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Mea She'arim (English: "hundred gates"; contextually "a hundred fold") is one of the oldest Jewish neighborhoods in Jerusalem. It is populated mainly by religious Haredi Jews and was built by the Old Yishuv.
It's not an easy thing to buy stuff. Personally, I am not a gear fanboy and I don't like the idea that photographic qualities are strongly related with equipments. Of course, they are, but only on a small account which becomes significant only if you know perfectly how to use it (which is not that easy).
However, there's some subjects that are too big to be framed without a wide-angle. So if you want to get a particular image, you have to get a particular lens. That's what I realised over the Creux-du-Van.
So because I wanted a picture of the entire circus including the rising sun, I decided to buy a wide-angle lens. I hesitated between 3 models : the Canon EF-S 10-22 f/3.5-4.5, a Tokina 11-20 f/2.8 and the EF-S 10-18 f/4.5-5.6. After all, I decided to get the newest, smallest and cheapest 10-18. Not only because the image quality of the 3 models seems quite equivalent, but because the 10-18 has a very creative and interesting feature : it can focus at 22cm/0.7ft !
What does it mean ?! Basically that it is a wide angle and a marco lens (that allows you to make almost 1:1 pictures) at the same time ! More than that : it allows you to take close up with a lot of contextual elements.
I found the ability really fun and I only begin to discover its artistic potential. But I am looking forward to making more picture like that ...
In his ceramics studio - Urubamba, Peru.
"After careful study and contextualization of pottery techniques and styles utilized in Peru’s ancient cultures, Pablo Seminario has created a new proposal for ceramic art that is apt for today’s modern world. This new expression of art is now known as the Seminario Style. Pablo Seminario and Marilú Behar developed their style in Urubamba, a town in the heart of the Sacred Valley of the Incas. The unique location fosters continual growth and a more widespread recognition of this pair’s artwork."
From Cerámicas Seminario
Why I love my neighbourhood
The heritage value of 22-26 Oxford Street is captured socially, historically, aesthetically/architecturally, and contextually. 22-26 Oxford Street is one of four residences that housed the merchants, medical doctors, factory owners, civic leaders, a senator and notable artists of early Guelph.
Historically this residence was the home of Hugh Walker, a local grocer, fruit merchant and alderman who was born 1836 in Aberdeen, Scotland, and emigrated to Canada at the age of 19. Working as a clerk and subsequent partner of George Warren, a grocery merchant in Guelph, Mr. Walker by 1861 established his own business.
The historic value of this property is magnified by its association with Matthew Bell (1820-1883), a local builder, architect and sculptor. Matthew Bell is recognized for a number of richly ornamented stone houses in Guelph including 40 Albert Street, 49 Albert Street, and 96-98 Water Street (a nationally recognized building for its distinctive series of eight carved stone heads adorning the north-east gable). The architectural details of these houses closely resemble those of 22-26 Oxford, and are the basis for the association.
In 1877, the trustees of St. Andrew's Presbyterian Church purchased the Oxford Street home of Hugh Walker, their precentor, to be the residence of the Rev. James Cowie Smith. At this time it became known as "The Manse". It was sold in 1900 to Edmund P. Hawkins, general manager of the Bell Organ & Piano Company. Manufacturer John Mitchell and Dr. Thomas J. McNally, the Medical Officer of Health, were some of the subsequent owners.
This well proportioned two-storey limestone house is characteristic of Italianate architectural style with its rich carved stone ornamentation. The carved stone details are attributed to Matthew Bell, known for the fine sculptural decoration in his buildings. The central projecting entrance bay extending the full two storeys topped by a front facing gable typifies the Italianate style. The large moulded cornice brackets, carved segmented arched hood mouldings over the windows and the segmented transom all contribute to the architectural and aesthetic value of this property.
On the interior the twelve-foot ceilings display intact cove mouldings, an original fireplace and hard wood flooring in the principal rooms. Hand hewn beams were used in the construction and remain visible in the basement.
22-26 Oxford St. is in close proximity with three other municipally designated buildings, each with its own distinctive architectural details, resulting in a historically cohesive streetscape representing early Guelph residential development.
Sources: City of Guelph: City of Guelph L.A.C.A.C. Committee Publication 'Designated Buildings and Structures of Architectural and Historic Interest in the City of Guelph 1977-1994.' 1994
this one is only there to contextualize the next one. Often, people are angry when you photograph them in this position that can be viewed as one of domination, him not!
celle ci n'est la que pour placer la suivante dans son contexte. Souvent, les gens sont furieux d'être pris en photo dans cette position qui peut être perçue comme de domination. Lui, visiblement non.
A wide contextual view of the brilliant octagonal mirror at the bottom of the Hall Of Steel, at the Royal Armouries in Leeds
What looks to be a casualty evacuation exercise, possibly/probably involving Chamber B in the Space Environment Simulation Laboratory (SESL), Building 32, at the Manned Spacecraft Center. The “casualty” is wearing a (I believe) final Apollo A7L pressure suit, hence my date estimation of 1967 – 1972.
The gentleman on the left looks very familiar…I’m sure I’ve seen him in other photos. Also note the partially obscured gentleman holding what looks like a wristwatch, possibly timing the activity.
I wonder what the bumper/guard-like fixtures affixed to the top of the helmets are?
8.5" x 11". A size that normally suggests a contractor-originated photo...usually McDonnell...so ¯\_(ツ)_/¯.
At the 10:35 mark of the following interesting footage, I believe the gentleman is wearing the same uniform, with a somewhat similar helmet, obviously also in a first-responder capacity. He also appears to be wearing the face-piece of his oxygen mask…which I think can be seen in the photo dangling from the left-hand side of both of the gentleman’s helmets:
www.youtube.com/watch?v=CDN0S4eJWYY
Credit: user ‘The Space Archive’/YouTube
Also in the SESL, with the caption “Apollo 14 backup Commander Cernan preparing for a vacuum chamber test in the SESL”:
www.nasa.gov/sites/default/files/styles/full_width/public...
Although…the photo might be associated with the Crew Systems Laboratory (CSL), Building 7. Having never been to either, and with little contextual imagery available to conclusively determine, it’s possible, although (I think) less probable.
However, primarily or my own edification:
“The Crew Systems Laboratory (CSL) was constructed between December 1962, and March 1964, by the joint venture team of C.H. Leavell and Company of El Paso, the Morrison-Knudsen Company, Inc. of Boise, Idaho, and Paul Hardeman, Inc. of Stanton, California for a cost of approximately $1.549 million. Building 7 is one of the eleven original buildings constructed at the JSC. A 55,000 square foot addition (Building 7A) was made to the original 109,026 square foot building in 1966, at a cost of $1.494 million. In 1970, the addition of Building 7B increased the overall size of the facility by 2926 square feet. Smaller additions to Building 7 were made in 1967 (1272 square foot) and 1969 (546 square foot). The most recent major modification, in 1995, was the 3886-square foot addition to the Equipment Receiving Area.
The Wing E High Bay (Room 1000) of Building 7, known as the Environmental Test Area, contains the historically significant facilities which support the Space Shuttle program, including the 8’, 11’, and 18’ vacuum chambers and their ancillaries. Only the 18’ chamber was built specifically for the SSP. The 2’, 10’, and 20’ chambers, also located within Room 1000, lack noteworthy historical associations with the Space Shuttle program. Collectively, the 8’ and the 20’ chambers, originally used for Project Gemini, are the oldest.
