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Okay my math book is not on the right topic..but you get the idea (:
Got bored doing maths (who doesn't?) and just thought of doing this (:
Comments off * please comment on newer photos I've uploaded ;D
Beautiful High Res Fine Art Ballerina Dancing Classical Ballet in Pointe Shoes Goddess! Golden Ratio Photography Surf Goddesses! Athletic Action Portraits of Professional Ballerinas! Bikini Swimsuit Aphrodite! Athletic Fitness Models! 45SURF dx4/dt=ic
My physics equation dx4/dt=ic graces the swimsuits and bikinis, while the golden gun is designed in proportion with the golden ratio, and the photos are oft cropped in divine proportions!
Beautiful Golden Ratio Composition Photography Surf Goddesses! dx4/dt=ic Athletic Action Portraits of Swimsuit Bikini Models! Athena, Artemis, Helen, and Aphrodite! Athletic Fitness Models!
My Epic Gear Guide for Landscapes & Portraits!
Everyone is always asking me for this! Here ya go! :)
My Epic Book: Photographing Women Models!
Portrait, Swimsuit, Lingerie, Boudoir, Fine Art, & Fashion Photography Exalting the Venus Goddess Archetype: How to Shoot Epic ...
Epic! Beautiful Surf Fine Art Portrait Swimsuit Bikini Models!
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Golden Ratio Compositions & Secret Sacred Geometry for Photography, Fine Art, & Landscape Photographers: How to Exalt Art with Leonardo da Vinci's, Michelangelo's!
Epic Landscape Photography:
A Simple Guide to the Principles of Fine Art Nature Photography: Master Composition, Lenses, Camera Settings, Aperture, ISO, ... Hero's Odyssey Mythology Photography)
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Enjoy my physics books graces with my fine art photography! Light Time Dimension Theory: The Foundational Physics Unifying Einstein's Relativity and Quantum Mechanics: A Simple, Illustrated Introduction to the Physical
Beautiful Surf Goddesses! Athletic Action Portraits of Swimsuit Bikini Models! Athena, Artemis, Helen, and Aphrodite!
Classical Ballet Malibu Beach Ballerina Dancer Dancing Ballet! Pretty Swimsuit Bikini Model Goddess! Fine Art Ballet & Landscape & Nature Photography!
I sign every print with dx4/dt=ic, and my physics equation dx4/dt=ic graces the swimsuits and bikinis, while the golden gun is designed in proportion with the golden ratio, and the photos are oft cropped in divine proportions!
Beautiful Golden Ratio Composition Photography Surf Goddesses! dx4/dt=ic Athletic Action Portraits of Swimsuit Bikini Models! Athena, Artemis, Helen, and Aphrodite! Athletic Fitness Models!
My Epic Gear Guide for Landscapes & Portraits!
Everyone is always asking me for this! Here ya go! :)
My Epic Book: Photographing Women Models!
Portrait, Swimsuit, Lingerie, Boudoir, Fine Art, & Fashion Photography Exalting the Venus Goddess Archetype: How to Shoot Epic ...
Bitcoin: 1FMBZJeeHVMu35uegrYUfEkHfPj5pe9WNz
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Exalt your photography with Golden Ratio Compositions!
Golden Ratio Compositions & Secret Sacred Geometry for Photography, Fine Art, & Landscape Photographers: How to Exalt Art with Leonardo da Vinci's, Michelangelo's!
Epic Landscape Photography:
A Simple Guide to the Principles of Fine Art Nature Photography: Master Composition, Lenses, Camera Settings, Aperture, ISO, ... Hero's Odyssey Mythology Photography)
Epic Art & Gear for your Epic Hero's Odyssey:
Enjoy my physics books graces with my fine art photography! Light Time Dimension Theory: The Foundational Physics Unifying Einstein's Relativity and Quantum Mechanics: A Simple, Illustrated Introduction to the Physical
Beautiful Surf Goddesses! Athletic Action Portraits of Swimsuit Bikini Models! Athena, Artemis, Helen, and Aphrodite
Very early Sunday start + 100 mile drive + good weather conditions = a good start to February
Deep snow above Earl Sterndale
I have always believed in numbers, In the equations and logics that lead to reason. but after the life time of such pursuits i ask what truly is logic ? Who decides reason ? My quest has taken me to the physical, the metaphysical, the delusional and back. And i have made the most important discovery of my career. The ...most important discovery of my life It's only in the mysterious equations of love that any logical reasons can be found. You are the reason i am. You are all my reasons .
©2014- Exotic photos by Hadeed Sher
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Equal: Agreeing in quantity, size, quality, degree, value, etc.; having the same magnitude, the same value, the same degree, etc. - from Webster's Unabridged Dictionary, Project Gutenberg, public domain
The equals sign, which we now take for granted, was first used in 1557, by a Welsh mathematician named Robert Recorde. (See the Wikipedia article on the equals sign: en.wikipedia.org/wiki/Equals_sign)
Equations used: two equations from “simple” arithmetic; Ohm’s law; Einstein’s energy/mass equivalence equation; Euler’s equation; the law of Sines; An equation for compound interest; Slope-intercept formula for a straight line; Newton’s law of universal gravitation.
The largest equation in the graphic, from "simple arithmetic" illustrates one of the main ideas of arithmetic, namely that a thing is equal to itself. Another one uses a zero. Zero, as we now use it, was invented in India in the 9th century AD. (See en.wikipedia.org/wiki/Zero) Euler's equation, also known as Euler’s identity, relates perhaps the most important constants of mathematics, pi, e, and the square root of minus one. (See en.wikipedia.org/wiki/Euler%27s_identity) There are other ways of representing compound interest, depending on the situation, but the equation used will cover many of them. The Law of Sines has been used in astronomy, to measure distances of bodies within the solar system from the earth. It can also be used in surveying.
Two of the most important statements in English that use the word equal are:
Philippians 2:6 Who, being in the form of God, thought it not robbery to be equal with God: 7 But made himself of no reputation, and took upon him the form of a servant, and was made in the likeness of men: (King James version)
and
We hold these truths to be self-evident, that all men are created equal, that they are endowed by their Creator with certain unalienable Rights, that among these are Life, Liberty and the pursuit of Happiness. - U. S. Declaration of Independence (I know. At the time, all men weren’t considered equal, and women weren’t included. But it was, and is, a great idea.)
I have created a number of other posters. See the "Posters and charts . . ." album. There's a link on the right. One of the most popular of these, with over 10,000 views, is a poster on the theme of "two." That's right, two, as in 2.
Thanks for looking. Larger sizes available.
Black Surfboard! The famous black 45SURF surfboard! Beautiful Golden Ratio Composition Photography Surf Goddesses! Athletic Action Portraits of Swimsuit Bikini Models! Athena, Artemis, Helen, and Aphrodite! Athletic Fitness Models! dx4/dt=ic
My physics equation dx4/dt=ic graces the swimsuits and bikinis, while the golden gun is designed in proportion with the golden ratio, and the photos are oft cropped in divine proportions!
Beautiful Golden Ratio Composition Photography Surf Goddesses! dx4/dt=ic Athletic Action Portraits of Swimsuit Bikini Models! Athena, Artemis, Helen, and Aphrodite! Athletic Fitness Models!
My Epic Gear Guide for Landscapes & Portraits!
Everyone is always asking me for this! Here ya go! :)
My Epic Book: Photographing Women Models!
Portrait, Swimsuit, Lingerie, Boudoir, Fine Art, & Fashion Photography Exalting the Venus Goddess Archetype: How to Shoot Epic ...
Epic! Beautiful Surf Fine Art Portrait Swimsuit Bikini Models!
Bitcoin: 1FMBZJeeHVMu35uegrYUfEkHfPj5pe9WNz
Follow me friends!
facebook.com/goldennumberratio
Epic books, prints, & more!
Exalt your photography with Golden Ratio Compositions!
Golden Ratio Compositions & Secret Sacred Geometry for Photography, Fine Art, & Landscape Photographers: How to Exalt Art with Leonardo da Vinci's, Michelangelo's!
Epic Landscape Photography:
A Simple Guide to the Principles of Fine Art Nature Photography: Master Composition, Lenses, Camera Settings, Aperture, ISO, ... Hero's Odyssey Mythology Photography)
Epic Art & Gear for your Epic Hero's Odyssey:
Enjoy my physics books graces with my fine art photography! Light Time Dimension Theory: The Foundational Physics Unifying Einstein's Relativity and Quantum Mechanics: A Simple, Illustrated Introduction to the Physical
Beautiful Surf Goddesses! Athletic Action Portraits of Swimsuit Bikini Models! Athena, Artemis, Helen, and Aphrodite!
Physics and boring photo alert! :-)
Principles of Radioactivity with undergrad students today. All pretty basic stuff but some need help with rearranging the exponential decay equation to show relationship between decay constant / half life and then applying in order to calculate reductions in activity.
The delivery is online but as a luddite I still rely on videoing the process on pen and paper while I explain :-)
To answer this question, we must stop examining the supply side of the equation, and instead look to the demanders.
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.......***** All images are copyrighted by their respective authors ......
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... message header for Rolling Stones Politics
The problems are many. Too many. Our eyes get fixed upon one among them, and our passions get devoted to fixing that one. In that focus, however, we fail to see the thread that ties them all together.
We are, to steal from Thoreau, the “thousand[s] hacking at the branches of evil,” with “[n]one striking at the root.”
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.....item 1).... Rolling Stone Politics .... www.rollingstone.com/politics ... Lawrence Lessig on How We Lost Our Democracy
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'Republic, Lost: How Money Corrupts Congress – and a Plan to Stop It' by Lawrence Lessig
Courtesy of Twelve/Hachette Book Group
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POSTED: October 5, 3:25 PM ET | By Lawrence Lessig
www.rollingstone.com/politics/blogs/national-affairs/lawr...
The following is an excerpt from Republic, Lost: How Money Corrupts Congress – and a Plan to Stop It by Lawrence Lessig.
Introduction
There is a feeling today among too many Americans that we might not make it. Not that the end is near, or that doom is around the corner, but that a distinctly American feeling of inevitability, of greatness—culturally, economically, politically—is gone. That we have become Britain. Or Rome. Or Greece. A generation ago Ronald Reagan rallied the nation to deny a similar charge: Jimmy Carter’s worry that our nation had fallen into a state of “malaise.” I was one of those so rallied, and I still believe that Reagan was right. But the feeling I am talking about today is different: not that we, as a people, have lost anything of our potential, but that we, as a republic, have. That our capacity for governing—the product, in part, of a Constitution we have revered for more than two centuries—has come to an end. That the thing that we were once most proud of—this, our republic—is the one thing that we have all learned to ignore. Government is an embarrassment. It has lost the capacity to make the most essential decisions. And slowly it begins to dawn upon us: a ship that can’t be steered is a ship that will sink.
We didn’t always feel this way. There were times when we were genuinely proud—as a people, and as a republic—and when we proudly boasted to the world about the Framers’ (flawed but still) ingenious design. No doubt, we still speak of the founding with reverence. But we seem to miss that the mess that is our government today grew out of the genius that the Framers crafted two centuries ago. That, however much we condemn what government has become, we forget it is the heir to something we still believe divine. We inherited an extraordinary estate. On our watch, we have let it fall to ruin.
