confidentiality agreement with them.

drive.google.com/drive/folders/1vBRMWGk29EmsoBV2o9NM1LIVi...

 

_________________________________

_________________________________

 

Here’s a translated version with a style suitable for a news site introduction:

 

---

 

### **Interview and Novel: My Work**

 

I published a book in the past.

At that time, I uploaded my interview as a PDF online, both in Japanese and English.

 

Now, I am making it available for free.

More details can be found on Amazon.

 

**Writing a Novel.**

**Photography Techniques.**

**The Sense of Distance Between the Creator and the Work.**

 

These all share a common theme.

I put into words the things I felt and left them behind as a record.

 

I hope my text reaches many readers.

Thank you.

 

**Mitsushiro**

 

🔗 **[Access the Files Here](drive.google.com/drive/folders/1vBRMWGk29EmsoBV2o9NM1LIVi...)**

 

### **Contents**

📄 **1. Interview (English Version)**

📖 **2. Novel: *Unforgettable* (English Version)**

📄 **3. Interview (Japanese Version)**

📖 **4. Novel: *Unforgettable* (Japanese Version)**

*(This novel is dedicated to future artists.)*

*(456 pages in Japanese manuscript format.)*

 

drive.google.com/drive/folders/1vBRMWGk29EmsoBV2o9NM1LIVi...

---

 

### **Synopsis**

 

Kei Kitami, a student preparing for university entrance exams, meets Kaori Kamimura, an event companion six years his senior, through social media.

 

Kaori has come to Tokyo with a dream—to befriend famous artists.

To achieve this, she needs the influence of Ryo Osawa, a well-known radio producer.

 

During a live radio broadcast, Osawa speaks directly to Kaori:

*"I have a wife and child. But still, I want to see you."*

 

Meanwhile, Rika Sanjo, Kei’s classmate who secretly harbors feelings for him, is closely watching Kaori’s every move...

 

---

Main story

 

There are two reasons why a person faces the sea.

One to enjoy a slice of shine in the sea like children bubbling over in the beach.

The other to brush the dust of memory like an old man who misses old days staring at the shine

quietly.

Those lead to only one meaning though they do not seem to overlap. It’s a rebirth.

I face myself to change tomorrow a vague day into something certain.

That is the meaning of a rebirth.

I had a very sweet girlfriend when I was 18.

After she left I knew the meaning of gentleness for the first time and also a true pain of loss. After

she left # how many times did I depend too much on her # doubt her # envy her and keep on telling lies

until I realized it is love?

I wonder whether a nobody like me could have given something to her who was struggling in the

daily life in those days. Giving something is arrogant conceit. It is nothing but self-satisfaction.

I had been thinking about such a thing.

However I guess what she saw in me was because I had nothing. That‘s why she tried to see

something in me. Perhaps she found a slight possibility in me # a guy filled with ambiguous unstable

tomorrow. But I wasted days depending too much on her gentleness.

Now I finally can convey how I felt in those days when we met.

  

drive.google.com/drive/folders/1vBRMWGk29EmsoBV2o9NM1LIVi...

  

_________________________________

_________________________________

  

iBooks. Electronic Publishing. It is free now.

 

0.about the iBooks.

drive.google.com/drive/folders/1vBRMWGk29EmsoBV2o9NM1LIVi...

 

1.unforgettable '(ENG.ver.)(This book is Dedicated to the future artist.)

itunes.apple.com/us/book/unforgettable/id1216576828?ls=1&...

 

2.unforgettable '(JNP.ver.)(This book is Dedicated to the future artist.)

itunes.apple.com/us/book/unforgettable/id1216584262?ls=1&...

 

3. Streamlined trajectory.(For Japanese only.)

itunes.apple.com/us/book/%E6%B5%81%E7%B7%9A%E5%BD%A2%E3%8... =11

 

_________________________________

_________________________________

 

My Novel : Unforgettable'

 

(This book is Dedicated to the future artist.)

  

Kei Kitami, a student preparing for university entrance exams, meets Kaori Kamimura, an event companion six years his senior, through social media.

 

Kaori has come to Tokyo with a dream—to befriend famous artists.

To achieve this, she needs the influence of Ryo Osawa, a well-known radio producer.

 

During a live radio broadcast, Osawa speaks directly to Kaori:

*"I have a wife and child. But still, I want to see you."*

 

Meanwhile, Rika Sanjo, Kei’s classmate who secretly harbors feelings for him, is closely watching Kaori’s every move...

   

Mitsushiro Nakagawa

All Translated by Yumi Ikeda .

www.fotolog.net/yuming/

  

images.

U2 - No Line On The Horizon Live in Dublin

www.youtube.com/watch?v=_oKwnkYFsiE&feature=related

  

Main story

 

There are two reasons why a person faces the sea.

One to enjoy a slice of shine in the sea like children bubbling over in the beach.

The other to brush the dust of memory like an old man who misses old days staring at the shine

quietly.

Those lead to only one meaning though they do not seem to overlap. It’s a rebirth.

I face myself to change tomorrow a vague day into something certain.