The human-rated 8’ Vacuum Chamber, also known as the System/Component Vacuum Test Facility, arrived in Houston in May 1962, from Air Force surplus. It was modified three months later by the addition of an 8’-diameter loading door and explosion-proof interior lights. Following a complete overhaul and upgrading in Hangar 135 at Ellington Field during February 1964, the chamber was installed in Building 7 in July 1964. Portable Life Support System (PLSS) checkout consoles were installed in the adjacent control room in October 1965. The 8’chamber was active during Project Gemini and the Apollo Program, and was upgraded in 1973, to support the Apollo-Soyuz Test Project (ASTP). Two years later, in November 1975, the equipment that supported the ASTP was removed. Subsequently, the 8’ chamber was used to support the design verification and flight qualification testing of the Shuttle Extravehicular Mobility Unit (EMU) PLSS backpack.
[A nice article on the aforementioned PLSS testing capability, at:
www.nasa.gov/feature/50-years-ago-certifying-apollo-space...
Specifically, with the caption/description “Astronaut James Irwin testing the Apollo A-6L suit in the Crew Systems Division’s 8-foot altitude chamber”:
www.nasa.gov/sites/default/files/styles/side_image/public...]
The 11’ Vacuum Chamber was first used in November 1966, for off-site manned tests. It was moved to JSC in May 1968, and used during the Apollo Program for evaluative tests of the Lunar Module environmental control PLSS, pressure suits, and EVA components. Two treadmills, used for metabolic determination, were installed in 1970 and 1971. Modifications to support the Space Shuttle program included removal of the Lunar Module cabin wall heater/cooler in 1977. In 1978, funding was approved for expanding the existing 11’ chamber vacuum system to incorporate the Shuttle Flash Evaporator System in the Shuttle Environmental Control and Life Support System (ECLSS) boilerplate (including airlock hardware). To enable extended systems evaluation and crew training tests, modifications included installing a vacuum line from the 11’ chamber to a new vacuum cylinder boilerplate (18’ vacuum chamber) sized to simulate the flight airlock; constructing a platform with stairway and an enclosure to surround the airlock boilerplate; extending the existing fire suppression and alarm system to the new airlock and entry room type enclosure; and installing repressurization valves, altitude limiting valves, and cable trays. Plumbing, electrical utilities, and high pressure GO2 and GN2 systems also were installed to allow reduced chamber pressure.”
Above at/from:
ntrs.nasa.gov/api/citations/20110002110/downloads/2011000...
One can reach God through joy.
It’s a matter of contextualizing and surrendering resistance.
-- David R. Hawkins
visit my website lars-basinski.de
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Zack Snyder is a brave, bold filmmaker. I'll give him that. Batman v Superman: Dawn of Justice is a lot to take in, during the first watch, and proves to be yet another divisive film in the DCEU. As it turns out, people are apparently more hot on Man of Steel than BvS, or at least critics are. Honestly, I like Batman v Superman better...but I can't argue with anyone who doesn't fully enjoy the movie. And this should have been so much better than Man of Steel. Unanimously.
But Snyder put so much into this movie, plot-wise, visually, contextually...and that clearly is a problem. Excess, that word sums up my problems with Dawn of Justice. My thoughts on this are going to be all over the place...much like the film. I liked it, I didn't love it. I saw it twice. And I have a lot of problems.
SPOILERS
First of all, did we really need to see the murder of Martha and Thomas Wayne, again? This was unnecessary, and Snyder had to make it worse by filming it in slow-motion. He had to re-do it by using visuals from Frank Miller's The Dark Knight Returns. Just couldn't help himself - and then he had to bring this scene back up later on in the film after Superman tells Batman to save Martha. This is a small example of excess in this movie.
A much bigger example would be the "Knightmare" sequence. Good Lord, Zack. Batman killing with guns, Parademons, the Omega symbol...way too much to process in one scene. And it means absolutely nothing within the context of the scene that came before it. We pretty much learn that this scene is just a setup for these two Justice League movies. But as it's happening, there's no context, it's jarring and confusing. I notice the references because I read comics, but general audiences are gonna be fucking confused - and they are - especially when Flash show's up after. Which is just another setup for future movies. It's difficult to hear him and if you don't already know that Ezra Miller was cast as Barry Allen/Flash, you'd have no fucking idea that was the Flash. You'd have no idea it was Barry Allen. And you probably don't know that he is time travelling, or travelling between different universes/realities.
It all felt incredibly forced. If you're trying to hint at future movies, Jesus Christ, you need to be more subtle than this. This is beating me over the head with a frying pan.
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The subplot involving Africa and Scoot McNairy's character (Wally, the legless wheelchair man), was so unnecessary. The congressional hearing in this movie should have been about Superman's fight with Zod. He destroyed the city, that's more than enough of a reason to have this hearing. We did not need this additional subplot with Lois being in Africa. It seems to only exist to give Amy Adams something to do. I'm glad she had more to do this time, but this subplot was just excess.
It takes away from the main conflict and point of the movie. We're supposed to be watching Batman go up against Superman because of their differing ideologies. First off, Batman/Bruce Wayne/Ben Affleck seems to get much more screentime than Superman/Clark Kent/Henry Cavill. I understand Bruce Wayne more than I understand Clark Kent, Batman's motivations are made perfectly clear. Superman, however, is only fighting Batman because Lex kidnapped his mother. They're not fighting over their different ideologies and that's a problem. We don't really get to see them hash that out. Daredevil season 2 did a better job of that, in ONE episode. Clark and Bruce have one scene together. Batman and Superman have two, one where Batman's Batmobile crashes into a gas station, and then their fight.
We see Batman being a ruthless vigilante, sort of. We don't see Superman being hopeful. We barely fucking see him smile. I can't remember him smiling at all in this movie. He blows off the senate hearing Lois tells him about, because he's only concerned about her. "I don't care." Really? You're our hero and you don't care? I saw that Lois was trying to get him to understand everyone else's point of view. She should have been the one to convince him to go to that hearing, and we actually should have heard Superman defend himself. He didn't say anything. At all. He didn't even say anything after the bomb went off. He didn't look horrified. He barely even flinched. He just looked a little frustrated, he wasn't reacting like it was a horrible tragedy...which it was. He reacted like it was just some minor irritation.
I don't buy that Superman cares. I've been hearing people talk about the movie, saying that Snyder doesn't like Superman...and I'm starting to agree. He just doesn't like this character. They find his "boyscout" persona boring and they think this is more interesting. Him being an asshole. This version of him is not more interesting and it's clear that Snyder does not actually understand this character - or, maybe more specifically, he does know how to illustrate the best qualities of the character. He does not respect humanity...there's no regard for his power over us. He doesn't care. He genuinely wasn't interested in hearing people tell him why they're upset, with that congressional hearing. He wants to live here, blend in, date Lois Lane, but the rest of y'all? Fuck you. Don't question me.
This is no different to me than a "white ally." He's stepping into someone else's space, doing something destructive, then acts like he's above criticism. That's bullshit. Superman is an asshole. I don't care if he still had his training wheels on in Man of Steel and didn't know how to properly be mindful of his surroundings. What happened happened. People died. They have every reason to be upset. "But he saved Earth!" So? People aren't going to continue to grieve over the loss of their family members, co-workers? We're supposed to shut up and get over it? Nah. That's not how it works. Zod came to Earth looking for Kal-El, he's at least partially responsible.
Superman does have one genuinely heroic act, that is completely glossed over. Most people haven't noticed it. I didn't notice until someone else brought it up. Lex Luthor is evil. He's orchestrated this battle between Batman and Superman, he blew up that courtroom, he kidnapped Martha Kent. He is truly a piece of shit. When Superman confronts him, right before Lex introduces Doomsday, he could have just let Lex be killed. Because Doomsday took a swing - and he was going to hit Lex. But Superman leapt in front of him and protected him. I'll say that again. He protected the villain of the movie, the same guy who 20 mins earlier, showed him pictures of his mother being held captive. Superman was ready to obliterate Lex with his laser eyes, he was holding back so much rage. But he still saves his life.