The clue that something is very wrong is the endless list of troubles that sit on our collective plate but that never get resolved: bloated and inefficient bureaucracies; an invisible climate policy; a tax code that would embarrass Dickens; health care policies that have little to do with health; regulations designed to protect inefficiency; environmental policies that exempt the producers of the greatest environmental harms; food that is too expensive (since protected); food that is unsafe (since unregulated); a financial system that has already caused great harm, has been left unreformed, and is primed and certain to cause great harm again.
The problems are many. Too many. Our eyes get fixed upon one among them, and our passions get devoted to fixing that one. In that focus, however, we fail to see the thread that ties them all together.
We are, to steal from Thoreau, the “thousand[s] hacking at the branches of evil,” with “[n]one striking at the root.”
This book names that root. It aims to inspire “rootstrikers.” The root—not the single cause of everything that ails us, not the one reform that would make democracy hum, but instead, the root, the thing that feeds the other ills, and the thing that we must kill first. The cure that would be generative—the single, if impossibly difficult, intervention that would give us the chance to repair the rest.
For we have no choice but to try to repair the rest. Republicans and Democrats alike insist we are on a collision course with history. Our government has made fiscal promises it cannot keep. Yet we ignore them. Our planet spins furiously to a radically changed climate, certain to impose catastrophic costs on a huge portion of the world’s population. We ignore this, too. Everything our government -touches—from health care to Social Security to the monopoly rights we call patents and copyright—it poisons. Yet our leaders seem oblivious to the thought that there’s anything that needs fixing. They preen about, ignoring the elephant in the room. They act as if Ben Franklin would be proud.
Ben Franklin would weep. The republic that he helped birth is lost. The 89 percent of Americans who have no confidence in Congress (as reported by the latest Gallup poll) are not idiots. They are not even wrong. Yet they fail to recognize just why this government doesn’t deserve our confidence. Most of us get distracted. Most of us ignore the root.
We were here at least once before.
One hundred years ago America had an extraordinary political choice. The election of 1912 gave voters an unprecedented range of candidates for president of the United States.
On the far Right was the “stand pat,” first-term Republican William Howard Taft, who had served as Teddy Roosevelt’s secretary of war, but who had not carried forward the revolution on the Right that Roosevelt thought he had started.
On the far Left was the most successful socialist candidate for president in American history, Eugene Debs, who had run for president twice before, and who would run again, from prison, in 1920 and win the largest popular vote that any socialist has ever received in a national American election.
In the middle were two “Progressives”: the immensely popular former president Teddy Roosevelt, who had imposed upon himself a two-term limit, but then found the ideals of reform that he had launched languishing within the Republican Party; and New Jersey’s governor and former Princeton University president Woodrow Wilson, who promised the political machine–-bound Democratic Party the kind of reform that Roosevelt had begun within the Republican Party.
These two self-described Progressives were very different. Roosevelt was a big-government reformer. Wilson, at least before the First World War, was a small-government, pro-federalist reformer. Each saw the same overwhelming threat to America’s democracy—the capture of government by powerful special interests—even if each envisioned a very different remedy for that capture. Roosevelt wanted a government large enough to match the concentrated economic power that was then growing in America; Wilson, following Louis Brandeis, wanted stronger laws limiting the size of the concentrated economic power then growing in America.
Presidential reelection campaigns are not supposed to be bloody political battles. But Taft had proven himself to be a particularly inept politician (he was later a much better chief justice of the Supreme Court), and after Roosevelt’s term ended, business interests had reasserted their dominant control of the Republican Party. Yet even though dissent was growing across the political spectrum, few seemed to doubt that the president would be reelected. Certainly Roosevelt felt certain enough of that to delay any suggestion that he would enter the race to challenge his own hand-picked successor.
A Wisconsin Republican changed all that. In January 1911, Senator Robert La Follette and his followers launched the National Progressive Republican League. Soon after, La Follette announced his own campaign for the presidency. Declaring that “popular government in America has been thwarted . . . by the special interests,” the League advocated five core reforms, all of which attacked problems of process, not substance. The first four demanded changes to strengthen popular control of government (the election of senators, direct primaries, direct election of delegates to presidential conventions, and the spread of the state initiative process). The last reform demanded “a thoroughgoing corrupt practices act.”
La Follette’s campaign initially drew excitement and important support. It faltered, however, when he seemed to suffer a mental breakdown during a speech at a press dinner in Philadelphia. But the campaign outed, and increasingly embarrassed, the “stand pat” Republicans. As Roosevelt would charge in April 1912:
The Republican party is now facing a great crisis. It is to decide whether it will be, as in the days of Lincoln, the party of the plain people, the party of progress, the party of social and industrial justice; or whether it will be the party of privilege and of special interests, the heir to those who were Lincoln’s most bitter opponents, the party that represents the great interests within and without Wall Street which desire through their control over the servants of the public to be kept immune from punishment when they do wrong and to be given privileges to which they are not entitled.
The term progressive is a confused and much misunderstood moniker for perhaps the most important political movement at the turn of the last century. We confuse it today with liberals, but back then there were progressives of every political stripe in America—on the Left and on the Right, and with dimensional spins in the middle (the Prohibitionists, for example). Yet one common thread that united these different strands of reform was the recognition that democratic government in America had been captured. Journalists and writers at the turn of the twentieth century taught America “that business corrupts politics,” as Richard McCormick put it. Corruption of the grossest forms—the sort that would make convicted lobbyist Jack Abramoff wince—was increasingly seen to be the norm throughout too much of American government. Democracy, as in rule of the people, was a joke. As historian George Thayer wrote, describing the “golden age of boodle” (1876–-1926): “Never has the American political process been so corrupt. No office was too high to purchase, no man too pure to bribe, no principle too sacred to destroy, no law too fundamental to break.”
Or again, Teddy Roosevelt (1910): “Exactly as the special interests of cotton and slavery threatened our political integrity before the Civil War, so now the great special business interests too often control and corrupt the men and methods of government for their own profit.”
To respond to this “corruption,” Progressives launched a series of reforms to reclaim government. Many of these reforms were hopeless disasters (the ballot initiative and elected judges), and some were both disasters and evil (Prohibition and eugenics, to name just two). But mistakes notwithstanding, the Progressive Era represents an unprecedented moment of experimentation and engagement, all motivated by a common recognition that the idea of popular sovereignty in America had been sold. The problem was not, as McCormick describes, a “product of misbehavior by ‘bad’ men,” but was instead now seen as the predictable “outcome of identifiable economic and political forces.”
That recognition manifested itself powerfully on November 5, 1912: The incumbent Republican placed third (23.2 percent) in the -four--man race; the socialist, a distant fourth (6 percent); and Teddy Roosevelt (27.4 percent) got bested by the “new” Democrat, Woodrow Wilson (41.8 percent).
Yet only when you add together these two self-identified Pro-gressives do you get a clear sense of the significance of 1912: almost 70 percent of America had voted for a “progressive.” Seventy percent of America had said, “This democracy is corrupted; we demand it be fixed.” Seventy percent refused to “stand pat.”
A century later we suffer the same struggle, but without anything like the same clarity. A “fierce discontent,” as Roosevelt described America in 1906, is once again raging throughout the republic. Now, as then, it gets expressed as “agitation” against “evil,” and a “firm determination to punish the authors of evil, whether in industry or politics.” We look to a collapsed economy, to raging deficits, to a Wall Street not yet held to account, and we feel entitled to our anger. And so extreme is that entitlement that it makes even violence seem sensible, if only to the predictably insane extremes in any modern society.
Roosevelt was encouraged by this agitation against evil. It was, he said, a “feeling that is to be heartily welcomed.” It was “a sign,” he promised, “of healthy life.”
Yet today such agitation is not a sign of healthy life. It is a symptom of ignorance. For though the challenge we face is again the battle against a democracy deflected by special interests, our struggle is not against “evil,” or even the “authors of evil.” Our struggle is against something much more banal. Not the banal in the now-overused sense of Hannah Arendt’s The Banality of Evil—of ordinary people enabling unmatched evil (Hitler’s Germany). Our banality is one step more, well, banal.
For the enemy we face is not Hitler. Neither is it the good Germans who would enable a Hitler. Our enemy is the good Germans (us) who would enable a harm infinitely less profound, yet economically and politically catastrophic nonetheless. A harm caused by a kind of corruption. But not the corruption engendered by evil souls. Indeed, strange as this might sound, a corruption crafted by good souls. By decent men. And women. And if we’re to do anything about this corruption, we must learn to agitate against more than evil. We must remember that harm sometimes comes from timid, even pathetic souls. That the enemy doesn’t always march. Sometimes it simply shuffles.
The great threat to our republic today comes not from the hidden bribery of the Gilded Age, when cash was secreted among members of Congress to buy privilege and secure wealth. The great threat today is instead in plain sight. It is the economy of influence now transparent to all, which has normalized a process that draws our democracy away from the will of the people. A process that distorts our democracy from ends sought by both the Left and the Right: For the single most salient feature of the government that we have evolved is not that it discriminates in favor of one side and against the other. The single most salient feature is that it discriminates against all sides to favor itself. We have created an engine of influence that seeks not some particular strand of political or economic ideology, whether Marx or Hayek. We have created instead an engine of influence that seeks simply to make those most connected rich.
As a former young Republican—-indeed, Pennsylvania’s state chairman of the Teen Age Republicans—I don’t mean to rally anyone against the rich. But I do mean to rally Republicans and Democrats alike against a certain kind of rich that no theorist on the Right or the Left has ever sought seriously to defend: The rich whose power comes not from hard work, creativity, innovation, or the creation of wealth. The rich who instead secure their wealth through the manipulation of government and politicians. The great evil that we as Americans face is the banal evil of second-rate minds who can’t make it in the private sector and who therefore turn to the massive wealth directed by our government as the means to securing wealth for themselves. The enemy is not evil. The enemy is well dressed.
Theorists of corruption don’t typically talk much about decent souls. Their focus is upon criminals—the venally corrupt, who bribe to buy privilege, or the systematically corrupt, who make the people (or, better, the rich) dependent upon the government to ensure that the people (or, better, the rich) protect the government.
So, too, when we speak of politicians and our current system of governance, many of us think of our government as little more than criminal, or as crime barely hidden—from Jack Abramoff (“I was participating in a system of legalized bribery. All of it is bribery, every bit of it”) to Judge Richard Posner (“the legislative system [is] one of quasi-bribery”) to Carlyle Group co‑founder David Rubenstein (“legalized bribery”) to former congressman and CIA director Leon Panetta (“legalized bribery has become part of the culture of how this place operates”) to one of the Senate’s most important figures, Russell B. Long (D-La.; 1949-1987) (“Almost a hairline’s difference separates bribes and contributions”).
But in this crude form, in America at least, such crimes are rare. At the federal level, bribery is almost extinct. There are a handful of pathologically stupid souls bartering government favors for private kickbacks, but very few. And at both the federal and the state levels, the kind of Zimbabwean control over economic activity is just not within our DNA. So if only the criminal are corrupt, then ours is not a corrupt government.
The aim of this book, however, is to convince you that a much more virulent, if much less crude, corruption does indeed wreck our democracy. Not a corruption caused by a gaggle of evil souls. On the contrary, a corruption practiced by decent people, people we should respect, people working extremely hard to do what they believe is right, yet decent people working with a system that has evolved the most elaborate and costly bending of democratic government in our history. There are good people here, yet extraordinary bad gets done.
This corruption has two elements, each of which feeds the other. The first element is bad governance, which means simply that our government doesn’t track the expressed will of the people, whether on the Left or on the Right. Instead, the government tracks a different interest, one not directly affected by votes or voters. Democracy, on this account, seems a show or a ruse; power rests elsewhere.