That is the meaning of a rebirth.

I had a very sweet girlfriend when I was 18.

After she left I knew the meaning of gentleness for the first time and also a true pain of loss. After

she left # how many times did I depend too much on her # doubt her # envy her and keep on telling lies

until I realized it is love?

I wonder whether a nobody like me could have given something to her who was struggling in the

daily life in those days. Giving something is arrogant conceit. It is nothing but self-satisfaction.

I had been thinking about such a thing.

However I guess what she saw in me was because I had nothing. That‘s why she tried to see

something in me. Perhaps she found a slight possibility in me # a guy filled with ambiguous unstable

tomorrow. But I wasted days depending too much on her gentleness.

Now I finally can convey how I felt in those days when we met.

  

1/9

www.flickr.com/photos/stealaway/24577016535/in/dateposted...

2/9

www.flickr.com/photos/stealaway/24209330259/in/dateposted...

3/9

www.flickr.com/photos/stealaway/23975215274/in/dateposted...

4/9

www.flickr.com/photos/stealaway/24515964952/in/dateposted...

5/9

www.flickr.com/photos/stealaway/24276473749/in/dateposted...

6/9

www.flickr.com/photos/stealaway/24548895082/in/dateposted...

7/9

www.flickr.com/photos/stealaway/24594603711/in/dateposted...

8/9

www.flickr.com/photos/stealaway/24588215562/in/dateposted...

9/9

www.flickr.com/photos/stealaway/24100804163/in/dateposted...

  

Fin.

  

images.

U2 - No Line On The Horizon

www.youtube.com/watch?v=_oKwnkYFsiE&feature=related

 

_________________________________

_________________________________

 

Title of my book : unforgettable'

Author : Mitsushiro Nakagawa

Out Now.

ISBN978-4-86264-866-2

in Amazon.

Unforgettable’ amzn.asia/d/eG1wNc5

_________________________________

_________________________________

The schedule of the next novel.

Still would stand all time. (Unforgettable '2)

(It will not go away forever)

Please give me some more time. That is Japanese.

_________________________________

_________________________________

  

_________________________________

_________________________________

 

My Works.

 

1 www.flickr.com/photos/stealaway/48072442376/in/dateposted...

2 www.flickr.com/photos/stealaway/48078949821/in/dateposted...

3 www.flickr.com/photos/stealaway/48085863356/in/dateposted...

_________________________________

_________________________________

 

Do you want to hear my voice?

:)

 

youtu.be/b1o6Xf-Mjhw

 

1

About the composition of the picture posted to Flicker. First type.

youtu.be/b1o6Xf-Mjhw

 

2

About the composition of the picture posted to Flicker. Second type.

youtu.be/b1o6Xf-Mjhw?t=443

 

3

About when I started Fotolog. Architect 's point of view.

youtu.be/b1o6Xf-Mjhw?t=649

 

4

Why did not you have a camera so far?

youtu.be/b1o6Xf-Mjhw?t=708

 

5

What is the coolest thing? The photo is as it is.

youtu.be/b1o6Xf-Mjhw?t=776

 

6

About the current YouTube bar. I also want to tell # I want to leave.

youtu.be/b1o6Xf-Mjhw?t=964

 

7

About Japanese photographers. Japanese YouTube bar is Pistols.

youtu.be/b1o6Xf-Mjhw?t=1059

 

8

The composition of the photograph is sensibility. Meet the designers in Milan. Two questions.

youtu.be/b1o6Xf-Mjhw?t=1242

 

9

What is a good composition? What is a bad composition?

youtu.be/b1o6Xf-Mjhw?t=1482

 

10

What is the time to point the camera? It is slow if you are looking into the viewfinder or display.

youtu.be/b1o6Xf-Mjhw?t=1662

 

11

Family photos. I can not take pictures with others. The inside of the subject.

youtu.be/b1o6Xf-Mjhw?t=1745

 

12

About YouTube 's photographer. Camera technology etc. Sensibility is polished by reading books.

youtu.be/b1o6Xf-Mjhw?t=2144

 

13

About the Japanese newspaper. A picture of a good newspaper is Reuters. If you continue to look at useless photographs # it will be useless.

youtu.be/b1o6Xf-Mjhw?t=2305

 

14

About Japanese photographers. About the exhibition.

Summary. I wrote a novel etc. What I want to tell the most.

youtu.be/b1o6Xf-Mjhw?t=2579

 

_________________________________

_________________________________

  

I talked about how to make a work.

 

About work production 1/2

youtu.be/ZFjqUJn74kM

  

About work production 2/2

youtu.be/pZIbXmnXuCw

 

1 Photo exhibition up to that point. Did you want to go?

 

2 Well # what is an exhibition that you want to visit even if you go there?

 

3 Challenge to exhibit one work every month before opening a solo exhibition at the Harajuku Design Festa.

 

4 works are materials and silhouettes. Similar to fashion.

 

5 Who is your favorite artist? What is it? Make it clear.

 

6 Creating a collage is exactly the same as taking photos. As I wrote in the interview # it is the same as writing a novel.