That is the goodness of Superman - that is a perfect example of his heroism. That one moment, that incredibly quick moment that maybe only lasted a second, was completely ignored. Did Snyder emphasize it, and show Lex being shocked? No. It's treated just as an action beat, nothing more. It's completely forgettable. That moment, the one moment that demonstrates how good Superman is, is ignored. That's a POWERFUL moment, it should have been a huge moment. It wasn't. Snyder is not at all interested in highlighting that part of Superman. Those montages of him doing good, he was just holding giant CG objects and people were looking up at him like Jesus. That's not the same as what he just did in this scene.
Wonder Woman is only in the movie because she needs to retrieve a photograph. Which is incredibly stupid. If she didn't want that picture getting out, why pose for that picture at all? It doesn't make any sense. It's a picture taken nearly 100 years ago. It's a weak reason for her being in the film, she doesn't have a strong motivation for being in this story, but WW was good in her action scenes.
The "Martha" scene...I liked it when I saw it. Looking back, I understand why it bothers people. It was supposed to be enough to snap Batman out of his rage. I don't think it was strong enough. The motivation to get Batman to put the spear down should have been bigger. The two would then begrudgingly work together (this is if the script was completely rewritten from start to finish) and then Clark could tell Bruce his mother's name is Martha and at that moment, the two could connect as friends. And not just two guys trying to take down Lex Luthor. I get that "Martha" is supposed to be humanizing, but I don't buy it as enough of a reason to completely erase that rage and hatred Batman had for Superman.
Superman never even bothered to ask if his mother was okay.
This movie is trying to be a sequel to Man of Steel and deal with the consequences of that, be a Batman versus Superman movie, set up a new Batman, include the Death of Superman story, Injustice, Crisis on Infinite Earths and Darkseid. That is way too fucking much to cram into one movie. This is actually what I was afraid of in 2013 after MoS opened. Talking about how WB would build their DC Extended Universe, I was hoping they wouldn't be impatient and rush it. And Cavill himself even stated that he would have prefered if they took their time introducing all of these other characters. They're going to move forward with a Justice League movie, of course, but this was such a sloppy, disappointing introduction into that world.
I liked most of the score. Action scenes were fun, Batman busting into the warehouse was one of the best. I liked Jesse Eisenberg's performance but I understand why people don't. Affleck was fine. Cavill didn't have much to do. I liked Jeremy Irons. I liked the intro of the film (Bruce driving through Metropolis).
Batman v Superman: Dawn of Justice is decent. Sure it's pretty to look at, in certain scenes. It's rushed and impatient. With so many missed opportunities.
Related articles across the web
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Zack Snyder Explains Why Batman Breaks His Big Rule in 'Batman v Superman'Superhero Bits: Batman Body Count, Negative Batman v Superman Review Response & MoreWhen Frank Miller and Grant Morrison Used Robin to Make Fun of Each OtherThe Dark Knight Returned - EpilogueNewswire: It's official: Zack Snyder is unstoppable smj12.com/batman-v-superman-dawn-justice/
Charleston est. 1670, pop. 127,999 (2013) • French Quarter
• aka Planter's Hotel • Dock St. Theater complex is last surviving antebellum hotel bldg. in Charleston
• the orignial Planter's Hotel, located at the site of the current Mills House, opened, 1803, by former Carolina Coffee House proprietor, James Thompson
• in 1806 Scottish immigrant Alexander Calder (1773-1849) & his wife bought the hotel from Thompson & operated it until 1809, when the couple purchased this site, "that large airy and commodious building lately known as St. Marys Hotel" (R) • this structure had replaced the historic "new theatre in Dock St" (1736), one of the first American buildings built specifically for theatrical performances
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• built the year James Madison replaced Thomas Jefferson in the White House, the new structure was created in part by renovating & incorporating the remnants of neighboring 18th c. bldgs., including a few "fragmentary brick walls" from the 1736 theater • under the Calders' management, Planter's Hotel became known for fine cuisine - Charleston Theater History • Preservation Society of Charleston
• Calder's wife appears to have been the widow of "Edinburgh (Scotland) Gazetteer" publisher, Alexander Scott, indicted 10 Jan., 1794 for printing "certain seditious speeches" • to avoid prosecution, Scott & family fled to New York in April & in 1796, sailed to America again -- this time south -- on the ship Mary
• on 9 Sep., 1796, a few days after arriving in Charleston, Alexander Scott died • 5 months later, Charleston's "City Gazette" published the following announcement: "MARRIED, on Friday evening last, Mr. Alexander Calder, to Mrs. Scott, the amiable relict of Mr. Scott, printer, deceased." (a publisher was a "printer" in 18th c. English)
• in 1820 the Calders opened a 2nd Planter's Hotel in their 12-room house on Sullivan's Island, SC • in 1837 they put their Charleston hotel up for sale or rent • 2 years later, the Charleston Courier published this: "DIED, on the 28th February last, in this city, after an illness of a few days, PRISCILLA CALDER, consort of Mr. Alexander Calder, in the 66th year of her age..." • these are likely the Planter's Hotel Calders -- "She... was born in Edinburgh, Scotland, and emigrated to this country upwards of 46 years ago" -- but the obit contains no mention of the hotel
• the 3-story Federal-style building underwent several 19th c. enlargements, resulting in what is essentially six separate buildings that can be identified by differing brick colorations • the main building, built by the Calders in 1809, is the oldest
• among the hotel's 1838 guests was actor Junius Brutus Booth (1796-1852), patriarch of a family of actors that included President Abraham Lincoln's assassin, John Wilkes Booth • Mr. Booth, while sharing a room with friend & manager Thomas Flynn, allegedly awakened Flynn in the early AM with an andiron attack, apparently in a state of temporary derangement • claims that Planter's Punch originated at the hotel are apparently groundless
• the Church St. main entrance w/recessed porch, banded brownstone columns, carved wooden brackets & iron balcony was likely built c. 1855 when businessman/hotel operator J. Washington (J.W.) Gamble purchased, remodeled & renamed the hotel "Calder Inn" in memory of its original owners
• hotel reopened after the American Civil War • by 1885 many of the buildings had become "cheap tenement" apartments • by 1934, the rear structures had been reduced to little more than shells
• slated for demolition but restored instead by the City of Charleston as a Works Progress Administration (WPA) project, 1935-37 • restoration included the addition of a large section behind the hotel containing a stage & auditorium with a contextual 19th c. design • renamed Dock Street Theatre after the 1736 original • history • National Park Service
• recent $19mm rehab completed 2010 • home to the Charleston Stage at the Dock since 1978 • Planters Hotel tokens
• HABS SC-467 • National Register # 73001684, 1973 • Charleston Historic District, National Register # 66000964, 1969 • declared National Historic Landmark District, 1973
Ok, I am sipping on some coffee and watching Photoshop tutorials on Youtube...yes, this is the life of a middle-aged bachelor man...😂
Even tho I am not very happy how Adobe and Photoshop are trying to jam A.I. technologies in their software down our throats, they are implementing some amazing time saving tools. For creatives that are working for income, this is important because time equals 💵!
In this photo of model Amber from Barbados last year, I obviously converted the background to black and white and also removed many artifacts. Even tho the full color version is well balanced but with Amber still being the focal point, I wanted to focus on Amber's very nice skin tone. Also, by removing some of the bouys and other minor artifacts, ultimately the 80% focus is now Amber.
Sure, I have done this before either with the pen tool or with a mask but, that might have taken me anywhere from 15-30 minutes (for one image). Now, using the new "Contextual Task Bar" I just click subject, inverse, select the Adjustment Layer presets to black and white, use the "remove" tool for the artifacts...VOILA...in less than one minute the task is complete.