The second element is lost trust: when democracy seems a charade, we lose faith in its process. That doesn’t matter to some of us—we will vote and participate regardless. But to more rational souls, the charade is a signal: spend your time elsewhere, because this game is not for real. Participation thus declines, especially among the sensible middle. Policy gets driven by the extremists at both ends.
In the first three parts of what follows, I show how these elements of corruption fit together. I want you to understand the way they connect, and how they feed on each other. In the book’s final part, I explore how we might do something about them.
The prognosis is not good. The disease we face is not one that nations cure, or, at least, cure easily. But we should understand the options. For few who work to understand what has gone wrong will be willing to accept defeat—without a fight.
From the book Republic, Lost. Copyright (c) 2011 by Lawrence Lessig. Reprinted by permission of Twelve/Hachette Book Group, New York, NY. All rights reserved.
Related
• How Money Corrupts Congress: Interview with Lawrence Lessig
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.....item 2).... Teddy Roosevelt (1910): “Exactly as the special interests of cotton and slavery threatened our political integrity before the Civil War, so now the great special business interests too often control and corrupt the men and methods of government for their own profit.”
Read more: www.rollingstone.com/politics/blogs/national-affairs/lawr...
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.....item 3).... So, too, when we speak of politicians and our current system of governance, many of us think of our government as little more than criminal, or as crime barely hidden—from Jack Abramoff (“I was participating in a system of legalized bribery. All of it is bribery, every bit of it”) to Judge Richard Posner (“the legislative system [is] one of quasi-bribery”) to Carlyle Group co‑founder David Rubenstein (“legalized bribery”) to former congressman and CIA director Leon Panetta (“legalized bribery has become part of the culture of how this place operates”) to one of the Senate’s most important figures, Russell B. Long (D-La.; 1949-1987) (“Almost a hairline’s difference separates bribes and contributions”).
Read more: www.rollingstone.com/politics/blogs/national-affairs/lawr...
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.....item 4).... FSU News ... www.fsunews.com ...
The demanding side of the political equation
10:25 PM, Oct. 24, 2012 |
Written by
Chad Squitieri
Senior Staff Writer
FILED UNDER
FSU News
FSU News Chad Squitieri
www.fsunews.com/article/20121025/FSVIEW0305/121024023/The...|newswell|text|frontpage|s
Now that the presidential debates are over, I find myself as an onlooker being left without a satisfaction. A debate is an opportunity for two candidates to engage in a thought provoking discussion that highlights their differences from one another. What we often end up with in debates is little more than sidestepping and finger pointing.
Looking forward to debates to come, my wish is that they will consist of more substance, and fewer talking points. This wish of course can easily be shrugged off as little more than the naïve daydream of a college student; a thought destined to never materialize. The way to see this apparent pipedream become reality, however, is more in the hands of the voter than one might expect.
Political debates have never been known for their politeness, and this election cycle stayed true to form. While it may be accurate that politics in this country have always been highly contested matters with the ability to bring out plenty of emotions, it is also true that the mechanics of politics have seemed to stay in step with the rest of our society. It seems that in today’s political realm, it is becoming more and more “cool” to be rude to your opponent. The rationale behind this action is explained by the fact that candidates feel they can rally their bases in opposition to the other candidate by acting in ways we have witnessed over this debate cycle.
Actions such as talking over one another, name calling and finger pointing come to mind. The bigger question, though, is why do candidates feel they can better rally their bases by acting in a way that seems to turn the discussion into little more than a spectacle as compared to a way that better gets a candidate’s core message to voters. To answer this question, we must stop examining the supply side of the equation, and instead look to the demanders.
The demanders in any election are the voters. It is the voters that make up the political market, and it is this market that the suppliers, the candidates, bring their ideas. It is the nature of politicians to behave in ways the public wants them to behave. Having this thought in mind, it becomes easily identifiable why our politicians would act in ways that would otherwise seem counterproductive to the political process. It is because that is what we ask for.
If as a whole we demand to see politics turned into a spectacle consisting of little more than name calling and snarky, eight-second clips intended to make the front side of the evening news, then that is what our candidates will supply us with. If we instead insist on a more thought-provoking discussion which gets at the fundamentals, then candidates will have the incentive to provide just that.
As the next generation, we will have the ability to steer the course of the political process in this country. Whether we choose to end up with more political gridlock and wordplay, or instead choose straightforwardness and seek results is to be determined.
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.....item 5).... youtube video ... Jimi Hendrix - Are you Experienced (full album) UK ... 60:21 minutes
www.youtube.com/watch?v=0tlRYLP8GOU
Published on Nov 16, 2012 by gunsgifts galleries
1. "Foxy Lady" 0:00
2. "Manic Depression" 3:22
3. "Red House" 7:08
4. "Can You See Me" 11:01
5. "Love or Confusion" 13:19
6. "I Don't Live Today" 16:33
Side two
No. Title Length
1. "May This Be Love" 20:51
2. "Fire" 24:05
3. "Third Stone from the Sun" 26:52
4. "Remember" 33:42
5. "Are You Experienced?" 36:35
1997 Experience Hendrix reissue bonus tracks
No. Title Length
1. "Hey Joe" (Billy Roberts) 40:05
2. "Stone Free" 43:35
3. "Purple Haze" 47:18
4. "51st Anniversary" 50:02
5. "The Wind Cries Mary" 53:17
6. "Highway Chile" 56:37
Category:
Music
License:
Standard YouTube License
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My physics equation dx4/dt=ic graces the swimsuits and bikinis, while the golden gun is designed in proportion with the golden ratio, and the photos are oft cropped in divine proportions!
Beautiful Golden Ratio Composition Photography Surf Goddesses! dx4/dt=ic Athletic Action Portraits of Swimsuit Bikini Models! Athena, Artemis, Helen, and Aphrodite! Athletic Fitness Models!
My Epic Gear Guide for Landscapes & Portraits!
Everyone is always asking me for this! Here ya go! :)
My Epic Book: Photographing Women Models!
Portrait, Swimsuit, Lingerie, Boudoir, Fine Art, & Fashion Photography Exalting the Venus Goddess Archetype: How to Shoot Epic ...
Epic! Beautiful Surf Fine Art Portrait Swimsuit Bikini Models!
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Golden Ratio Compositions & Secret Sacred Geometry for Photography, Fine Art, & Landscape Photographers: How to Exalt Art with Leonardo da Vinci's, Michelangelo's!
Epic Landscape Photography:
A Simple Guide to the Principles of Fine Art Nature Photography: Master Composition, Lenses, Camera Settings, Aperture, ISO, ... Hero's Odyssey Mythology Photography)
Epic Art & Gear for your Epic Hero's Odyssey:
Enjoy my physics books graces with my fine art photography! Light Time Dimension Theory: The Foundational Physics Unifying Einstein's Relativity and Quantum Mechanics: A Simple, Illustrated Introduction to the Physical
Beautiful Surf Goddesses! Athletic Action Portraits of Swimsuit Bikini Models! Athena, Artemis, Helen, and Aphrodite!
(20 & 5 Years Ago) - IMRAN Equation of GREATivity! - IMRAN™
a=de^2 (Achievements = Dreams x Effort squared)
I had a great day of meetings at a global financial services client in St. Petersburg, Florida. This photo was taken in front of a whiteboard so I thought I’d play with the picture and share one of my popular quotes from 2005.
At that time non-students weren’t on Facebook, so I had posted the words on FB only in 2009, at one of the most difficult times in my life. www.facebook.com/IMRAN.TV/posts/260318905491
Amazing how 10 (now nearly 20) years flew by - at the speed of time! I better apply my own equation to my own life, before I run out of time and space in Einstein’s space-time continuum! So help me God!
© 2005-2019-2024 IMRAN™
I don’t know the equation of Life
Presented on the white board
To the last two decimal
Neat and tidy
My mind is blank
My emotion in turmoil
Everyone were nodding their heads
But mine was violently shaking
“Life is a formula!”
But mine doesn’t equate!
I follow the rules
I read the books
I listen to the experts
And experts don’t lie
Do they?
Read the rest in -
a1000reasons.blogspot.com/2012/05/i-dont-know-equation-of...
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***** Selected for sale in the GETTY IMAGES COLLECTION on June 26th 2015
CREATIVE RF gty.im/ MOMENT OPEN COLLECTION**
This photograph became my 763rd frame to be selected for inclusion and sale in the Getty Images 'Moment' collection, and I am very grateful to them for this wonderful opportunity.
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Photograph taken at an altitude of Three hundred and thirty metres at 09:13am on Sunday 17th May 2015 heading back from Cairn Gorm Mountain towards Aviewmore, in Glenmore Forest Park, Glenmore close to the shoreline of Loch Morlich a freshwater loch in the Badenoch and Strathspey area of Highland, Scotland.
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Nikon D800 27mm 1/60s f/2.8 iso100 Hand held. RAW (14-bit) AF-S single point focus. Manual exposure. Centre weighted metering. Auto white balance.
Nikkor AF-S 24-70mm f/2.8G ED IF. Jessops 77mm UV filter. Nikon MB-D12 battery grip. Two Nikon EN-EL15 batteries. Digi-Chip Speed Pro 64GB Class 10 UHS-1 SDXC card. Nikon DK-17a magnifying eyepiece. Hoodman HGEC soft eyepiece cup. Optech Tripod Strap. Lowepro Transporter camera strap. Lowepro Vertex 200 AW camera bag. Nikon GP-1 GPS unit.
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LATITUDE: N 57d 10m 4.28s
LONGITUDE: W 3d 42m 0.27s
ALTITUDE: 330.0m
RAW (TIFF) FILE SIZE: 103.00MB
PROCESSED (JPeg) SIZE: 31.23MB
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PROCESSING POWER:
HP 110-352na Desktop PC with AMD Quad-Core A6-5200 APU processor. AMD Radeon HD8400 graphics. 8 GB DDR3 Memory with 1TB SATA storage. 64-bit Windows 8.1. Verbatim USB 2.0 1TB desktop hard drive. WD My Passport Ultra 1tb USB3 Portable hard drive. Nikon VIEWNX2 Version 2.10.3 64bit. Adobe photoshop Elements 8 Version 8.0 64bit
I got this shirt when I went to visit MIT in 2000. I liked it because it was quirky and had equations on it. It wasn't until my Sophomore year when I found out these were Maxwell's Equations. It was such as awesome epiphany when I realized the equations we were studying in class were on my shirt. I love this shirt, but it became ridden with holes after all these years and it had to go.
The equations show how electricity and magnetism are related.
My physics equation dx4/dt=ic graces the swimsuits and bikinis, while the golden gun is designed in proportion with the golden ratio, and the photos are oft cropped in divine proportions!
Beautiful Golden Ratio Composition Photography Surf Goddesses! dx4/dt=ic Athletic Action Portraits of Swimsuit Bikini Models! Athena, Artemis, Helen, and Aphrodite! Athletic Fitness Models!
My Epic Gear Guide for Landscapes & Portraits!
Everyone is always asking me for this! Here ya go! :)
My Epic Book: Photographing Women Models!
Portrait, Swimsuit, Lingerie, Boudoir, Fine Art, & Fashion Photography Exalting the Venus Goddess Archetype: How to Shoot Epic ...
Epic! Beautiful Surf Fine Art Portrait Swimsuit Bikini Models!
Bitcoin: 1FMBZJeeHVMu35uegrYUfEkHfPj5pe9WNz
Follow me friends!
facebook.com/goldennumberratio
Epic books, prints, & more!