 

7 I want to show it to someone # but I do not make a piece to show it. Aim for the work you want to decorate your own room as in the photo.

 

8 What is copycat? Nowadays # it is suspected to be beaten. There is something called Mimesis?

 

ja.wikipedia.org/wiki/Mimesis

kotobank.jp/word/Mimesis-139464

 

9 What is Individuality? What is originality?

 

www.youtube.com/user/mitsushiro/

 

_________________________________

_________________________________

  

Explanation of composition. 2

 

1.Composition explanation 2 ... 1/4

youtu.be/yVbvneBIMs8

 

2.Composition explanation 2 ... 2/4

youtu.be/LToFez9vOAw

 

3.Composition Explanation 2 ... 3/4

youtu.be/uTR0wVi9Z7M

 

4.Composition Explanation 2 ... 4/4

youtu.be/h2LjfU6Vvno

 

_________________________________

_________________________________

 

My shutter feeling.

 

youtu.be/3JkbGiFLjAM

 

Today's photo.

It is a photo taken from Eurostar.

 

This video is an explanation.

 

I went to Milan in 2005.

At that time # I went from Milan to Venice.

We took Eurostar into the transportation.

 

This photo was not taken from a very fast Eurostar.

When I changed the track # I took a picture at the moment I slowed down.

  

Is there a Japanese beside you?

Please have my video translated.

:)

 

In the Eurostar to Venice . 2005. shot ... 1 / 2

www.flickr.com/photos/stealaway/49127115021/in/dateposted...

 

_________________________________

_________________________________

  

Miles Davis sheet 1955-1976.

drive.google.com/drive/folders/1vBRMWGk29EmsoBV2o9NM1LIVi...

 

_________________________________

_________________________________

 

flickr.

www.flickr.com/photos/stealaway/

_________________________________

_________________________________

 

instagram.

www.instagram.com/mitsushiro_nakagawa/

_________________________________

_________________________________

 

Pinterest.

www.pinterest.jp/MitsushiroNakagawa/

_________________________________

_________________________________

 

YouPic

youpic.com/photographer/mitsushironakagawa/

_________________________________

_________________________________

 

twitter.

twitter.com/mitsushiro

_________________________________

_________________________________

 

facebook.

www.facebook.com/mitsushiro.nakagawa

_________________________________

_________________________________

 

threads.

www.threads.net/@mitsushiro_nakagawa

_________________________________

_________________________________

 

Blue sky.

bsky.app/profile/mitsushironakagawa.bsky.social

_________________________________

_________________________________

 

Amazon.

www.amazon.co.jp/gp/profile/amzn1.account.AHSKI3YMYPYE5UE...

_________________________________

_________________________________

 

My Statistics (as of May 12, 2025)

Flickr and YouPic views:

Flickr 25,354,244 View

Youpic 8,533,634 View

 

x.com/mitsushiro/status/1921858836618481746

  

My statistics (as of December 15, 2024)

How many views have you had on Flickr and Youpic

Flickr 24,260,172 Views

Youpic 7,957,826 Views

x.com/mitsushiro/status/1868185157909582014

 

My statistics (as of August 1, 2024)

How many views have I had on Flickr and Youpic

Flickr 23,192,383 Views

Youpic 7,574,603 Views

 

My statistics. (As of February 7, 2024)

What is the number of accesses to Flickr and YouPic

Flickr 21,694,434 Views

Youpic 7,003,230 Views

 

What is the number of accesses to Flickr and YouPic?

(As of November 13, 2023)

Flickr 20,852,872 View

Youpic 6,671,486 View

_________________________________

_________________________________

 

Japanese is the following.

drive.google.com/drive/folders/1vBRMWGk29EmsoBV2o9NM1LIVi...

 

Title of my book unforgettable' Mitsushiro Nakagawa Out Now. ISBN978-4-86264-866-2

 

Mitsushiro Nakagawa belong to Lot No. 204 _ . Copyright©︎2024 Lot No.402_ All rights reserved.

_________________________________

_________________________________

 

Title.

夜のはじまり。

  

( FUJIFILM GFX50R shot )

  

ハワイ。アメリカ。2019. … 8 / 8

(今日の写真。それは未発表です。）

  

僕は小説のタイトルを決定しました。

僕の新しい小説のタイトル。

B♭ （ビーフラット）

僕はもう少し書き加えました。

:)

  

Images.