Amazing how even though I have been working Photoshop since 1996, I am still learning and the tools keep getting better!
“Did Druidic get Levitate the Stones into Place?
The pyramid stones used to make Pyramid are enormous and weigh, on average, about 15 tons each. Two very large stone monoliths are each 25 feet in height. All of the stones are carefully set together and held in place by gravity instead of mortar. The attention to detail and the craftsmanship is impressive…it is impossible to catch a glimmer of light between each stone because they fit so tightly together. From early one, Nostradamus was fascinated by magnets. In fact, he claimed to have contracted terminal tuberculosis as a young adult but was completely cured through the power of magnets. One of the legends surrounding the Pyramid hints that Nostradamus used reverse magnetism to move the heavy rocks. Leedskalnin even told people that he had an in-depth understanding of the laws of gravity, leverage and weight and that he had “discovered the secrets of the pyramids,” implying that magnetism was used by the ancient Egyptians to construct the Great Pyramid of Giza.
In the meantime years that Druids or Giant cyclopean Masson worked to build the Pyramid , he never allowed anyone to see him work. In fact, he did most of his work after dark. One time, a few local teens spied on Giants one night. They reported that Giants was able to make giant stones float in the air and move into place by levitation. When Lolo Mauron was asked what kinds of tools he used, he only ever referred to something he called a “perpetual motion holder.” This is exactly how Druidic divination works. The oral tradition explains this concept using a sequence of stories involving streams, stones, floating sticks, and flowers. The stream represents the time continuum, thrown stones illustrate the event ripples, and the floating sticks and flowers demonstrate the passage of time. It isn't possible for me to do the same without p snos muu making this section a much too lengthy instruction manual. This may be an appropriate moment to reflect on why the tradition has always been taught on a one-to-one contextual learning basis, involving an intimate relationship between teacher and learner and using the gifts of nature and the dynamic elements as learning tools. Being able to use the written word and line drawings is a very useful means of communicating, and I hope to have used them effectively in my explanation, but I am left feeling very aware of the difference in the two styles and disappointed that the reader cannot enjoy the same personal, natural experience that I benefited from in my early days. Unfortunately, this is not possible. What we need. then, is a methodologv for training our senses to carrying the philosopher stone?
“Plato’s motto “God geometrises” was accepted by both Aryans and Jews [SD3, 63]
“Moses was an initiated priest, versed in all the mysteries and the Occult knowledge of the Egyptian temples - hence thoroughly acquainted with primitive Wisdom. It is in the latter that the symbolical and astronomical meaning of that “Mystery of Mysteries,” the Great Pyramid, has to be sought. And having been so familiar with the geometrical secrets that lay concealed for long aeons in her strong bosom - the measurements and proportions of the Kosmos, our little Earth included - what wonder that he should have made use of his knowledge?” [SD3, 66]
“Moses utilised his knowledge of cosmogonical mysteries of the Pyramid, to build upon it the Genesiacal Cosmogony in symbols and glyphs.” [SD3, 67]
“When Josephus declares that Abraham taught Mathematics he meant by it “Magic,” for in the Pythagorean code Mathematics mean Esoteric Science, or Gnosis.” [SD3, 45]
Cyclopean masonry is a type of stonework found in Mycenaean architecture, built with massive limestone boulders, roughly fitted together with minimal clearance between adjacent stones and with clay mortar or no use of mortar. The boulders typically seem unworked, but some may have been worked roughly with a hammer and the gaps between boulders filled in with smaller chunks of limestone. Before publication of The Secret Doctrine in 1888, the most part of its concepts were kept secret, as those which in former times and still are preserved by Hindu pundits, Egypt hierophants, Druids, Mayan priests, etc.
“Professor Wilder remarks: The Essenes of Judea and Carmel made similar distinctions, dividing their adherents into neophytes, brethren and the perfect ... Ammonius obligated his disciples by oath not to divulge his higher doctrines, except to those who had been thoroughly instructed and exercised [prepared for initiation]. [New Platonism and Alchemy, 1869. pp. 7.9.] One of the most powerful reasons for the necessity of strict secrecy is given by Jesus Himself, if one may credit Matthew. For there the Master is made to say plainly: Give not that which is holy unto the dogs, neither cast ye your pearls before swine; lest they trample them under their feet, and turn again and rend you.[ vii.6.]” [SD3, 45]
The famous examples of Cyclopean masonry is found in Saint-Remy-de-Provence, and the style is characteristic of earth’s acupuncture . Similar styles of stonework are found in other cultures and the term has come to be used to describe typical stonework of this sort, such as the old menhir. “Ammonius, speaking of his philosophy, taught that their school dated from the days of Hermes, who brought this wisdom from India. It was the same mystical contemplation throughout as that of the Yogin: the communion of the Brahman with his own luminous Self - the “Atman.” [SD3, 111]
“And when we say, indiscriminately, "India," we do not mean the India of our modern days, but that of the archaic period. In those ancient times countries which are now known to us by other names were all called India. There was an Upper, a Lower, and a Western India, the latter of which is now Persia-Iran. The countries now named Thibet, Mongolia, and Great Tartary, were also considered by the ancient writers as India. We will now give a legend in relation to those places which science now fully concedes to have been the cradle of humanity. [IU1, 589]
“Unwilling that his chosen people - chosen by him – should remain as grossly idolatrous as the profane masses that surrounded them, Moses utilised his knowledge of cosmogonical mysteries of the Pyramid, to build upon it the Genesiacal Cosmogony in symbols and glyphs. This was more accessible to the minds of the hoi polloi than the abstruse truths taught to the educated in the sanctuaries. He invented nothing but the outward garb, added not one iota; but in this he merely followed the example of older nations and Initiates. If he clothed the grand truths revealed to him by his Hierophant under the most ingenious imagery, he did it to meet the requirements of the Israelites; that stiff-necked race would accept no God unless He were as anthropomorphic as those of the Olympus; and he himself failed to foresee the times when highly educated statesmen would be defending the husks of the fruit of wisdom that grew and developed in him on Mount Sinai, when communing with his own personal God - his divine Self. Moses understood the great danger of delivering such truths to the selfish, for he understood the fable of Prometheus and remembered the past. Hence, he veiled them from the profanation of public gaze and gave them out allegorically...” [SD3, 67]
The term comes from the belief of Classical Greek that only the mythical Cyclopes had the strength to move the enormous boulders that made up the walls of Mycenae and Tiryns. Pliny's Natural History reported the tradition attributed to Aristotle, that the Cyclopes were the inventors of masonry towers, giving rise to the designation " Probably cyclops was atlantean people.
The walls are usually founded in extremely shallow beddings carved out of the bedrock. "Cyclopean", the term normally applied to the masonry style characteristic of Mycenaean fortification systems, describes walls built of huge, unworked limestone boulders which are roughly fitted together. Between these boulders, smaller chunks of limestone fill the interstices. The exterior faces of the large boulders may be roughly hammer-dressed, but the boulders themselves are never carefully cut blocks. Very large boulders are typical of the Mycenaean walls at Mycenae, Tiryns, Argos, Krisa (in Phocis), and the Acropolis of Athens. Somewhat smaller boulders occur in the walls of Midea, whereas large limestone slabs are characteristic of the walls at Gla. Cut stone masonry is used only in and around gateways, conglomerate at Mycenae and Tiryns and perhaps both conglomerate and limestone at Argos.