Exalt your photography with Golden Ratio Compositions!
Golden Ratio Compositions & Secret Sacred Geometry for Photography, Fine Art, & Landscape Photographers: How to Exalt Art with Leonardo da Vinci's, Michelangelo's!
Epic Landscape Photography:
A Simple Guide to the Principles of Fine Art Nature Photography: Master Composition, Lenses, Camera Settings, Aperture, ISO, ... Hero's Odyssey Mythology Photography)
Epic Art & Gear for your Epic Hero's Odyssey:
Enjoy my physics books graces with my fine art photography! Light Time Dimension Theory: The Foundational Physics Unifying Einstein's Relativity and Quantum Mechanics: A Simple, Illustrated Introduction to the Physical
Beautiful Surf Goddesses! Athletic Action Portraits of Swimsuit Bikini Models! Athena, Artemis, Helen, and Aphrodite!
S, Mansur by Mansoor Saleem
Some notes ABOUT MY WORK (a brief sample of local or regional anthropology at micro level):
The word "Gravity" is a symbol of reality that exists. Similarly E=mc2 is a combination of symbols trying to express some reality. In similar fashion my depiction of flashes (kashf) should be conceived that they are equations not in math but in language that nature uses. Perhaps fate had dropped flashes in my lap and I am depicting these flashes for world to know how to derive knowledge out of these flashes. May be from Archetypal plane I am receiving flashes and transforming these into phenomenal plane, but for more perfect transformation, sponsorship is required, like flashes roughly depicted demands super realistic treatment or animations at some points, or arrangements in 3- Dimension or performing activities or etc. at some other points, because each of my work either illustrated or arranged for photo is a part of animation and is just a one shot from one angle of bigger reality, therefore I am not a sur-realist. For deriving knowledge from my flashes their access to wider researchers in form of website, book, Museum, CD, video, etc. are required. And due to unavailability of resources, most of the paintings were sold before I could photographed these works which basically are like the fossils of the time and region and are done with hope that in future in order to get some data out of these works, the dimensions of anthropology, psychology, historiography, neurology, neuro-physics and other aspects will also be taken into account and the result may benefit in understanding some aspect of the complex Nature. The importance of flashes can be realized from the ripple effect observable in art and multi-media community that somehow came in contact with the work and hijacked ideology out of these flashes, such benefits, scientific community has not taken yet. From art point of view the art community produced high quality variations out of flashes but their work lack archetypal dimension which is one of the aspect, useful for scientific community to explore.
For cataloguing purpose somewhere title or art terminology like: "oil on canvas", "collage", "performance", "installations", "construction", etc. are used has nothing to do with meaning of the work, flashes are independent of these terminologies borrowed from art for cataloguing purpose only, flashes are beyond art. Flashes can include any ism, any element, bizarre thing, anything or things we don't know, that's why thousands of my flashes goes waste due to lack of energy and resources. Besides colorful images, performance and animation, Flashes also comes in form of sound as well, for instance I heard the sound: "Quranic archaeology is a mighty subject," this flash took me into the archaeology.
Researchers are invited to reply on enigma of colorful flashes. From where they come? they come to all or to few,? Few interesting pieces of writing below could be the starting point for debate: One is by David V. Tansley in his book: 'Subtle body' , author writes,..."the pineal gland has been found to contain vestigial traces of optic tissue. Experiments have shown that nerve impulses arise in the pineal in response to stimulation by light. Galen claimed that the pineal was a regulator of thought, and the Greeks said that the soul was anchored there. According to esoteric tradition this gland is the focal point for the masculine positive energy of spirit which is represented by the first hexagram of l-Ching, its six yang lines symbolizing the primal power of heaven and the creative action of the holy man".
But spirituality or metaphysical dimension is relevant in my case or not is a question unsolved or perhaps I should confine myself to physical dimension of Flashes (or call it images) which stay in my eyes just for less than a half second, perhaps for 0.01 second and I simply illustrate these Flashes and what it holds for future Fine Art, Sciences, Meta-science or Spirituality, I do not know yet, so I isolate myself from dada and sur-realism because I avoid title and avoid mixing my imagination or experimentation in recording of Flashes which is very rare or unrecorded. In dada and sur-realism we do read about dreams and drug infused random thoughts, but not flashes, so far no word about flashes I find even in Freud or Jungian psychology, they talk about dream importance. And in Christian art history so far I have only observed mixing of dream and inspiration from Bible. No body so far I have read in Dada and sur-realism that somebody is claiming that he is depicting Flashes or depicting flashes without mixing his imagination or experimentation. After seeing the difference between two (1) Pure Flashes and (2) some of my work based on mixing of imagination or experimentation with Flashes, now I can pin point the Flash, mixed or unmixed. My major work which is unmixed are pure Flashes (1) and my mixed work (2) can be termed as sur-realistic which I did for commercial reason on client's demand who was mad of sur-realism, I wish I could destroy these sur-realistic works. Since I can now perceive the difference between Flashes and work based on mixing of imagination or experimentation, now I can pin point the Flash, mixed or unmixed, so my major work should not be equate with William Blake, Dali, De Chirico, Carra, Marcel Duchamp, Magrette, etc., because I am not competing in art aesthetic, or in painterly compositions, I have no experience of spirituality, so my work should not also be confuse with any oriental mystics or artists who refer to the metaphysical in some form or another.
My work from (1974-81) of installations, performances based on flashes is still unpublished, so new generation do not know about it, in South Asian art also so far, no artist has ever claimed flashes mixed or un-mixed. For future science world, un-mixed flashes will be more important. Please inform on email mansursalim@hotmail.com, if reader come up with something related to science of flashes, or near to it, for instance few near relevant things I found are:
Physicist Mitchell Feigenbaum (reported in the New York Times, 1984), that when inspiration came to Feigenbaum, it was in the form of a picture, a mental image of two small wavy forms and one big one. This gave him an idea about scaling, the way the small features of a thing relate to the large features, it gave him the path he needed. For period doubling, scaling showed not only when one value-a total population or a fluid speed-would break into two, but also just where the new values would be found, Scaling was an intimate feature of the peculiar world Feigenbaum was beginning to explore.
Arthur I. Miller in a discussion of "redefining visualizability" makes it clear...the experimental evidence prevents us from forming a mental image bridging the wave-particle duality, such an image is available by 'Anschaulichheit' (German term for intuition, plus more) of another kind. It is the kind of image the physicist Werner Heisenberg had in mind when he asserted that, although the causality of classical mechanics has no access to quantum theory, quantum mechanics should not be considered unanschaulich, that is, excluded from imagery (Miller, Imagery in Scientific Thought). One example of such image is Albert Einstein's famous thought experiment in which he demonstrated the equivalence of inertia and gravitation by imagining an observer pulled through empty space in a closed container. Such images, however, lead by degrees of abstraction to others limited to spatial diagrams of a theoretical situation. Sigmund Freud, for example, writes, "We assume that the psychic life has the function of an apparatus, to which we attribute spatial extension and which we imagine as being composed of several pieces, similar to a telescope or microscope" Although such an image provides complementarity with a concrete percept of its models, it would not seem to provide it with a representable reality. But some physicists disagree that Niels Bohr never apply his notion of complementarity to subject other than physics. But for some physicists the contrary is true. (From Rudolf Arnheim's essay: “Complementarity from the outside” in book: Rescue of art).
May be or may not be these above references are relevant here for flashes I do not know, but for scientific analysis it is important to state briefly here the background of how I realized the importance of these flashes, but for scientific cause I have to write what I should not. I hope my friends will forgive me for this cause, because for good Gestalt one should have all the possible details in mind, it is beyond humans to perceive Perfect Gestalt, only Allah knows everything. A year before Metric and much before Diploma in fine art, my art works (flashes, mixed and unmixed) since 1974 were on display at Atelier BM and at Indus gallery, and since then I am observing the ripple effect of those works. After solo show of my works at Pakistan American Cultural Center, January 1979, I went to CIAC, Karachi Arts Council, to check effects of my Flash-works among artists. Before flashes since 1973 I was only doing super realistic sort of paintings of surrounding and of interior Sindh culture and capturing the local environment to come up with something: Pakistani avant-garde which I displayed at PACC solo show in Jan. 1979. But was ignored by media, only small press coverage came with a suggestion: "Mansoor has to stick to his remarkably sound realistic style instead of delving into many styles". (Art show, Daily News, Jan. 9, 1979). But anyhow I was realizing the importance of my flashes which were inspiring the most intelligent and talented of artist community for example: Ghalib Baqar changed his Dali sort of Sur realism into experimental water color, other water colorists like Abdul Hayee, Ather Jamal, Zahin Ahmad, Hanif Shezad, etc. added Karachi and interior Sindh imagery into their work. But at the same time I was learning the techniques of art from them. From Hayee and Baqar I learned the techniques of water color, from Farhan Ehsan I learned the techniques of drawing and calligraphy, from Amir Khan Tareen I learned the techniques of Rembrandt, from Abul Fateh I learned the techniques of ceramics, from Dr. Sajid Khan and Naseem Khan I learned the techniques of photography, from A.G. Khalid I learned the techniques of using computer and so on.
One of world's best super realist artist Shakil Siddiquei changed his Rembrandt sort of style into super realistic abstraction, for instance his paintings of Book shelf, Notice board, door, windows, composition with Dawn news paper, Sindhi dari, fruit packing wooden peyti, Chilmun and etc., in subject matter, were directly inspired by my flashes in form of photos or artworks I shared with him. Art critic Dr. S. Amjad Ali in his article: "Growing trend towards realism", wrote;..."Saleem Mansoor was the first to begin this kind of realism in Karachi but he was well advised to give up after creating a few interesting pieces. It is a good way of gaining command over technique and then putting it to other use in which more thought and feeling comes into play." (Dawn, April 20, 1984).
Ejazul Hassan wrote in Page 17, 123 in the catalogue of 5th National Exhibition, 1985, Published by Idara Saqafat Pakistan, written by Ejazul Husan.
"Young Mansoor Saleem has his own unusual way with objects and space. He sometimes likes to call his work as "installation" in the environment around him. He always wants to place things where he thinks these should be placed. The coiled wire, with a crescent on top, placed on a gray composition is evidence of his restless imagination. The title "Pakistani Avant Garde" also shows his wit." (—page 123, Ejazul Husan)
"The young painter Saleem Mansoor....investigates new methods and techniques not only meant to widen the scope and definition of realism but also to discover fresh methods to stimulate the viewers' response. His 'painting' titled The Pakistani Avant-garde' is wittily fabricated with tan-gue-in-cheek humor making an apt comment on elitist attitudes and trends in modern art."—(page: 17, from the introduction of 5th National Exhibition by Ejazul Hasan)
Most helping and highly creative artist and multi media man Imran Mir in 1975 appreciated my work in high remarks when he was discussing with Bashir Mirza at Atelier BM. BM was telling him that before going to Canada what Imran observed in art scene was still the same when he returned after many years, that Ahmed Pervaiz is repeating Allen Davy, and Shakir Ali, Mansur Rahi and their students were repeating Picasso and Braque's cubism in Indian or Bengali styles and Jamil Naqsh, Lubna Agha, Mansur Aye, Mashkoor, and others are repeating the same compositions, Rabia Zuberi and Shahid Sajjad repeating Henry Moor and so on. Imran pointing towards my work replied: "he is the change"! and BM acknowledged it. Imran like Zahoor ul Akhlaque, also absorbed elements from my flashes (like geometry, etc) but both only absorbed post modern art-elements from my flashes (but they absorbed postmodern element from other sources like we see in work of Herbert Bayer, Jennifer Bartlett, Ross Blacker, Sean Scully and etc) which not much is my concerned.