Bryony Jarman-Pinto … Water Come

youtu.be/z1ZAkZ5bSLs?si=56ao-cHyPzpnDsgp

  

::写真の音楽とiTunesプレイリストをリンク::

music.apple.com/jp/playlist/photo-music/pl.u-Eg8qefpy8Xz

  

_________________________________

_________________________________

 

_________________________________

_________________________________

 

僕の新しい小説。

　B♭　（ビーフラット）

 

さらに公開します。

冒頭からの走り書きです。メモ程度です。

よかったら読んでください。:)

 

舞台はニューヨークです。

  

— 赤、黄色、青ーーー

イースト５２ndストリートに小雨が舞いはじめたのは、午後七時過ぎだった。

アナヤ・パテルは、待ち合わせたトットラーメンのとなりのビルの壁面にもたれ、右手に見える十字路の信号機をぼんやり眺めていた。もう７月だというのに、昨年よりも冷夏に感じ、Tシャツ一枚で出かけてきたことを後悔していた。

十字路の信号が青に変わると、アナは目を細め、凝視した。同級生のカナがこちらへ手を振りながら微笑み、駆け寄ってきていた——

 

マジソンスクエアガーデンの平坦な天井は、吐き出された人の熱気でいつもより膨らんでいるように、ジャックには見えた。大統領候補を歓迎する声とそれを罵倒する叫び声が錯綜し、鼓膜の奥を揺らしていた。

ジャックは、軽く場内の隅々まで目を凝らしてから、再びアイフォンに目を落とした。画面には、いくつかのSNSが同時に広がっており、それぞれが激しい書き込みによって文字が流れてゆく。

右下の、メタの書き込みに、ジャックは目を留めた。殺害予告だ。

大統領候補のジャスティン・ブラッドフォードは、フィアンセのエリノア・ブレイクとともに間も無くステージに立つ。

共和党を示す赤い光がステージ中央に差し込むと、二人は同時に現れた。

と、同時に、銃声が響いた。

一聴しただけでは気づかなかったがジャックの耳は聴き分けた。弾は二発だ。

騒然とした場内をよそに、ジャックは静かに目を閉じた。発射音から着弾までを想像した。

一発目の弾は、ジャックの右手、たぶん、PA近辺からだ。しかし、ジャックと同じ配属のシークレットサービスが張り込んでいたはずだ。もうひとつの弾丸をジャックは再び目を閉じて計算した。

弾は、たぶん、ステージ左手側からだ。ジャスティンとエリノアの二人の立ち位置を計算しているようだ。ひょっとしたら情報が漏れていたかもしれない。

ジャックの耳に第２報が入った。同僚のベン・ホロウェイの冷静な声だ。心臓ははずれたものの、2発の弾丸が打ち込まれていた。弾は心臓をかすめ、心窩部、ちょうど横隔膜の下に食い込んでいた。

ジャックも冷静に、ベンへ伝えた。

「ジャスティンはボンベイブラッドだ。三日前にベルビュー病院に確認した。予備の血液は保管されている」

ベンは、何事もなかったかのように、わかったと静かにいった。

 

マジソンスクエアガーデンにもっとも近いベルビュー病院に、ジャスティンを運び込む。ジャックは、病院で控えているイライジャ・ケインにスマートフォンから直接電話した。シークレットサービスではもちろんワッツアップなどのSNSはご法度だ。

ワンコールが切れる前にすぐイライジャは反応した。

「ジャック、大変だ。血液がない。ボンベイブラッドがないんだ」

ジャックは、耳を疑った。

「三日前に、俺は直接担当の、名前は忘れたな。とにかく目の前でブラッドバッグを確認したぞ」

イライジャは、数秒の沈黙の後、応えた。

「その血液の管理者は、きのう、交通事故で亡くなったんだ」

 

アナヤ・パテルは、夫のアルジュンをトットラーメンで待った。

学生時代からの親友、ミカ（佐藤）（日本人）も一緒だ。

店員が、アナヤの目の前にラーメンを差し出したとき、スマートフォンが鳴った。

登録してあるベルビュー病院からだった。

アナヤは、躊躇わずに出た。着信を見たミカは不安げにアナヤを見守った。

「アナヤ・パテルさんですか？　私は救急部のサーシャウィルソンと言います。すでにご存知かもしれませんが、共和党大統領候補が撃たれました。あなたの血が必要です。すぐに病院へ来てください。シークレットサービスの車が迎えに行きます。動かないでください」

アナヤは、呆然としているミカの視線を追って、背後を振り返った。カウンターのちょうど左上に下がったディスプレイには、MSGの現在が男性レポーターによって放映されている。

アナは開いた入り口に目を移した。青い、洗練されたスーツをまとった褐色の肌の男性が、足早にアナに寄ってきた。

「シークレットサービスのロハン・シャーと言います。私と一緒に病院へ来てください。外に車を用意してあります」

彼は真剣な眼差しでアナへ伝え、手を引こうとした瞬間、アナのアイフォンが再び震えた。番号だけ浮かびあがっている。登録されていないようだ。アナは慌てて、タッチした。

「はい」

「アナヤ・パテルさん？」

「ええ、あなたは？」

「ジャック。ジャック・ヴァンス。シークレットサービスです。もうすぐそちらへ到着します」

「わたしの場所をどうやって？」

「わたしたちはプロだ。あらゆる手段を用意しています」

「もう、シークレットサービスの人が来てるわ」

ジャックの、違う！　という怒声が響いた瞬間、目の前の男性はスーツの内から小銃を引き抜き、アナの額に向けた。

店内に小さな銃声が響いた。

アナは、震えることすら忘れ、言葉を失い、放心していた。

目の前の男性がゆっくり床へ崩れると、夫のアルジュンが、やはりアナに銃を向けて現れた。

「フリーズ！FBI ！」

数人の制服を着たNYPDとグレイのスーツを纏ったFBIが叫んだ。

「全員、手を頭の後ろに回して床に伏せろ！」

映画のようなお決まりのセリフに、アナは震えていた。もちろん、ミカも。たぶん、アナの夫のアルジュンが最も震えていただろう。

遅れて、ジャックが店内に向け、叫んだ。

「アナヤ・パテル！」

アナは、見上げることなく、そのままに応えた。足がまだ震えている。

「わたしです」

額に汗を浮かべたジャックは、アナの身を起こすと、いった。

「すぐに病院へ行く」

 