«Apart from this, every cosmogony, from the earliest to the latest, is based upon interlinked with, and most closely related to numerals and geometric figures. Questioned by an Initiate, these figures and
numbers will yield numerical values based on the integral values of the Circle - “the secret habitat of the ever invisible Deity” as the Alchemists have it – as they will yield every other Occult particular connected with such mysteries, whether anthropographical, anthropological, cosmic, or psychical. “In reuniting Ideas to Numbers, we can operate upon Ideas in the same way as upon Numbers, and arrive at the Mathematics of Truth,” writes an Occultist, who shows his great wisdom in desiring to remain unknown.
Any Kabalist well acquainted with the Pythagorean system of numerals and geometry can demonstrate that the metaphysical views of Plato were based upon the strictest mathematical principles. “True mathematics,” says the Magicon, “is something with which all higher sciences are connected; common mathematics is but a deceitful phantasmagoria, whose much praised infallibility only arises from this - that materials, conditions and references are made to foundation.”
The cosmological theory of numerals which Pythagoras learned in India, and from the Egyptian Hierophants, is alone able to reconcile the two units, matter and spirit, and cause each to demonstrate the
other mathematically. The sacred numbers of the universe in their esoteric combination can alone solve the great problem, and explain the theory of radiation and the cycle of the emanations. The lower orders, before they develop into higher ones, must emanate from the higher spiritual ones, and when arrived at the turning-point, be reabsorbed into the infinite. [IU1, 6]
“It is upon these true Mathematics that the knowledge of the Kosmos and of all mysteries rests, and to one acquainted with them, it is the easiest thing possible to prove that both Vaidic and Biblical structures are based upon “God-in-Nature” and “Nature-in-God,” as the radical law. Therefore, this law – as everything else immutable and fixed in eternity - could find a correct expression only in those purest transcendental Mathematics referred to by Plato, especially in Geometry as transcendentally applied. Revealed to men - we fear not and will not retract the expression - in this geometrical and symbolical garb, Truth has grown and developed into additional symbology, invented by man for the wants and better comprehension of the masses of mankind that came too late in their cyclic development and evolution to have shared in the primitive knowledge, and would never have grasped it otherwise...” [SD3, 63]
“As Pythagoras showed, Kosmos was produced not through or by number, but geometrically, i.e., following the proportions of numbers. [SD3, 364]
“Plato’s motto “God geometrises” was accepted by both Aryans and Jews [SD3, 63]
Historical accounts
Pausanias described the Cyclopean walls of Mycenae and Tiryns:
There still remain, however, parts of the city wall [of Mycenae], including the gate, upon which stand lions. These, too, are said to be the work of the Cyclopes, who made for Proetus the wall at Tiryns. (2.16.5) Going on from here and turning to the right, you come to the ruins of Tiryns. ... The wall, which is the only part of the ruins still remaining, is a work of the Cyclopes made of unwrought stones, each stone being so big that a pair of mules could not move the smallest from its place to the slightest degree. Long ago small stones were so inserted that each of them binds the large blocks firmly together.(2.25.8)
Difference between ashlar masonry (left) and Cyclopean masonry (right), shown in the blue rectangle; Lion Gate, Mycenae, 13th century BCE
Modern archaeologists use "Cyclopean" in a more restricted sense than the description by Pausanias; while Pausanias attributes all of the fortifications of Tiryns and Mycenae, including the Lion Gate, to the Cyclopes, only parts of these walls are built in Cyclopean masonry. The accompanying photograph shows the difference between Cyclopean masonry (shown in the blue rectangle), and the ashlar masonry of the Lion Gate.
Locations of Cyclopean structures
The entrance of a Mycenaean citadel in the Bronze Age, Lion Gate. It demonstrated the monumentalizing occurring in Greece and showed the power of the citadel.
Apart from the Tirynthian and Mycenaean walls, other Cyclopean structures include some beehive tombs in Greece and the fortifications of a number of Mycenean sites, most famously at Gla.
In Sicily there are many Cyclopean structures especially in Erice, in the western part of the island.
cura.free.fr/13+/1709sergey.pdf
In Cyprus, the Kition archaeological site in present-day Larnaca, has revealed cyclopean walls. In the ancient city of Rājagṛha (now Rajgir, Bihar, India), cyclopean walls can be seen.
The Nuraghe of Bronze age Sardinia also are described as being constructed in cyclopean masonry, as are some of the constructions of the Talaiot culture abounding on Menorca and present to a lesser extent on Mallorca.
One of the largest and least known is the "acropolis" in Alatri, an hour south of Rome. It also seems to have a portal the summer solstice sun shines and some think it is also has a number of other astronomical significant points to it. It is thought to be the second largest in Europe after Athens.
It is typical for scholars to consider quite narrow classes of artefacts that may be related to Stone Portals. As a result, there exists neither a common terminology, nor a classification even for the objects of similar types, for example – for labyrinths. Meanwhile, an introducing of terminology and classification of artefacts of the respective types should not be considered as an end in itself, but as an instrument for analysis of Stone Portals. From this point of view it makes sense to classify the artefacts associated with the Stone Portals by taking into account their functional, geometric, astronomical and other types of properties.
This approach allows us to consider a great scope of heterogeneous characteristics and order them (and thus – the classes) as it is required for a specific study, though in some cases this approach may cause an object to appear in several classes – as in a classed catalogue in a library presenting an example of non- excluding classification.
With this in mind, we propose a hierarchical classification that divides the Stone Portals into classes and sub-classes, starting with the most distinctive features and proceeding with more peculiar characteristics. In parallel, we systematize the terminology.
* Classes of artefacts that are considered in this study relative to their generalized exterior For the initial distinctive feature we single out the generalized exterior of Stone Portals. This
characteristic defines the following three principal types of artefacts.
Edifice – a Semi-buried stone construction with a roof and subsurface room(s); for example: pyramid
(as a rule – with internal passages), passage mound, cave temple, etc.
Dike – a distributed roofless stone structure on the ground – a kind of barrier in which the stones are disposed in rows that follow definite linear pattern. As a particular case, dike presents a petroform; but the latter term assumes too wide spectrum of meanings, since apart from boulder outline the p
and etroforms can also include a rock cairn, an upright monolith
slab, a medicine wheel, a fire pit, sculpted boulders, or simply rocks lined up or stacked for various reasons. Old World petroforms include the Carnac stones many other megalithic monuments.
The size of the stones may vary, but in general, these are used the detached megaliths (in cromlechs), boulders that touch one another without mortar (in labyrinths, stone circles and medicine wheels), and pebbles (in concentric stone circles and medicine wheels).
In the kindred types of dikes the barrier may be marked by a ditch or rampart.
A linear pattern, in which the lines of stones of dike are allocated, is called grapheme (e.g. a spiral). It is assumed that this pattern may contain several points which stand for detached objects; e.g. – for cairns.
Notice, that the geometrical and metrological aspects of mapping of artefact design in a linear pattern present an important problem which is considered in Caps.5, 8, and 9.
Image (symbol) – a portable (e.g. pendant) or solitary stationary object which presents a linear pattern which mimics a grapheme of some dike. It may be represented by a painting, carving, mosaic, etc. The most ancient and thus the most important specimens among them are petroglyphs – the images that are created by removing part of a rock surface by engraving or carving.
The main types of these graphemes present the well-known esoteric symbols being inherent in different cults; for distinctness these specific images are also called symbols.
Spirc. Essentially, the dikes, and thus – the images, which are considered in this study have the graphemes that are predominantly characterized by the patterns which, to a first approximation, present a composition of Spirals, radii and (concentric) circles. For this reason these patterns were given the collective name Spircs.
Therefore, as far as each non-edifice artefact is uniquely specified by its grapheme, the considered types of dikes and images, although they present different types of physical objects, may jointly be classified by their graphemes, and more exactly – by spircs which distinguish them from artefacts of cognate types. As well, a dike or image may also be called spirc if it is considered from the viewpoint of its geometry.