During my slide show at NCA in 1981, Zahoor and his wife asked me about my future plan, they were surprised to hear that I will soon be joining Archaeology Department in some university because from inside I am an anthropologist also. All my work is not only a statement in anthropology, but is also a statement in neurology, physics, and other sciences. Imran sincerely wanted to bring post modern trends in the region, perhaps for variety he introduced me to many artists, for instance, one day Imran came to me and carried my work's photos in his car and took me to David Alesworth's house and showed my work to him and his wife Durriya and Imran told them to do something like that and after one month of that, Imran's wife Nighat, told me; "Mansoor! You know Durriya is taking your sort of Truck art from Karachi to Peshawar". Nighat was saying that because she much before this event has written an article in press on my 1977 Truck art collection and Sara Irshad has written on my 1981 work: "Taking art show on donkey cart to the folk". Durriya and David not only took the advantage of my flashes but others also followed similar ideology, for instance Ruby Chisti, Masooma Syed, Naiza Khan, Adeela Khan, Rashid Rana, Noorjehn Bilgramy, Huma Mulji, Farida Batool, Ali Raza, Sophie Ernst, Faiza But, M. Ali Talpur, Imran Qureshi, Ameen Gulgee, Jamal Shah, Nazish Ataullah, Aaisha Khalid, Risham Syed and many others who spread the ideology to Melbourne, Dubai, London, New York, Berlin, etc.
Before their first thesis, IVSAA'S principal invited me for slide show of my work, but to my surprise only the faculty staff was invited and not the students. After a month or so one of the faculty member Kamran Hamid told me, "Mansoor go and see student's thesis at IVSAA where teachers has influenced students to do work which is similar to your ideology"." Now it is a tradition there. Even their very architecture is based on the ideology of some of my old flashes and on article published in press. Against me, I even find wrong propaganda by hijackers of my work. And rather through lobby in media they even sensor or edit my interviews according to their need of representing me with those works which they have not preferred to hijack from my flashes. In Shisha, Shanakht, Carce, IVSAA, Fomma and VASL works I have observed direct influence of ideologies, imageries derived out of my flashes. For assessment of the influence, historiographical approach is required. For commercial reason, they can ignore me too but future history will not. Local art magazine and art book writers were chased to ignore me.
I also held slide show of the work at NCA in 1981, where Zahoor-ul-Akhlaque, his wife and his students saw the show. Salima Hashmi wrote an article on my exhibition at Alhambra gallery Lahore, in March, 1984. The effort bore its fruit, through historiography one can trace after 1981, the change in NCA and change in Zahoor, Ejazul Hasan, Salima Hashmi, Shahid Sajjad, Mehar Afroze, etc., and change in their younger generation of students. They and other agents and technology (since 1974 perhaps) spread the influence of my flashes abroad as well, for instance on Beverly Pepper, Nicole Eisenman, Anish Kapoor, Mohsin Zaidi, Susanne Kessler and etc.
All the names mentioned above have the right to disagree with me, these are just friendly assumptions for researchers to look at such debate too to guess what the Flashes are? I too was inspired by many but after receiving Flashes from nature, I painted these with realization that they are more important than Mona Lisa, E=mc2 or Taj Mahal. I have no solo shows in prestigious gallery abroad I have no big post, scholarship or any sponsorship or awards, etc. But what Nature has given me in form of Flashes is more important that they are prototype for all time to come, back to the future or forward into the past. All artists are free to make anything they wish or according to market forces but I have to make (for science) what I receive in form of Flashes. Historiographicaly speaking Flashes' influence is more than what the work of Shakir Ali, Sadequein, Gulgee, M.F. Hussain and etc. had. But no comment I see in the catalogue of 2007- National exhibition, even the Karachiets have ignored me too. Sindh Governor is not using his Legend Fund; I now in time of Parkinson disease need sponsorship to continue the mission, if possible Inshallah. ...MS
Mansoor Saleem's solo show, May, 2008
Shakil Ismail Art Gallery
Ground Floor, Marine Point, Block 9, Clifton Karachi. Tel: 0321-2409949, E-mail: shakilismailartgallery@yahoo.com
Gallery is not responsible what artists express freely
Beautiful High Res Fine Art Ballerina Dancing Classical Ballet in Pointe Shoes Goddess! Golden Ratio Photography Surf Goddesses! Athletic Action Portraits of Professional Ballerinas! Bikini Swimsuit Aphrodite! Athletic Fitness Models! 45SURF dx4/dt=ic
My physics equation dx4/dt=ic graces the swimsuits and bikinis, while the golden gun is designed in proportion with the golden ratio, and the photos are oft cropped in divine proportions!
Beautiful Golden Ratio Composition Photography Surf Goddesses! dx4/dt=ic Athletic Action Portraits of Swimsuit Bikini Models! Athena, Artemis, Helen, and Aphrodite! Athletic Fitness Models!
My Epic Gear Guide for Landscapes & Portraits!
Everyone is always asking me for this! Here ya go! :)
My Epic Book: Photographing Women Models!
Portrait, Swimsuit, Lingerie, Boudoir, Fine Art, & Fashion Photography Exalting the Venus Goddess Archetype: How to Shoot Epic ...
Epic! Beautiful Surf Fine Art Portrait Swimsuit Bikini Models!
Bitcoin: 1FMBZJeeHVMu35uegrYUfEkHfPj5pe9WNz
Follow me friends!
facebook.com/goldennumberratio
Epic books, prints, & more!
Exalt your photography with Golden Ratio Compositions!
Golden Ratio Compositions & Secret Sacred Geometry for Photography, Fine Art, & Landscape Photographers: How to Exalt Art with Leonardo da Vinci's, Michelangelo's!
Epic Landscape Photography:
A Simple Guide to the Principles of Fine Art Nature Photography: Master Composition, Lenses, Camera Settings, Aperture, ISO, ... Hero's Odyssey Mythology Photography)
Epic Art & Gear for your Epic Hero's Odyssey:
Enjoy my physics books graces with my fine art photography! Light Time Dimension Theory: The Foundational Physics Unifying Einstein's Relativity and Quantum Mechanics: A Simple, Illustrated Introduction to the Physical
Beautiful Surf Goddesses! Athletic Action Portraits of Swimsuit Bikini Models! Athena, Artemis, Helen, and Aphrodite!
© Diana Yakowitz all rights reserved.
"E" Ordinary Object, E is for Equation (or Eraser). This is the fifth image in my Ordinary Object Set (sixth in set was out of order) in the flickrfriend challenge we call Odd Wednesday. Where we (three of us now!) will work our selves through the alphabet photographing an object for each letter that we normally would not think of photographing if it weren't for the challenge.
This famous equation is used all the time to find the circumference of a circle, C, if you know the diameter, d, in the form C = π d. Where most people think of π as a number 3.14159..... But, actually, π is defined as the ration of the circumference of a circle to it's diameter. And, it is universal because it is the same no matter what unit system one uses to measure. It has been calculated out to to many decimal places see www.math.utah.edu/~alfeld/math/pi.html for 10,000 digits. So while π, pronounced Pi, may be a P object, it is defined by an equation, my E object!
(and just in case you don't buy it as an object, I included the eraser I used to erase the numbers... ; )
My physics equation dx4/dt=ic graces the swimsuits and bikinis, while the golden gun is designed in proportion with the golden ratio, and the photos are oft cropped in divine proportions!
Beautiful Golden Ratio Composition Photography Surf Goddesses! dx4/dt=ic Athletic Action Portraits of Swimsuit Bikini Models! Athena, Artemis, Helen, and Aphrodite! Athletic Fitness Models!
My Epic Gear Guide for Landscapes & Portraits!
Everyone is always asking me for this! Here ya go! :)
My Epic Book: Photographing Women Models!
Portrait, Swimsuit, Lingerie, Boudoir, Fine Art, & Fashion Photography Exalting the Venus Goddess Archetype: How to Shoot Epic ...
Epic! Beautiful Surf Fine Art Portrait Swimsuit Bikini Models!
Bitcoin: 1FMBZJeeHVMu35uegrYUfEkHfPj5pe9WNz
Follow me friends!
facebook.com/goldennumberratio
Epic books, prints, & more!
Exalt your photography with Golden Ratio Compositions!
Golden Ratio Compositions & Secret Sacred Geometry for Photography, Fine Art, & Landscape Photographers: How to Exalt Art with Leonardo da Vinci's, Michelangelo's!
Epic Landscape Photography:
A Simple Guide to the Principles of Fine Art Nature Photography: Master Composition, Lenses, Camera Settings, Aperture, ISO, ... Hero's Odyssey Mythology Photography)
Epic Art & Gear for your Epic Hero's Odyssey:
Enjoy my physics books graces with my fine art photography! Light Time Dimension Theory: The Foundational Physics Unifying Einstein's Relativity and Quantum Mechanics: A Simple, Illustrated Introduction to the Physical
Beautiful Surf Goddesses! Athletic Action Portraits of Swimsuit Bikini Models! Athena, Artemis, Helen, and Aphrodite!
Please read the story of Captain Kitty Shadowsail on Eclectic Equations, here: eclecticequations.blogspot.com/2012/03/chasing-kraken.html
:)
Outfit: = Brain Circuit Inc. = Sea Voyager (Female Outfit), including the mechanical eye patch, tool belt and tricorn hat - Steam6 Hunt gift (0 L$).
Boots: A&S Visions Aftershok Steam Boots - Steam6 Hunt gift (0 L$).
Watch: *Amaranthus* Compass Rose Pocket-Watch Antique Gold - Steam6 Hunt gift (0 L$).
Hair: „D!va” hair „Akane” group gift in Topaz (0 L$ and it’s free to join the group).
Skin: ::Mother Goose’s:: Jamil-II(B) Lucky Board gift (0 L$).
Eyes: Sterling Artistry Feral Eyes in Ginger (it was a formal hunt gift, now it’s available for 65 L$, the 6-pair pack is 260 L$).
Poses: Embody M Flex No. 3. in the first picture (it was a formal hunt gift, now it’s available for 49 L$, the 5-pose pack is 199 L$), HelaMiyo Look In The Sky No. 5. in the second picture (free pose pack gift available in the shop).
The pictures were taken at the Black Spot Shipyard, a must-see for all aspiring SL pirates. :)
maps.secondlife.com/secondlife/Black%20Spot/199/142/23
The texture is by Lenabem-Anna: www.flickr.com/photos/lenabem-anna/5850503059/in/set-7215...
The National Graphene Institute in Manchester where graphene was first discovered in 2004. The building was designed by Jestico + Whiles. The building's 'skin' is made up of hundreds of black stainless steel panels with thousands of tiny perforations that make up the equations that we used in the research as part of the discovery of graphene.
My physics equation dx4/dt=ic graces the swimsuits and bikinis, while the golden gun is designed in proportion with the golden ratio, and the photos are oft cropped in divine proportions!
Beautiful Golden Ratio Composition Photography Surf Goddesses! dx4/dt=ic Athletic Action Portraits of Swimsuit Bikini Models! Athena, Artemis, Helen, and Aphrodite! Athletic Fitness Models!
My Epic Gear Guide for Landscapes & Portraits!
Everyone is always asking me for this! Here ya go! :)
My Epic Book: Photographing Women Models!