病院にいるイライジャから、リンク付きのメッセージが届いた。

助手席に乗り込んだアナへジャックはアイフォンを放り投げると、リンク先を開け、と叫んだ。

慌てて、アナが触れると、どうやら生放送のようだった。

「こんばんわ、ニューヨーク。そしてロサンゼルス。私の名前はザカリア・ハッダード。本名だ。

数年前、ガザに住んでいた。今は、みなさんがよく目にする部屋を真似た部屋に私はいる」

褐色の、顎髭をたくわえたザカリアは、アメリカ大統領執務室とほとんど同じ部屋の椅子に座っていた。

腕時計にゆっくり目を落としてから、再び、カメラに視線を向けた。

「そろそろブレイキングニュースだ。スマートフォンの速報に注目して欲しい」

ザカリアがそういった途端、速報が流れた。

【民主党前大統領のオーウェン・リードがロサンゼルス・コンベンション・センターで銃撃された模様です】

ザカリアは、一瞬俯いて笑いを堪えながらいった。

「悲しい速報じゃないか。アメリカのみなさん。でもどうか悲しまないで欲しい。私が経験したガザではこの55,000倍だ。55,000人以上の大切な人を失い、そして、涙を流した」

ザカリアは、再び俯いたまま、両手を固く握りしめ、力強く机を叩きつけた。

顔を上げたザカリアの目にはうっすらと涙が溢れていた。

「私たちは、お金を求めない。また、死による名誉も求めない。私たちが欲しいのは、55,000人が流した涙と同じだけの涙だ。流された涙と同じだけの涙だけが、私たちを癒す」

両肘を机につき、両手を組むと、ザカリアは静かに顎を乗せた。目を閉じて、しばらく沈黙が続いた。目尻が細かく震えているようだった。そのままゆっくり口を開いた。

「55,000人のうちの私はひとりに過ぎない。私が消えても５万人もの意思は決して消えず、引き継がれる。私は、私たちの意思をここに表明するためにいる」

ザカリアは、机の引き出しから、グロック１７を取り出すと、スライドしてチャンバーに弾を流した。そして、自分のこめかみに向けた。

スンニ派である彼は、まっすぐにカメラを見つめ、皮肉混じりにいった。

「神のご加護を。アメリカ」

ザカリアは、目を閉じると、トリガーを真っ直ぐに引いた。乾いた音が部屋に響いた。映像は、瞬時に黒へ切り替わった。

  

つづく。

  

iTunes Playlist Link::

music.apple.com/jp/playlist/b/pl.u-47DJGhopxMD

  

メモ

 

1

「Bombay型（ボンベイ型、hh型）」

•特徴：通常のABO血液型を持たない（A、B、Oに分類されない）特殊な型。

•発見地：1952年、インド・ムンバイ（旧ボンベイ）で初めて確認。

•発生頻度：インドでは1万人に1人程度だが、世界的には約250万人に1人とも。

•輸血制限：同じBombay型しか輸血できない。

 

2

2024年ハーバード大学首席の卒業式スピーチ『知らないことの力』

youtu.be/SOUH8iVqSOI?si=Ju-Y728irtcWR71K

 

3

Shots fired at Trump rally

youtu.be/1ejfAkzjEhk?si=ASqJwEmkY-2rW_hT

 

_________________________________

_________________________________

 

２０２5年の展示

  

テーマ

The Nightfly

 

僕の次の小説。B♭（ビーフラット）

そのイメージになります。

小説の一部分を抜粋し、公開します。

  

Images.

Taylor Swift … This Love 【和訳】

youtu.be/PfJzQuqWSSE?si=Y2g0HzhoVjnR46zS

  

Mitsushiro - Nakagawa

 

主催

デザインフェスタ

designfesta.com

 

場所

東京ビッグサイト

www.bigsight.jp

  

日程

2025年 秋。

 

exhibition.mitsushiro.nakagawa@gmail.com

 

_________________________________

_________________________________

 

重要なお知らせ。

 

僕は以下の条件を緩和します。

僕はTシャツを無料で世界中へ配布します。

m.flickr.com/photos/stealaway/50656401427/in/dateposted-p...

m.flickr.com/photos/stealaway/50613367691/in/dateposted-p...

_________________________________

_________________________________

 

タイトル

“” A.I. 　アップルのアイデンティティについて””

www.flickr.com/photos/stealaway/54271473379/in/dateposted...