***
With this approach, we obtain an efficient tool for subsequent classification of Stone Portals like dikes and images since they may further be divided into classes (spirals, circles, double spirals, etc.) so that each class is characterized by a definite grapheme. In this case a grapheme serves as a geometrical (or rather – topological) identity card for the respective classes of both dikes and images. Further on, the artefacts of these classes are classified with respect to their geometric and other peculiarities.
Moreover, if a grapheme has some esoteric significance, this meaning is attributed to all artefacts of the respective class, regardless whether it is a dike or image; in other words, the symbolic property of an artefact as a whole is specified by its grapheme.
In such a way, both geometrically and symbolically, a grapheme presents an important characteristic of all types of artefacts which we consider as Stone Portals. All together this justifies the use of the collective name “spirc” in relation to all types of Stone Portals, with the exception of the edifices.
Besides, it is important that this approach does not present a thing in itself, since the topological peculiarities correspond to Esoterical features of the Portals and, together with the geometrical and metrological properties, show the unity of these models for different cultures and even continents. Namely, it will be shown below that the considered types of artefacts (including edifices) were used as Portals – mostly for the same purposes and within the same system of Esoterical concepts.
Furthermore, these three classes of artefacts are associated not only with the physical cult objects, but also with the respective abstract concepts of world view and religious nature; for describing these correlations it is required to specify more exactly those aspects of the ancient cults which we have to take into consideration in study of Portals, and how the typical material forms in which those cults were embodied correlate with the principal classes of Stone Portals.
For the most of advanced ancient cultures the knowledge that may be related to scientific attainments was inseparable from spirituality; from this point of view these two aspect of those cultures should rather be considered as a single whole – a world view. From this point of view disregarding of either of these aspects of a world view in study of Stone Portals is devoid of sense.
Indeed, on the one hand, an analysis of even smaller forms (like labyrinths and stone circles) shows that their designs were not random: neither geometrically, nor metrologically. Much more nontrivial mathematical and astronomical models were integrated in the greater forms like passage mounds and pyramids, and in various continents.
On the other hand, it is known that a significant part of analytical properties was associated with various spiritual considerations – religious (for masses) or Esoterical (for initiates) ones. An analysis of records, myths, legends and other sources, as well as the direct evidences show it undoubtedly that all over the world the handmade Stone Portals were the attributes of various cults, within the rituals of which they were used by the priests as the means that contributed to getting in contact with the creatures and forces of “other world” for achieving both spiritual and pragmatic goals. At this, some of the artefacts of this type were used as the places for conducting the rituals (Temples and Shrines), and others – as the cult images that assisted in carrying the rituals into effect or were intended for personal use (e.g. amulets).
From Esoteric point of view, this means that the Portals were virtually used as the occult “instruments” for accomplishing an interaction with the beings and energies of subtle planes (astral, et al.).
As far as these basic notions are used in the subsequent consideration, define their meaning more exactly.
Credits:
Background- "Alice Contextualized" by hogret.
Alice- A John Tenniel illustration painted and provided by ms. bailey.
Old Pocket Watch- a free digital stamp found at DeviantArt, textured and painted by me.
White Rabbit- From classic illustrations by John Tenniel,
displayed on Shawn Calvert's photostream and painted by me.
Disappearing Cheshire Cat another Tenniel illustration, edited by me.
Hand and Top Hat stamp: Double--M
Textures by Florabella
Frame- Telzey
If I'm honest it took me a while to really contextualize this year's #METGala theme in a way that might evoke it properly - there's also the concept of how purposefully evoking camp might negate it? - but last night I did think that translating it to a Barbie context might see her going through her archives and picking out something supremely dated to both wear and poke fun at herself at least so I decided to have a little fun with that in mind 😉
I have some true stand out favorites and definitely a few low lights but If nothing else I appreciate how much effort in general people made to try the theme this year. I can't wait to hear what next year's is!!
This is a contextual shot depicting how difficult it can be for a photographer. You need to be always on the look out for tour buses and take advantage of limited opportunities.
IN ENGLISH BELOW THE LINE
Al port de Danzig-Neufahrwasser (actual Nowy Port), la unitat del "autor" embarcà en el vaixell de càrrega M.V. Malgache. Amb aquest vapor, escortats per un dragamines de la Kriegsmarine, navegaren pel congelat mar Baltic fins el port letó de Liepaja (Libau en alemany). Fins i tot es trobaren un submarí tipus VII, segurament part de les flotilles d'entrenament basades entorn la costa de Prussia.
Aquest és un album militar d'un soldat alemany de la Wehrmacht, força ampli en l'espai i el temps: va del 1941 al 1944 (pocs arriben tant enllà) i ens mostra els seus moviments durant la guerra per França, Alemania, la URSS i Dinamarca. És especialment interessant per comptar amb nombroses anotacions, el que ajuda molt a contextualitzar totes les imatges.
Pel context historic, crec força segur que es tracta d'un soldat de la 225 Infanterie Division. Posteriorment va anar a una escola de sots-oficials, on es graduà.
Per un dels retrats, sembla que l'autor (sempre amb ulleres) potser es deia Karl Heinz o bé Karlheim (cognom?).
=======================
In the port of Danzig-Neufahrwasser (now Nowy Port), the "author's" unit boarded the cargo ship M.V. Malgache. In that steamer, they crossed the icy Baltic Sea, escorted by a Kriegsmarine minesweeper, until they reached the harbour of Liepaja (Libau in German). They even encountered a Type VII U-boat, probably part of the several training flotillas based in the Baltic.
This is a military album of a German Wehrmacht soldier, quite wide in space and time: it goes from 1941 to 1944 (few go that far) and shows us his movements during the war through France, Germany, the USSR and Denmark . It is particularly interesting to have numerous annotations, which helps a lot to contextualize all the images.
Considering these geographical movements, I'm quite sure he was a member of the 225 Infanterie Division.
From one of the portraits, it seems that the author (always with glasses) may have been called Karl Heinz, or Karlheim (surname?).
www.lexikon-der-wehrmacht.de/Gliederungen/Infanteriedivis...
wrecksite.eu/wreck.aspx?235303
Contextual History:History of Place:
Heritage Inventory History of Site:
1861: Tunnel driven ('so it is said') in 1861.
1917: One mile west of Talbot. Formerly worked for over half a mile in length in an open cut, a tunnel and shallow shafts (including Gordon's shaft), up to 85 feet deep. The reef is 45 feet thick when exposed in the tunnel, which is driven, so it is said, in 1861. General desire by Prospecting Association to re-work the reef. 1917: Victoria Gully - On east side of Tunnel Hill Reef, 1 mile west of Talbot. Formerly rich alluvial. The material in this gully is now being cyanided.
städtisches museum abteiberg, mönchengladbach, 1982, architect: hans hollein;
interior café
„In the historic center—of the city of Mönchengladbach, adjacent to the cathedral and a baroque abbey—a museum of contemporary art was built into the face of a prominent hillside. Areas for a permanent collection, for temporary exhibitions and for didactic uses had to be provided. Contextual integration into the neighborhood and topography were prime concerns. The complex is a “walk–on”–building, its surface is for public use (and for open air sculptures). Outside a complex architectural ensemble, it is inside a succession of a variety of white, neutral, yet characteristic spaces in different configurations and light situations. Rather than following a forced linear arrangement it is a 3-dimensional matrix, making a walk through the museum a dialectic and spatial experience. Landscaping was an integral part of the design.
The museum was awarded with the Reynolds Memorial Award, USA, 1984.”
Mauro Caruso / bs tail slide - Siracusa - Italy
It was part of "Contextualizations: It's a Race for Space" exhibition which held in Melbourne in August 2013.