Portrait, Swimsuit, Lingerie, Boudoir, Fine Art, & Fashion Photography Exalting the Venus Goddess Archetype: How to Shoot Epic ...
Epic! Beautiful Surf Fine Art Portrait Swimsuit Bikini Models!
Bitcoin: 1FMBZJeeHVMu35uegrYUfEkHfPj5pe9WNz
Follow me friends!
facebook.com/goldennumberratio
Epic books, prints, & more!
Exalt your photography with Golden Ratio Compositions!
Golden Ratio Compositions & Secret Sacred Geometry for Photography, Fine Art, & Landscape Photographers: How to Exalt Art with Leonardo da Vinci's, Michelangelo's!
Epic Landscape Photography:
A Simple Guide to the Principles of Fine Art Nature Photography: Master Composition, Lenses, Camera Settings, Aperture, ISO, ... Hero's Odyssey Mythology Photography)
Epic Art & Gear for your Epic Hero's Odyssey:
Enjoy my physics books graces with my fine art photography! Light Time Dimension Theory: The Foundational Physics Unifying Einstein's Relativity and Quantum Mechanics: A Simple, Illustrated Introduction to the Physical
Beautiful Surf Goddesses! Athletic Action Portraits of Swimsuit Bikini Models! Athena, Artemis, Helen, and Aphrodite!
Spacetime - Einstein Field Equations Textured in GIMP - Photographer Russell McNeil PhD (Physics) lives on Vancouver Island, where he works as a writer.
My physics equation dx4/dt=ic graces the swimsuits and bikinis, while the golden gun is designed in proportion with the golden ratio, and the photos are oft cropped in divine proportions!
Beautiful Golden Ratio Composition Photography Surf Goddesses! dx4/dt=ic Athletic Action Portraits of Swimsuit Bikini Models! Athena, Artemis, Helen, and Aphrodite! Athletic Fitness Models!
My Epic Gear Guide for Landscapes & Portraits!
Everyone is always asking me for this! Here ya go! :)
My Epic Book: Photographing Women Models!
Portrait, Swimsuit, Lingerie, Boudoir, Fine Art, & Fashion Photography Exalting the Venus Goddess Archetype: How to Shoot Epic ...
Epic! Beautiful Surf Fine Art Portrait Swimsuit Bikini Models!
Bitcoin: 1FMBZJeeHVMu35uegrYUfEkHfPj5pe9WNz
Follow me friends!
facebook.com/goldennumberratio
Epic books, prints, & more!
Exalt your photography with Golden Ratio Compositions!
Golden Ratio Compositions & Secret Sacred Geometry for Photography, Fine Art, & Landscape Photographers: How to Exalt Art with Leonardo da Vinci's, Michelangelo's!
Epic Landscape Photography:
A Simple Guide to the Principles of Fine Art Nature Photography: Master Composition, Lenses, Camera Settings, Aperture, ISO, ... Hero's Odyssey Mythology Photography)
Epic Art & Gear for your Epic Hero's Odyssey:
Enjoy my physics books graces with my fine art photography! Light Time Dimension Theory: The Foundational Physics Unifying Einstein's Relativity and Quantum Mechanics: A Simple, Illustrated Introduction to the Physical
Beautiful Surf Goddesses! Athletic Action Portraits of Swimsuit Bikini Models! Athena, Artemis, Helen, and Aphrodite!
High Res Santa Monica Pretty Fitness Model! Beautiful Golden Ratio Composition Photography Surf Goddesses! Athletic Action Portraits Swimsuit Bikini Models! Athena, Artemis, Helen, and Aphrodite! Athletic Models! dx4/dt=ic
My physics equation dx4/dt=ic graces the swimsuits and bikinis, while the golden gun is designed in proportion with the golden ratio, and the photos are oft cropped in divine proportions!
Beautiful Golden Ratio Composition Photography Surf Goddesses! dx4/dt=ic Athletic Action Portraits of Swimsuit Bikini Models! Athena, Artemis, Helen, and Aphrodite! Athletic Fitness Models!
My Epic Gear Guide for Landscapes & Portraits!
Everyone is always asking me for this! Here ya go! :)
My Epic Book: Photographing Women Models!
Portrait, Swimsuit, Lingerie, Boudoir, Fine Art, & Fashion Photography Exalting the Venus Goddess Archetype: How to Shoot Epic ...
Epic! Beautiful Surf Fine Art Portrait Swimsuit Bikini Models!
Bitcoin: 1FMBZJeeHVMu35uegrYUfEkHfPj5pe9WNz
Follow me friends!
facebook.com/goldennumberratio
Epic books, prints, & more!
Exalt your photography with Golden Ratio Compositions!
Golden Ratio Compositions & Secret Sacred Geometry for Photography, Fine Art, & Landscape Photographers: How to Exalt Art with Leonardo da Vinci's, Michelangelo's!
Epic Landscape Photography:
A Simple Guide to the Principles of Fine Art Nature Photography: Master Composition, Lenses, Camera Settings, Aperture, ISO, ... Hero's Odyssey Mythology Photography)
Epic Art & Gear for your Epic Hero's Odyssey:
Enjoy my physics books graces with my fine art photography! Light Time Dimension Theory: The Foundational Physics Unifying Einstein's Relativity and Quantum Mechanics: A Simple, Illustrated Introduction to the Physical
Beautiful Surf Goddesses! Athletic Action Portraits of Swimsuit Bikini Models! Athena, Artemis, Helen, and Aphrodite!
I've "borrowed" this mouse mat from the San Diego Superduper Computer Center www.sdsc.edu
It describes
Newton's equations
1. en.wikipedia.org/wiki/Schrödinger equation
2. en.wikipedia.org/wiki/Navier–Stokes_equations
3. en.wikipedia.org/wiki/Poisson's_equation
4. en.wikipedia.org/wiki/Heat_equation
5. en.wikipedia.org/wiki/Helmholtz_equation
6. en.wikipedia.org/wiki/Discrete_Fourier_transform
7. en.wikipedia.org/wiki/Maxwell's_equations
8. Partition function
9. Population dynamics
10. Laws of thermodynamics
11. Radiosity
12. Rational B-Spline
[Imgp5029.Jpg]
My physics equation dx4/dt=ic graces the swimsuits and bikinis, while the golden gun is designed in proportion with the golden ratio, and the photos are oft cropped in divine proportions!
Beautiful Golden Ratio Composition Photography Surf Goddesses! dx4/dt=ic Athletic Action Portraits of Swimsuit Bikini Models! Athena, Artemis, Helen, and Aphrodite! Athletic Fitness Models!
My Epic Gear Guide for Landscapes & Portraits!
Everyone is always asking me for this! Here ya go! :)
My Epic Book: Photographing Women Models!
Portrait, Swimsuit, Lingerie, Boudoir, Fine Art, & Fashion Photography Exalting the Venus Goddess Archetype: How to Shoot Epic ...
Epic! Beautiful Surf Fine Art Portrait Swimsuit Bikini Models!
Bitcoin: 1FMBZJeeHVMu35uegrYUfEkHfPj5pe9WNz
Follow me friends!
facebook.com/goldennumberratio
Epic books, prints, & more!
Exalt your photography with Golden Ratio Compositions!
Golden Ratio Compositions & Secret Sacred Geometry for Photography, Fine Art, & Landscape Photographers: How to Exalt Art with Leonardo da Vinci's, Michelangelo's!
Epic Landscape Photography:
A Simple Guide to the Principles of Fine Art Nature Photography: Master Composition, Lenses, Camera Settings, Aperture, ISO, ... Hero's Odyssey Mythology Photography)
Epic Art & Gear for your Epic Hero's Odyssey:
Enjoy my physics books graces with my fine art photography! Light Time Dimension Theory: The Foundational Physics Unifying Einstein's Relativity and Quantum Mechanics: A Simple, Illustrated Introduction to the Physical
Beautiful Surf Goddesses! Athletic Action Portraits of Swimsuit Bikini Models! Athena, Artemis, Helen, and Aphrodite!
Nikon D800E Photos of Green Eyed Goddess with Long, Sandy-Blonde Hair! She was immaculate! Classic California--a fitness model goddess in black & gold Gold 45 Revolver bikini with the Movng Dimensions Theory Equation on it: dx4/dt=ic! Tall, thin, fit and very, very pretty!
Here's some new epic video of the epicly pretty goddess!:
www.youtube.com/watch?v=nvHm74X45pc
www.youtube.com/watch?v=YZ6ZkVLQfYI (reading Shakespeare on the Beach!)
www.youtube.com/watch?v=puG98PGfGv8 (Sony A99 Alpha 99 Stabilized)
www.youtube.com/watch?v=_NwH92553EI
www.youtube.com/watch?v=rFwH-gn1Fo0 (sony A99 Stabilized)
Be sure to enjoy the epic videos in full screen HD! :)
Photos shot with the AMAZING Nikon D800 E and Nikon 70-200mm f/2.8G ED VR II AF-S Nikkor Zoom Lens. Classic California! Beautiful Swimsuit Bikini Model Goddess with Pretty Green Eyes and wavy sandy-blond hair!
Shot in both RAW & JPEG, but all these photos are RAWs finished in Lightroom 4 ! :)
Modeling the Gold 45 Revolver Gold'N'Virtue Bikini on a cloudy/sunny morning--awesome mixed light--my favorite for shooting on the beautiful socal beach!
Shot with the new Nikon D800E and Nikon 70-200mm f/2.8G ED VR II AF-S Nikkor Zoom Lens.
Captured in both RAW and JPEG.
Modeling the black & gold "Gold 45 Revolver" Gold'N'Virtue swimsuits with the main equation to Moving Dimensions Theory on the swimsuits: dx4/dt=ic. Yes I have a Ph.D. in physics! :) You can read more about my research and Hero's Journey Physics here:
herosjourneyphysics.wordpress.com/ MDT PROOF#2: Einstein (1912 Man. on Rel.) and Minkowski wrote x4=ict. Ergo dx4/dt=ic--the foundational equation of all time and motion which is on all the shirts and swimsuits. Every photon that hits my Nikon D800e's sensor does it by surfing the fourth expanding dimension, which is moving at c relative to the three spatial dimensions, or dx4/dt=ic!
May the Hero's Journey Mythology Goddess inspire you (as they have inspired me!) along your own artistic journey! Love, love, love the 70-200mm F/2.8 Lens! :)
All the Best on Your Epic Hero's Journey from Johnny Ranger McCoy!
May the classic California HJM Goddesses guide, inspire, and exalt ye along yer heroic artistic journey!
All the Best on Your Epic Hero's Journey from Johnny Ranger McCoy!
My physics equation dx4/dt=ic graces the swimsuits and bikinis, while the golden gun is designed in proportion with the golden ratio, and the photos are oft cropped in divine proportions!
Beautiful Golden Ratio Composition Photography Surf Goddesses! dx4/dt=ic Athletic Action Portraits of Swimsuit Bikini Models! Athena, Artemis, Helen, and Aphrodite! Athletic Fitness Models!
My Epic Gear Guide for Landscapes & Portraits!
Everyone is always asking me for this! Here ya go! :)
My Epic Book: Photographing Women Models!
Portrait, Swimsuit, Lingerie, Boudoir, Fine Art, & Fashion Photography Exalting the Venus Goddess Archetype: How to Shoot Epic ...
Epic! Beautiful Surf Fine Art Portrait Swimsuit Bikini Models!