 

マークザッカーバーグ氏の批判に、アップルは耳を傾けるだろうか。

僕にはそう思えない。アップルヴィジョンプロに夢を見せられた僕には。

_________________________________

_________________________________

  

新婚旅行の8mmフィルムを数十年ぶりに復活😃

 

youtu.be/zH-dG7bMeL4?si=yLF5_f1m-LhAVdPp

 

_________________________________

_________________________________

 

” Lot No.402_ ” に関するお知らせ。

  

今後、僕は、” Lot No.402_ ”を主催します。

 

このロットナンバーは、眠っていたレオナルドダヴィンチの作品がオークションにかけらた際に付されたものです。

作品にはサインなどがいっさい記されていなかったため、彼の作品だと断定できませんでした。

しかし、様々な鑑定の結果、陽の光を浴びました。

誰にも気づかれない作品。肩書がなくとも静かに語りかける作品。

僕はこれから様々な形で、多くの皆様に提供できるよう努めてゆきます。

 

2020年10月24日 by Mitsushiro - Nakagawa.

 

Copyright©︎2021 Lot No.402_ All rights reserved.

_________________________________

_________________________________

プロフィール

2014年11月、たった1機種で世界を塗り替えた携帯電話の広告を請け負った選考者の目に留まり、秘密保持同意書を結ぶ。

drive.google.com/drive/folders/1vBRMWGk29EmsoBV2o9NM1LIVi...

_________________________________

_________________________________

  

_________________________________

_________________________________

 

インタビューと小説。

僕の本について。

 

僕は、昔に本を出版しました。

その際に、僕のインタビューをPDFでネット上へアップロードしていました。

その日本語と英語。

 

僕は、無料でを公開します。

詳細は、アマゾンのサイトへ解説しました。

 

小説の書き方。

写真の撮影方法。

作品への距離感。

 

これらはすべて共通項があります。

僕は、僕が感じたことを文章にして、残しました。

 

僕のテキストが多くの人に読んでもらえることを望みます。

ありがとう。

 

Mitsushiro.

 

drive.google.com/drive/folders/1vBRMWGk29EmsoBV2o9NM1LIVi...

  

１　インタビュー　英語版

 

２　小説。unforgettable’ 英語版。

 

３　インタビュー　日本語版

 

４　小説。unforgettable’ 日本語版。(この小説は未来のアーティストへ捧げます)

(四百字詰め原稿用紙４５６枚)

 

　あらすじ

　大学を目指している北見ケイは、SNS上で、6歳年上のイベントコンパニオン、上村香織に出会う。

　上京してきた香織の夢は、有名なアーティストの友達になるためだ。

　そのためにはラジオ局のプロデューサー、大沢亮の存在が必要だった。

　大沢は、ラジオの生放送中、香織へ語りかける。

　「僕には妻子がある。しかし、僕は君に会いたいと思っている」

　ケイの同級生で、彼を想っている三條里香は、香織の動向を探っていた。。。。。

  

本編

 

人が海へ向かう理由には、二つある。

　ひとつは、波打ち際ではしゃぐ子供のように、今の瞬間の海の輝きを楽しむこと。

　もうひとつは、その輝きを静かに見据えて、過ぎ去った日々を懐かしむ老人のように記憶の埃を払うこと。

　二つは重なり合わないようではあるけれども、たったひとつの意味しか生まない。

　再生だ。

　明日っていう、曖昧な日を確実なものへと変えてゆくために、自分の存在に向き合う。

　それが再生の意味だ。

 

　十八歳だった僕には大切な人がいた。

 

drive.google.com/drive/folders/1vBRMWGk29EmsoBV2o9NM1LIVi...

  

５　流線形の軌跡。　日本語のみ。

drive.google.com/drive/folders/1vBRMWGk29EmsoBV2o9NM1LIVi...

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iBooks.電子出版。（現在は無料）

 

0.about the iBooks.

drive.google.com/drive/folders/1vBRMWGk29EmsoBV2o9NM1LIVi...

 

1.unforgettable’ ( ENG.ver.)(This book is Dedicated to the future artist.)

itunes.apple.com/us/book/unforgettable/id1216576828?ls=1&...

 

2.unforgettable’ ( JNP.ver.)(この小説は未来のアーティストへ捧げます)

itunes.apple.com/us/book/unforgettable/id1216584262?ls=1&...

 

3.流線形の軌跡。

itunes.apple.com/us/book/%E6%B5%81%E7%B7%9A%E5%BD%A2%E3%8...

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僕の小説。英語版　

My Novel Unforgettable' (This book is Dedicated to the future artist.)

 

Mitsushiro Nakagawa

All Translated by Yumi Ikeda .

www.fotolog.net/yuming/

   

1/9

www.flickr.com/photos/stealaway/24577016535/in/dateposted...

2/9

www.flickr.com/photos/stealaway/24209330259/in/dateposted...

3/9

www.flickr.com/photos/stealaway/23975215274/in/dateposted...

4/9

www.flickr.com/photos/stealaway/24515964952/in/dateposted...