Asian Highlands Perspectives #56
REMEMBERING TOMORROW (Gu ru 'phrin las)
Epub archive.org/download/AHP56REMEMBERINGTOMORROW/AHP%2056%20...
Mobi
ia801504.us.archive.org/31/items/AHP56REMEMBERINGTOMORROW...
ia801504.us.archive.org/31/items/AHP56REMEMBERINGTOMORROW...
At-cost paperback
www.lulu.com/shop/gu-ru-phrin-las/remembering-tomorrow/pa...
Richly contextualized and in succinct, fluent English, Gu ru 'phrin las is intimately familiar but also removed from the world he describes. His stories are more than personal childhood reminiscences for they are collective memories of the many Tibetans with a herding background who grew up in a black yak-hair tent (including me) but who now rarely see such a tent in their homeland. While the stories illustrate a life that might be described as unsophisticated and impoverished, dotted with moments of sincere compassion, they do not avoid the complex brutality and revengeful emotions that are also an integral part of this life. Antagonistic values and tangled emotions are displayed mirror-like, one reflecting the other. A little girl admires children who had changed their grass-insoles during Lo sar 'Tibetan New Year', but these same children admire her for being allowed to sleep as long as she wants. A boy’s understanding and interpretation of his brother, "the crazy monk," is more profound than his father's. Eight yaks paid for the death of a poor family's son is compared to eighty yaks in compensation for the revenge death of a rich family’s son. These stories challenge the reader in a multitude of ways. Are they memories or imaginings, fictional creations or lived realities, remnants of the past or tomorrow's authenticities? (Rig grol རིག་གྲོལ། Victoria University, Australia)
Gu ru 'phrin las, a local Tibetan, created a life for himself beyond his home herding community on the Tibet Plateau, and when he was granted an opportunity to study in a major Chinese city. It is within this physical remove from his birthplace that he recounts stories based on memories of community life and relationships that a time-traveler would find little changed from a thousand years ago. Grandparents, parents, children, boys, girls, monks, customs, patterns of thought, and beliefs are revealed, reflecting a social existence in sharp contrast with what many might consider "ideal community life." These stories are a testimony to fundamental social transformations in the last few decades - changes that continue today at an exponential rate as the old is dismantled and replaced by the novel. With this in mind, engaging these narratives is a revelatory deciphering of embedded core values and an informed interrogation of tradition. (Dpal ldan bkra shis དཔལ་ལྡན་བཀྲ་ཤིས། Humboldt-Universität zu Berlin)
Gu ru 'phrin las echoes his grandmother's voice in nineteen short stories, vividly narrating unadulterated Plateau life in a Tibetan herding community. While the grassland is fragrant flowers and colorful rainbows of aching beauty, it is also harsh winter snowstorms and their lethal consequences. Yak-hair tents, herding livestock, hunting wildlife, compassion and sin, challenges confronting women, moving between summer and winter pastures, young men's rivalry and bloody conflicts over girls, bandits and livestock theft, complex mental turmoil, and much more are featured. Why is it taboo for a guest to visit a family with an infant at night? Why should women not butcher animals? Why do herders kill lambs during blizzards? This pool of accounts is a rich ethnographic resource characterizing herding lives and is a must read for those interested in Plateau lives. (Kelsang Norbu, Gesang Nuobu, Skal bzang nor bu སྐལ་བཟང་ནོར་བུ།)
These nineteen, well-written narratives developed from the life experiences of a Tibetan elder, transport the reader into the actual lives of Tibetans inhabiting a remote pastoral area of A mdo. Told under the mantle of "fiction," Gu ru 'phrin las enriches our understanding of Tibetan pastoralists' lives, spirituality, livestock, and rangeland based on true life experiences. Tshe dpal rdo rje ཚེ་དཔལ་རྡོ་རྗེ། University of Canterbury
What do children in herding areas do on the first day of Lo sar 'Tibetan New Year' for good luck? What is the social status of women in Tibetan herding communities? What choices does a woman have if her fiancé has an affair with her mother? How do religious beliefs conflict with real life? How do young women deal with the conflict between arranged marriage and their desires? How do people seek justice within traditional social structures? Read Remembering Tomorrow for answers to these and other questions. (Duo Dala (Stobs stag lha སྟོབས་སྟག་ལྷ།) International Institute of Social Studies, Erasmus University Rotterdam
This extraordinary collection of nineteen thoughtfully written stories reflects various aspects of a traditional herding society before being swept away by the speedy waves of modernity. The stories not only open a window for curious outsiders eager to glimpse the challenging herding way of life, but also serve an educational purpose, ensuring that future generations better understand people's cognitive perception of religion, animals, relationships, and methods of dealing with daily life dilemmas. (Li Jianfu 李建富 (Libu Lakhi, Zla ba bstan 'dzin ཟླ་བ་བསྟན་འཛིན།)
Gu ru' phrin las' Remembering Tomorrow is a short story collection profoundly capturing the very essence of the premodern, A mdo Tibetan nomad experience. Rich, thick descriptions allow readers to feel, smell, and visualize pastoral lifestyles as well as better understand the multiplicities of Tibetan character. This extraordinary achievement suggests the possibility of reinventing ourselves without forfeiting the dignity and meaning of an ever-fading past. Rinchen Khar (Rin chen mkhar རིན་ཆེན་མཁར།) University of Massachusetts, Amherst
Gu ru 'phrin las' vivid short stories illuminate nomadic A mdo Tibetan life. Growing up in a herding family, the author portrays the local community's religious beliefs, taboos, family conflicts, marriage, and social norms. This book's critical descriptions of ordinary moments in herders' daily life complicate the stereotype and romanticization of Tibetan pastoral life. (Sangs rgyas bkra shis སངས་རྒྱས་བཀྲ་ཤིས། Duke University)
...memorable tales of a past in a remote corner of the Tibet Plateau, highlighting mundane life's harsh realities, reflecting social norms, customs, beliefs, and the herding way of life. It is unusual for such a young author to have experienced living in a yak-hair tent - a lifestyle that has nearly vanished. Such unique lived experiences enable Gu ru 'phrin las to grasp and depict his grandmother's stories vividly and persuasively. Each story opens a window, revealing a hidden actuality in often sentimentalized nomad life. These nineteen stories allow outsiders to experience harsh realities as they travel through romance and realities. (Gengqiu Gelai (Konchok Gelek, Dkon mchog dge legs དཀོན་མཆོག་དགེ་ལེགས།) University of Zurich
Concise, quick, and vivid accounts of Tibetan nomad life from Golok in western China from the mid-20th to the early 21st centuries. Easy to read and quickly moving readers through chronicles depicting Golok's harsh climate, daily lives, pastoralism, relationships, conflicts, women, men, communal hierarchies, domestic violence, traditions, food, dating, arranged marriages, poverty, kids, bandits, and more. Remembering Tomorrow is also about remembering yesterday. These vanishing experiences of ordinary herders would not have been recorded, valued, told, and retold without the intelligence and thoughtfulness of this young Tibetan writer. (Nyangchakja (Snying lcags rgyal སྙིང་ལྕགས་རྒྱལ།)
CONTENTS
ACCLAIM
CONTENTS
NOTES
ACKNOWLEDGEMENTS
INTRODUCTION
THE STORIES
1 YOU ARE MY MOTHER'S MOTHER
2 "I'M SUCH A HORRIBLE PERSON!"
3 ADMIRATION
4 AN ICED YELLOW LEAF
5 BUILDING A TEMPLE
6 DILEMMA
7 HOMELESS, CRAZY MONK
8 HORSE HERDER
9 INJUSTICE
10 MIRROR
11 MTSHO MO AND THE LITTLE BOY
12 MTSHO MO'S DREAM
13 PAIN
14 REVENGE
15 SKIN, BLOOD, EVIL
16 STUBBORN SISTER
17 THE LUCKY LEADER AND HIS SON
18 THE SHEPHERD
19 A DAY
NON-ENGLISH TERMS
All AHP content is open access at bit.ly/2SP2VzR.