Bitcoin: 1FMBZJeeHVMu35uegrYUfEkHfPj5pe9WNz
Follow me friends!
facebook.com/goldennumberratio
Epic books, prints, & more!
Exalt your photography with Golden Ratio Compositions!
Golden Ratio Compositions & Secret Sacred Geometry for Photography, Fine Art, & Landscape Photographers: How to Exalt Art with Leonardo da Vinci's, Michelangelo's!
Epic Landscape Photography:
A Simple Guide to the Principles of Fine Art Nature Photography: Master Composition, Lenses, Camera Settings, Aperture, ISO, ... Hero's Odyssey Mythology Photography)
Epic Art & Gear for your Epic Hero's Odyssey:
Enjoy my physics books graces with my fine art photography! Light Time Dimension Theory: The Foundational Physics Unifying Einstein's Relativity and Quantum Mechanics: A Simple, Illustrated Introduction to the Physical
Beautiful Surf Goddesses! Athletic Action Portraits of Swimsuit Bikini Models! Athena, Artemis, Helen, and Aphrodite!
The word "Gravity" is a symbol of reality that exists. Similarly E=mc2 is a combination of symbols trying to express some reality. In similar fashion my depiction of flashes (kashf) should be conceived that they are equations in language that nature uses. If “E” stand for “energy” and “=” stand for “equal to” and “m” for “mass” and so on, than in my flashes some wood or earth texture juxtaposed with some toy or any object could be some explanation of some phenomena in language that nature is accustomed to. Perhaps fate had dropped flashes in my lap and I am depicting these flashes for world to know how to derive knowledge out of these flashes. May be from Archetypal plane I am receiving flashes and transforming these into phenomenal plane, but for more perfect transformation, sponsorship is required, like flashes roughly depicted demands super realistic treatment or animations at some points, or arrangements in 3- Dimension or performing activities or etc. at some other points, because each of my work either illustrated or arranged for photo is a part of animation and is just a one shot from one angle of bigger reality, therefore I am not a sur-realist.
For deriving knowledge from my flashes their access to wider researchers in form of website, book, Museum, CD, video, etc. are required. And due to unavailability of resources, most of the paintings were sold before I could photographed these works which basically are like the fossils of the time and region and are done with hope that in future in order to get some data out of these works, the dimensions of anthropology, psychology, historiography, neurology, neuro-physics and other aspects will also be taken into account and the result may benefit in understanding some aspect of the complex Nature. The importance of flashes can be realized from the ripple effect observable in art and multi-media community that somehow came in contact with the work and hijacked ideology out of these flashes, such benefits, scientific community has not taken yet. From art point of view the art community produced high quality variations out of flashes but their work lack archetypal dimension, which is one of the aspect, useful for scientific community to explore. For cataloguing purpose somewhere title or art terminology like: "oil on canvas", "collage", "performance", "installations", "construction", etc. are used has nothing to do with meaning of the work, flashes are independent of these terminologies borrowed from art for cataloguing purpose only, flashes are beyond art. Flashes can include any ism, any element, bizarre thing, anything or things we don't know, that's why thousands of my flashes goes waste due to lack of energy and resources. Besides colorful images, performance and animation, Flashes also comes in form of sound as well, for instance I heard the sound: "Quranic archaeology is a mighty subject," this flash took me into the archaeology. For detail see at: quranicarchaeology.blogspot.com/ Please see my few recorded Flashes on address: www.flickr.com/photos/art-science-works/
Here I just want to share my personal recent refinement on my own analysis (with which you are free to agree or not), that perhaps I should confine myself to Flashes (or call it images) which stay in my eyes just for less than a half second, perhaps for 0.01 second and I simply illustrate these Flashes and what it holds for future Fine Art, Science or Spirituality, I do not know yet. So I isolate myself from dada and sur-realism because I avoid title and avoid mixing my imagination or experimentation in recording of Flashes which is very rare or unrecorded. IN DADA AND SUR-REALISM WE DO READ ABOUT DREAMS AND DRUG INFUSED RANDOM THOUGHTS, BUT NOT FLASHES, SO FAR NO WORD ABOUT FLASHES I FIND EVEN IN FREUD OR JUNGIAN PSYCHOLOGY, THEY TALK ABOUT DREAM IMPORTANCE. And in Christian art history SO FAR I've only observed mixing of dream and inspiration from Bible. No body so far I have read in dada and sur-realism that somebody is claiming that he is depicting Flashes or depicting flashes without mixing his imagination or experimentation. But after seeing the difference between Flashes and work based on MIXING of imagination or experimentation, now I can pin point the Flash, mixed or unmixed*, so please never mix me with William Blake, Sohail Tassaduq, De Chirico, Carra, Magrette, because I am not competing in sur-realism, art aesthetic, or in painterly compositions, I have no experience of spirituality, so I request please do not also confuse me with any oriental mystic artists. MY WORK FROM (1974-81) OF INSTALLATIONS, PERFORMANCES BASED ON FLASHES IS STILL UNPUBLISHED, so new writers do not know about it. IN PAKISTANI ART ALSO SO FAR, NO ARTIST HAS EVER CLAIMED FLASHES mixed or un-mixed. For future science world, un-mixed FLASHES will be more important. If you come up with something related to SCIENCE OF FLASHES, please refer it. * NOTE: After seeing the difference between two, that is: (1)Pure Flashes and (2) some of my work based on MIXING of imagination or experimentation with Flashes, now I can pin point the Flash, mixed or unmixed. My unmixed are pure Flashes and to my mixed work(that is no:2) you can call it sur-realistic which I did for commercial reason on client's demand who was mad of sur-realism, I wish I could destroy these sur-realistic works.
Researchers are invited to reply on enigma of colorful flashes. From where they come? they come to all or to few,? Few interesting pieces of writing below could be the starting point for debate: One is by David V. Tansley in his book: 'Subtle body' , author writes,..."the pineal gland has been found to contain vestigial traces of optic tissue. Experiments have shown that nerve impulses arise in the pineal in response to stimulation by light. Galen claimed that the pineal was a regulator of thought, and the Greeks said that the soul was anchored there. According to esoteric tradition this gland is the focal point for the masculine positive energy of spirit which is represented by the first hexagram of l-Ching, its six yang lines symbolizing the primal power of heaven and the creative action of the holy man".
And another relevant thing here is about physicist Mitchell Feigenbaum (reported in the New York Times, 1984), that when inspiration came to Feigenbaum, it was in the form of a picture, a mental image of two small wavy forms and one big one. This gave him an idea about scaling, the way the small features of a thing relate to the large features, it gave him the path he needed. For period doubling, scaling showed not only when one value-a total population or a fluid speed-would break into two, but also just where the new values would be found, Scaling was an intimate feature of the peculiar world Feigenbaum was beginning to explore. Arthur I. Miller in a discussion of "redefining visualizability" makes it clear...the experimental evidence prevents us from forming a mental image bridging the wave-particle duality, such an image is available by 'Anschaulichheit' (German term for intuition, plus more) of another kind. It is the kind of image the physicist Werner Heisenberg had in mind when he asserted that, although the causality of classical mechanics has no access to quantum theory, quantum mechanics should not be considered unanschaulich, that is, excluded from imagery (Miller, Imagery in Scientific Thought). One example of such image is Albert Einstein's famous thought experiment in which he demonstrated the equivalence of inertia and gravitation by imagining an observer pulled through empty space in a closed container. Such images, however, lead by degrees of abstraction to others limited to spatial diagrams of a theoretical situation. Sigmund Freud, for example, writes, "We assume that the psychic life has the function of an apparatus, to which we attribute spatial extension and which we imagine as being composed of several pieces, similar to a telescope or microscope" Although such an image provides complementarity with a concrete percept of its models, it would not seem to provide it with a representable reality. But some physicists disagree that Niels Bohr never apply his notion of complementarity to subject other than physics. But for some physicists the contrary is true. From Rudolf Arnheim's essay: Complementarity from the outside. May be or may not be these above references are relevant here for flashes I do not know, but for scientific analysis it is important to state briefly here the background of how I realized the importance of these flashes, but for scientific cause I have to write what I should not. I hope my friends will forgive me for this cause, because for good Gestalt one should have all the possible details in mind, it is beyond humans to perceive Perfect Gestalt, only Allah knows everything.
In between, some works in form of small photo with ink or other media are what I called these: Today’s Miniature Works, it’s personal feeling that any other like me can also claim we never know what time can prove but thing should be recorded, this is what I am doing here. One of the experiments was a debate on miniature art, I told many, it should be saturated with current and regional issues or concepts, which I painted with brush and camera, etc. and called it Today’s Miniature Art, long before it became a trend. Indeed now it is much refined by our younger generation of artists, I hope they remember my small contribution untold to them. such miniatures along with other experiments of early 70’s I had shown to Bashir Mirza, Ali Imam, Ahmed Pervez, Jamil Naqsh, Imran Mir, Iqbal Jaffery, Naseem Ahmed Khan, Muhammad Ali Bhatti, Dr. Sajid Khan, Iqbal Durrani, Mohsin Zaidi and other artists and art collectors. But BM and Imam refused to exhibit these experiments (flashes) on ground that these experiments will become important in future, first I should make my name famous with super realistic sort of works, which they were selling easily, so I had to exhibit these experiments (flashes) at PACC, Karachi, Jan 8, 1979, about which Daily News reported: "Artist Bashir.Mirza inaugurated an exhibition of paintings by Saleem Mansoor, a 19-year old student at the PACC yesterday. Saleem has .a distinct talent in Art. He has painted old colonial houses in a remarkably sound representational style, he has to stick to this style in order to develop his aesthetic sense instead of delving into different styles".Daily News, Jan 9, 1979 This above small press coverage is evidence of my habit of delving into different styles and evidence of how brutally my Pakistani- avant gaurd works (that I did between 1974-1978 which were displayed in this 1979 exhibition) were brutally ignored by media. I invited Dr. Akbar Naqvi the only art critic I knew at that time, but he did not came, perhaps due to reason of event of Dec. 1974, when Ali Imam told me that Dr. Akbar is offering four hundred for your painting of nine hundred rupee, but I refused, after that I was never introduced to any art critic, nor Dr, Akbar wrote a word on me and not even in his book and other art historian also not included me in their books, and no comment I see in the catalogue of 2007- National exhibition, but can history ignore the influence of my Flashes recorded in an unmistakable solid resources other than these local sources ? If conceptualy analysed what Fine Art is all about ? than even two or three flashes from my 70's or early 80's (which Dr. Naqvi has seen) will have more wheight than works represented in local art books. This is not proudness on myself this is an admiration of gift from nature that I got in form of Flashes, although my depiction of Flashes is bad, because I have no proffessional art training nor I am better artist than many artists represented in local art books, on this ground Dr. Akbar Naqvi, S. Amjad Ali, Ejazul Hassan, Salwat Ali are right in not including me in their books. But I depict or record Flashes with realization that they are more important than Mona Lisa, E=mc2 or Taj Mahal. When I put all these before Marjorie she replied my email with these highly rewarding words: " What you have to say is extremely important, but you have always been way ahead of your time and environment. Mansoor, it is very hard to be a pioneer, but you are in the best of company in art history. Do not despair"---Marjorie Hussain, 5. 19. 2008, 9.03.am. Marjorie perhaps discovered me in 1983 through BM and Imam as her this recording shows:
"Saleem Mansur is an extremely interesting artist: "an artist's artist' as Ali Imam used to say. Bashir Mirza who juried Mansur's thesis work at the Central Institute of Arts and Crafts in 1983, was also numbered among the artist's admirers and on that occasion was greatly excited by the audacious innovations of the young "avant-garde' artist. Mansur was even then into installations, happenings and conceptual art, ....... In spite of the success in terms of the work, Mansur returned totally to the conceptual language that few understood. Those who did, considered him the most innovative and promising artist of his generation." ---Marjorie Hussain, Art Views, page.146. Published by fomma. And according to founder of fomma: Imran Mir (who knew me scince 1975) use to say... "because of his "Garage Series" Mansur was an artist before admission at CIAC" . To some extent he is right, since then I am like a scientist trying to record or understand the phenomenae of Flashes which immenssly influenced even the senior artists and since than I am enjoying the ripple effects of my Flashes that I exhibited between 1974-80, because of these years' work, Imam and BM passed highly praised words to Marjorie in my 1983 show at Pakistan Arts Council, Karachi, which Dr. Akbar Naqvi also saw (in 1984 display at the same place), but avoided to write and said I will see your next show. despite all these I still like him and all other art critics because of their love with fine art.