5/9

www.flickr.com/photos/stealaway/24276473749/in/dateposted...

6/9

www.flickr.com/photos/stealaway/24548895082/in/dateposted...

7/9

www.flickr.com/photos/stealaway/24594603711/in/dateposted...

8/9

www.flickr.com/photos/stealaway/24588215562/in/dateposted...

9/9

www.flickr.com/photos/stealaway/24100804163/in/dateposted...

Fin.

  

images.

U2 - No Line On The Horizon Live in Dublin

www.youtube.com/watch?v=_oKwnkYFsiE&feature=related

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Title of my book : unforgettable'

Author : Mitsushiro Nakagawa

Out Now.

 

ISBN978-4-86264-866-2

in Amazon.

Unforgettable’ amzn.asia/d/eG1wNc5

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僕の作品。

 

1 www.flickr.com/photos/stealaway/48072442376/in/dateposted...

2 www.flickr.com/photos/stealaway/48078949821/in/dateposted...

3 www.flickr.com/photos/stealaway/48085863356/in/dateposted...

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あなたは僕の声を聞きたいですか？

:)

 

youtu.be/b1o6Xf-Mjhw

  

1

フリッカーへ投稿した写真の構図について。１種類目。

youtu.be/b1o6Xf-Mjhw

 

2

フリッカーへ投稿した写真の構図について。２種類目。

youtu.be/b1o6Xf-Mjhw?t=443

 

3

Fotologを始めた時について。 建築家の視点。

youtu.be/b1o6Xf-Mjhw?t=649

 

4

なぜ、今までカメラを手にしなかったのか？

youtu.be/b1o6Xf-Mjhw?t=708

 

5

何が一番かっこいいのか？　写真はありのままに。

youtu.be/b1o6Xf-Mjhw?t=776

 

6

現在のユーチューバーについて。僕も伝え、残したい。

youtu.be/b1o6Xf-Mjhw?t=964

 

7

日本人の写真家について。日本のユーチューバーはピストルズ。

youtu.be/b1o6Xf-Mjhw?t=1059

 

8

写真の構図は、感性。ミラノのデザイナーに会って。二つの質問。

youtu.be/b1o6Xf-Mjhw?t=1242

 

9

良い構図とは？　悪い構図とは？

youtu.be/b1o6Xf-Mjhw?t=1482

 

10

カメラを向ける時とは？　ファインダーやディスプレイを覗いていては遅い。

youtu.be/b1o6Xf-Mjhw?t=1662

 

11

家族写真。他人では撮れない。被写体の内面。

youtu.be/b1o6Xf-Mjhw?t=1745

 

12

ユーチューブの写真家について。カメラの技術等。感性は、本を読むことで磨く。

youtu.be/b1o6Xf-Mjhw?t=2144

 

13

日本の新聞について。良い新聞の写真はロイター。ダメな写真を見続けるとダメになる。

youtu.be/b1o6Xf-Mjhw?t=2305

 

14

日本の写真家について。その展示について。

まとめ。僕が書いた小説など。僕が最も伝えたいこと。

youtu.be/b1o6Xf-Mjhw?t=2579

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作品制作について 1/2

youtu.be/ZFjqUJn74kM

 

作品制作について 2/2

youtu.be/pZIbXmnXuCw

  

１　それまでの写真展。自分は行きたいと思ったか？

 

２　じゃ、自分が足を運んででも行きたい展示とは何か？

 

３　原宿デザインフェスタで個展を開くまでに、毎月ひとつの作品を展示することにチャレンジ。

 

４　作品とは、素材とシルエット。ファッションと似ている。

 

５　自分が好きなアーティストは誰か？　どんなものなのか？　そこをはっきりさせる。

 

６　コラージュの作成も写真の撮り方と全く同じ。インタビューに書いたように小説の書き方とも同じ。

 

７　誰かに見せたい、見せるがために作品は作らない。写真と同じように自分の部屋に飾りたい作品を目指す。

 

８　パクリとは何か？　昨今、叩かれるパクリ疑惑。ミメーシスとは？

 

　　https://ja.wikipedia.org/wiki/ミメーシス

　　https://kotobank.jp/word/ミメーシス-139464

  

９　個性とはなにか？　オリジナリティってなに？

 

おまけ　眞子さまについて

 

という流れです。

お時間がある方は是非聴いてください。

:)

 

www.youtube.com/user/mitsushiro/

 

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構図の解説２

 

1.構図の解説２ ... 1/4

youtu.be/yVbvneBIMs8

 

2.構図の解説２ ... 2/4

youtu.be/LToFez9vOAw

 

3.構図の解説２ ... 3/4

youtu.be/uTR0wVi9Z7M

 

4.構図の解説２ ... 4/4

youtu.be/h2LjfU6Vvno

 

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僕のシャッター感覚

 

youtu.be/3JkbGiFLjAM

 

In the Eurostar to Venice . 2005. shot ... 1 / 2

www.flickr.com/photos/stealaway/49127115021/in/dateposted...