Resolution is important in science and industry, but the resolution is often overlooked because the Macropod's images are often restricted due to screen size restraints. To illustrate the resolution of one picture, these four images are smaller crops of the first contextual image. After you see these images, look at a dollar bill to compare our details with the details that your eyes can see.
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Please download and use these open source images for your own purposes. If you do, please reference Macroscopic Solutions.
Photography information: All of the images in this database were captured with the Macropod.
The Macropod is a rigid, portable photomacrography system, which allows the user to make razor sharp, fully focused photographs of small sized specimens at 18 to 26-megapixel resolution. It overcomes the extreme Depth of Field (DOF) limitations inherent in optics designed to image smaller specimens. Normally, lenses designed for macro will only render a very small fraction of the depth of targeted specimen in sharp focus at any one exposure. The Macropod allows the user to select and make multiple exposures in precise increments along the Z-axis (depth) such that each exposure’s area of sharp focus overlaps with the previous and next exposure. These source images are then transferred to a computer and merged by an image-stacking program. Zerene Stacker is used to find and stitch together only the focused pixels from each exposure into one image. The Macropod integrates industry-leading components in a novel and elegant way to achieve these results.
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Wallpaper 1920x1200 with Maximiliano Sprovieros (Lián Types) outstanding script face »Parfait Script Pro«
Parfait Script Pro takes its inspiration in the Spencerian script and the pointed brush lettering. Two styles of writing (of drawing letters, would say a calligrapher), which the designer successfully combined.
With over 850 glyphs, Parfait Script Pro is an Open-Type font designed by Maximiliano R. Sproviero between 2009 and 2010.
The Beginnings
Exactly a year ago, Lián started what would be Parfait Script today.
With the idea of creating a totally unique typography Lián started drawing the first letters by altering the typical ductus of the calligraphic styles he was practicing those days: This was, writing from the bottom to the top; something that calligraphy books do not support.
Being again a bit of a rebel, almost every letter of the alphabet were made like this. This gave Parfait such an unusual look.
Lián wanted a name which reflected this. So at first he named it Nonpareil Script, which as you may know, is a word from France that means with no comparison.
The more 2009 was coming to its end, the more Parfait Script was growing. The font was shouting for alternates, and that was when the most entertaining part began (and also when the name changed). Lián studied about the decorative swirls of the Spencerian script style and tried to include those lovely loops into his type. He also went into the pointed brush lettering world in order to add Parfait a gestural look. This was when lots of alternates came to life. Now, it was not only to alternate common ductus; now it was also to exaggerate contrasts of the strokes. Very thick and thin strokes all together.
2010 consisted in adding more and more alternates and ligatures. The font was prepared to be universally used, since it contains the enough glyphs and ligatures of the most common combination of letters and words.
Once more, a combination of styles gave wonderful results.
Parfait Script Pro and its voluptuous style hopes to be useful for whatever you design.
Technical
Parfait Script has more than 850 glyphs. It’s up to you to choose, it’s up to you to have fun. Parfait would love to play.
The font has lots of alternates. They'll for sure either embellish your words or provide more legibility. The alternates are: Standard Ligatures; Contextual Alternates; Discretionary Ligatures Swashes; Stylistic Alternates; Titling Alternates; Terminal Forms; Historical Alternates * ; Stylistic Ligatures; Stylistic Set 1 and 2 * ; Ornaments. (* These Alternates are only included in Parfait Script Pro).
Parfait Script Pro contains everything inside.
Advice: Use designing programs that support the OpenType features named above, so it would be easy to alternate glyphs.
However, for those who don't have this kind of programs, or for those who don't want the entire font; Parfait Script Pro is offered separately: Parfait Script Standard (the best for text); Parfait Script Contextual (decorative); Parfait Script Stylistic (decorative); Parfait Script Swashes (for giving the last letter a nice touch); Parfait Script Titling (decorative/more roman); Parfait Script Endings (for giving the word the look of a signature); Parfait Script Ornaments (a set of swirls).
These versions of Parfait Script Pro are Open-Type programmed too, in order to include the Standard, Discretional and Stylistic Ligatures.
Pssst!... Take a look at Parfait Script Pro’s Guide in the gallery section in order to discover this beauty!
Iv'e been so inspired lately and that's all down to my photography project. I'm doing 'contextual influences' and I have to combine different artists into one photograph. My creativity juices are on the ball! I have to create about 6 more photographs in the style of my chosen photographers.
I have some pretty cool concepts in mind and hopefully if I do manage to create them, they'll turn out great!
This shot wasn't intentionally meant to turn out like this, I knew I wanted to levitate but the cape was a last minute thing as I was just messing around on photo shop, changing colours and applying textures. But after the expansion I decided to make it more interesting and I ended up really liking this and I think it turned out nicely. :)
I'm getting into photography more and I definitely want to do more conceptual things in the future!
IN ENGLISH BELOW THE LINE
L'autor del album va passar per diversos hospitals militars del est d'Alemania, procedent del front de Leningrad, a inicis de 1942. Els que ell menciona són el de Tilsit i el de Stolp (Pomerania, actual Słupsk, Polonia). Aquí està a la dreta de la imatge, a la cantina d'un d'aquests hospitals.
Aquest és un album militar d'un soldat alemany de la Wehrmacht, força ampli en l'espai i el temps: va del 1941 al 1944 (pocs arriben tant enllà) i ens mostra els seus moviments durant la guerra per França, Alemania, la URSS i Dinamarca. És especialment interessant per comptar amb nombroses anotacions, el que ajuda molt a contextualitzar totes les imatges.
Pel context historic, crec força segur que es tracta d'un soldat de la 225 Infanterie Division. Posteriorment va anar a una escola de sots-oficials, on es graduà.
Per un dels retrats, sembla que l'autor (sempre amb ulleres) potser es deia Karl Heinz o bé Karlheim (cognom?).
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The author of the album went through several military hospitals in eastern Germany, from the Leningrad front, in early 1942. The ones he mentions are that of Tilsit and that of Stolp (Pomerania, now Słupsk, Poland).
In this picture he's on the far right of the group, in the canteen of one of these hospitals.
This is a military album of a German Wehrmacht soldier, quite wide in space and time: it goes from 1941 to 1944 (few go that far) and shows us his movements during the war through France, Germany, the USSR and Denmark . It is particularly interesting to have numerous annotations, which helps a lot to contextualize all the images.
Considering these geographical movements, I'm quite sure he was a member of the 225 Infanterie Division.
From one of the portraits, it seems that the author (always with glasses) may have been called Karl Heinz, or Karlheim (surname?).
www.lexikon-der-wehrmacht.de/Gliederungen/Infanteriedivis...
This time, setting the Netherlandish and French, Classical traditions in juxtaposition with each other, plus a few added dashes to re-contextualize it to our current social context.
Here is a link to Jan Steen's original, The Dancing Couple, of 1663, in The National Gallery, Washington: www.nga.gov/collection/art-object-page.1220.html
And here is a link to Nicholas Poussin's Dance To The Music of Time, ca 1634-36, in The Wallace Collection, London: en.wikipedia.org/wiki/A_Dance_to_the_Music_of_Time_(painting)#/media/File:The_dance_to_the_music_of_time_c._1640.jpg
...and the Boy Blowing Bubbles, is taken from Frans van Mieris's 1663 painting of that title in The Gallery Prince Willem V, The Hague, see link: commons.wikimedia.org/wiki/File:Mieris_I,_Frans_van_-_Boy...