 

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Miles Davis sheet 1955-1976.

drive.google.com/drive/folders/1vBRMWGk29EmsoBV2o9NM1LIVi...

 

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flickr.

www.flickr.com/photos/stealaway/

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YouTube.

www.youtube.com/user/mitsushiro/

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instagram.

www.instagram.com/mitsushiro_nakagawa/

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Pinterest.

www.pinterest.jp/MitsushiroNakagawa/

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YouPic

youpic.com/photographer/mitsushironakagawa/

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fotolog

www.fotolog.com/stealaway/

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twitter.

twitter.com/mitsushiro

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facebook.

www.facebook.com/mitsushiro.nakagawa

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threads.

www.threads.net/@mitsushiro_nakagawa

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Blue sky.

bsky.app/profile/mitsushironakagawa.bsky.social

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Amazon.

www.amazon.co.jp/gp/profile/amzn1.account.AHSKI3YMYPYE5UE...

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僕の統計（2025年5月12日現在）

フリッカー、ユーピクのアクセス数は？

 

Flickr 25,354,244 View

Youpic 8,533,634 View

 

x.com/mitsushiro/status/1921858836618481746

  

僕の統計。（2024年12月15日現在）

フリッカー、ユーピクのアクセス数は？

Flickr 24,260,172 View

Youpic 7,957,826 View

x.com/mitsushiro/status/1868185157909582014

 

僕の統計。（2024年8月1日現在）

フリッカー、ユーピクのアクセス数は？

Flickr 23,192,383 View

Youpic 7,574,603 View

 

僕の統計。（2024年2月7日現在）

フリッカー、ユーピクのアクセス数は？

Flickr 21,694,434 View

Youpic 7,003,230 View

 

僕の統計。（2023年11月13日現在）

フリッカー、ユーピクのアクセス数は？

Flickr 20,852,872 View

Youpic 6,671,486 View

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Japanese is the following.

drive.google.com/drive/folders/1vBRMWGk29EmsoBV2o9NM1LIVi...

 

Title of my book unforgettable' Mitsushiro Nakagawa Out Now. ISBN978-4-86264-866-2

 

Mitsushiro Nakagawa belong to Lot no.204_ . Copyright©︎2020 Lot no.204_ All rights reserved.

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” Lot No.402_ ” に関するお知らせ。

  

今後、僕は、” Lot No.402_ ”を主催します。

 

このロットナンバーは、眠っていたレオナルドダヴィンチの作品がオークションにかけらた際に付されたものです。

作品にはサインなどがいっさい記されていなかったため、彼の作品だと断定できませんでした。

しかし、様々な鑑定の結果、陽の光を浴びました。

誰にも気づかれない作品。肩書がなくとも静かに語りかける作品。

僕はこれから様々な形で、多くの皆様に提供できるよう努めてゆきます。

 

2020年10月24日 by Mitsushiro - Nakagawa.

 

Copyright©︎2024 Lot No.402_ All rights reserved.

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110/365 ...is blowin' in the wind. It was really stormy. Look how much the tree branches are moving!

answer on next photo...

La Jolla, San Diego, California.

 

Ever since I found out about this spot, I've been praying for a beautiful sunset. Today, my prayers have been answered. But I forgot to pray for there to be less photographers who took the prime spots before I arrived ;-( Just kidding. Amazing view for everyone to enjoy!

 

Tech Info:

Nikon D800E, Nikkor AF-S 16-35mm f/4G ED VR, Lee 0.6 GND and "Little Stopper" filters.

Post-processed in Lr 5.7 and Ps CS6.

Arseniya, Germany | soundcloud.com/jordanklassen/call-and-answer-jordan-klassen

bonjour voici mes photos préférées du dernier shooting .. laissez moi plein de messages je vous répondrai bisous Maéva

 

hello here are my favorite photos from the last shoot .. leave me lots of messages I will answer you kisses Maéva

time for some colour again

In an instant

She knew

Every answer

To every question

Why was she given

This burden

What was she to tell

The world

What is the point

Of life

If we know

Everything

Luckily

Molly has short term

Memory loss

And so it was

The burden was lifted

Ten minutes later

 

The End....or shall we say

The Beginning, again!

Lance Cpl. Jeremy Timms, acting desk sergeant with Security and Emergency Services Battalion, Marine Corps Base Camp Pendleton, responds to callers at the dispatch center on Camp Pendleton, California, April 17. The security services and first responders on Camp Pendleton are conducting daily operations as normal while taking precautions to prevent the spread of COVID-19. Dispatchers follow social distancing guidelines while at their individual workstations and wear face protection when forced to sit close. (U.S. Marine Corps photo by Lance Cpl. Melissa I. Ugalde)

from the series of „jazz“

Gary Burton & Pat Metheny: Question And Answer

 

Im Dortmunder Hafen

"Why are we having snow in April?"

garbage-embrace.com/

 

www.facebook.com/pages/Garbage-embrace/224508020989204?re...

 

Press "F" if you like it.

 

© jakeblues111185

 

watch this:

www.youtube.com/user/lifeinaday

Istanbul, 2014.