In late 70's some art students from KSA and CIAC came to my house and told me they have taken address from the back of my canvas at BM and Indus Galleries and developed a friendship and insisted me to take admission in their art school, I told them I am refusing my father who has managed my addmission in NCA on ground that I can not work on others' assignment, but among them Mohsin Zaidi gave me inside story and assurrance that at CIAC I will have full freedom to do my own experiments, I decided to register at CIAC in 1981 where for new audience I repeated most of my earlier works for photo and film recording the facility of which I found among new friends and all these recording I took NCA (1981) to show it there as well to check the ripple effect of my Flashes and later I exhibited at NAG, Islamabad, Al-Hamra, Lahore (1984) about which Yasin Muhammad, Salima Hashmi, Ghulam Nabi and others wrote good comments. For press coverage Click Here
It was not important for me to call my small size works as "todays miniature art", because these recording of flashes are blue print for performmance, installations, 3D animation, etc., and these are blue print for science as well as specialist of quantum physics Thomas Young says, if we isolate light particle from other particle than its duplicate takes its place and that duplicate comes from other universe or from else we do not know yet but it certainly shows we all have our duplicates including universe within universe. Beyond particle there is particle-Less field in atom to which Euorpean physicst call God-particle, this field if it is realy particle-Less perhaps is a curtain between the world and the other worlds of spirits, jins, angels, etc. visible after death only and not through telescope, space ship, microscope, etc. so flashes could be the LINK with the other worlds we have yet to understand. It looks to me all the flashes came to me in one night of 1973 or 1974 and scince then I am trying to somehow to capture them in notes or in illustration and in this effort flashes do come back one by one but still my energy and skill is not sufficient to record all those moving and still flashes, I hired one video recorder in 1981 through Sadiq of CIAC to record such Flashes but budget did not allowed to refine it or to produce more. What ever Flashes I recorded between 1974-1982 is my work that has immense ripple effects without any economical reward.
A year before Metric and much before Diploma in fine art, my art works (flashes) since 1974 were on display at Atelier BM and at Indus gallery, and since then I am observing the ripple effect of those works. After solo show of my works at Pakistan American Cultural Center, January 1979, I went to CIAC, Karachi Arts Council, to check effects of my art and science works among artists. Before flashes since 1973 I was only doing super realistic sort of paintings of surrounding and of interior Sindh culture and capturing the local environment to come up with something: Pakistani avant-garde which I displayed at PACC solo show in Jan. 1979. But was ignored by media, only small press coverage came with a suggestion: "Mansoor has to stick to his remarkably sound realistic style instead of delving into many styles". (Art show, Daily News, Jan. 9, 1979). But anyhow I was realizing the importance of my flashes which were inspiring the most intelligent and talented of artist community for example: Ghalib Baqar changed his Dali sort of Sur realism into experimental water color, other water colorists like Abdul Hayee, Ather Jamal, Zahin Ahmad, Hanif Shezad, etc. added Karachi and interior Sindh imagery into their work.
One of world's best super realist artist Shakil Siddiquei changed his Rembrandt sort of style into super realistic abstraction, for instance his paintings of Book shelf, Notice board, door, windows, composition with Dawn news paper, Sindhi dari, fruit packing wooden peyti, Chilmun and etc., in subject matter, were directly inspired by my flashes in form of photos or artworks I shared with him. Art critic Dr. S. Amjad Ali in his article: "Growing trend towards realism", wrote;..."Saleem Mansoor was the first to begin this kind of realism in Karachi but he was well advised to give up after creating a few interesting pieces. It is a good way of gaining command over technique and then putting it to other use in which more thought and feeling comes into play." (Dawn, April 20, 1984). Ejazul Hassan wrote in Page 17, 123 in the catalogue of 5th National Exhibition, 1985, Published by Idara Saqafat Pakistan, written by Ejazul Husan. "Young Mansoor Saleem has his own unusual way with objects and space. He sometimes likes to call his work as "installation" in the environment around him. He always wants to place things where he thinks these should be placed. The coiled wire, with a crescent on top, placed on a gray composition is evidence of his restless imagination. The title "Pakistani Avnet Garde" also shows his wit." (—page 123, Ejazul Husan) "The young painter Saleem Mansoor....investigates new methods and techniques not only meant to widen the scope and definition of realism but also to discover fresh methods to stimulate the viewers' response. His 'painting' titled The Pakistani Avant-garde' is wittily fabricated with tan-gue-in-cheek humor making an apt comment on elitist attitudes and trends in modern art."—(page: 17, from the introduction of 5th National Exhibition by Ejazul Hasan).
Most helping and highly creative artist and multi media man Imran Mir in 1975 appreciated my work in high remarks when he was discussing with Bashir Mirza at Atelier BM. BM was telling him that before going to Canada what Imran observed in art scene was still the same when he returned after many years, that Ahmed Pervaiz is repeating Allen Davy, and Shakir Ali, Mansur Rahi and their students were repeating Picasso and Braque's cubism in Indian or Bengali styles and Jamil Naqsh, Lubna Agha, Mansur Aye, Mashkoor, and others are repeating the same compositions, Rabia Zuberi and Shahid Sajjad repeating Henry Moor and so on. Imran pointing towards my work replied: "he is the change"! and BM acknowledged it. Imran like Zahoor ul Akhlaque also absorbed important elements from my flashes but both only absorbed postmodern art-elements from my flashes (but they absorbed postmodern element from other sources also like we see in work of Herbert Bayer, Jennifer Bartlett, Ross Blacker, Sean Scully and etc), which not much is my concerned. During my slide show at NCA in 1981, Zahoor and his wife asked me about my future plan, they were surprised to hear that I will soon be joining Archaeology Department in some university because from inside I am an anthropologist also. All my work is not only a statement in anthropology, but is also a statement in neurology, physics, and other sciences. Imran sincerely wanted to bring post modern trends in the region, perhaps for variety he introduced me to many artists, for instance, one day Imran came to me and carried my work's photos in his car and took me to David Alesworth's house and showed my work to him and his wife Durriya and Imran told them to do something like that and after one month of that, Imran's wife Nighat, told me; "Mansoor! You know Durriya is taking your sort of Truck art from Karachi to Peshawar". Nighat was saying that because she much before this event has written an article in press on my 1977 Truck art collection and Sara Irshad has written on my 1981 work: "Taking art show on donkey cart to the folk". Durriya and David not only took the advantage of my flashes but others also followed similar ideology, for instance Ruby Chisti, Masooma Syed, Naiza Khan, Adeela Khan, Rashid Rana, Noorjehn Bilgramy, Huma Mulji, Farida Batool, Ali Raza, Sophie Ernst, Faiza But, M. Ali Talpur, Imran Qureshi, Ameen Gulgee, Jamal Shah, Nazish Ataullah, Aaisha Khalid, Risham Syed and many others who spread the ideology to Melbourne, Dubai, London, New York, etc.
Before their first thesis, IVSAA'S principal invited me for slide show of my work, but to my surprise only the faculty staff was invited and not the students. After a month or so one of the faculty member Kamran Hamid told me, "Mansoor go and see student's thesis at IVSAA where teachers has influenced students to do work which is similar to your ideology"." Now it is a tradition there. Even their very architecture is based on the ideology of some of my old flashes and on article published in press. Despite their ignorance I still like IVSAA for their spirit to move forward.
Against me, I even find wrong propaganda by hijackers of my work. And rather through lobby in media they even sensor or edit my interviews according to their need of representing me with those works which they have not preferred to hijack from my flashes. In Shisha, Shanakht, Carce, IVSAA, Fomma, VASL and VSDKU works I have observed direct influence of ideologies, imageries derived out of my flashes. For assessment of the influence, historiographical approach is required. For commercial reason, they can ignore me too but future history will not. Local art magazine and art book writers were chased to ignore me If media is free or they have no lobby system, than why merit is ignored in my case, why Dawn's Gallery, The News, Jung, avoid covering my art shows. I also held slide show of the work at NCA in 1981, where Zahoor-ul-Akhlaque, his wife and his students saw the show. Salima Hashmi wrote an article on my exhibition at Alhambra gallery Lahore, in March, 1984. The effort bore its fruit, through historiography one can trace after 1981, the change in NCA and change in Zahoor, Ejazul Hasan, Salima Hashmi, Shahid Sajjad, Mehar Afroze, etc., and change in their younger generation of students. They and other agents and technology (since 1974 perhaps) spread the influence of my flashes abroad as well, for instance on Beverly Pepper, Nicole Eisenman, Anish Kapoor, Mohsin Zaidi, Susanne Kessler and etc. Etc. All the names mentioned above have the right to disagree with me, these are just friendly assumptions for researchers to look at such debate too to guess what the flashes are? I too was inspired by many but after receiving Flashes from nature, I painted these with realization that they are more important than Mona Lisa, E=mc2 or Taj Mahal. I have no solo shows in prestigious gallery abroad I have no big post, scholarship or any sponsorship or awards, etc. But what Nature has given me in form of Flashes is more important that they are prototype for all time to come, back to the future or forward into the past. All artists are free to make anything they wish or according to market Forces but I have to make (for science) what I receive in form of flashes. Historiographicaly speaking Flashes' influence is more than what the work of Shakir Ali, Sadequein, Gulgee, M.F. Hussain and etc. had. But no comment I see in the catalogue of 2007- National exhibition, even the Karachiets have ignored me too, but not artchowk.com, I admire the support I am getting from people behind artchowk. I need Du'a to continue the mission, if possible Inshallah. ......MS
FROM DUBAI BASED ART GALLERY YOU CAN ACQUIRE MY FLASHES FROM: www.artchowk.com/Views/gallery/exhibition
Well I was shooting fall colors in Zion National PArk when I saw that they had forecast snow for Bryce Canyon, so instead of heading back to LA, I headed out to Bryce Canyon! And I was treated to snow, sun, clouds, snowstorm, and then a glorious sunrise over the s-capped hoo-doos in Bryce! :)
Sony A7RII Bryce Canyon & Zion National Park Autumn Dr. Elliot McGucken Fine Art Landscapes
Been busy traveling and shooting landscapes and working on my books The Golden Hero's Odyssey about the golden rectangle and divine proportion I use in a lot of my compositions! Also working on my physics book on Dynamic Dimensions Theory! The equation d4/dt=ic is on a lot of the 45surf swimsuit and shirts and all! :)
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Beautiful snow covered hoo-doos in Bryce Canyon! Bryce Canyon hoodoos all covered in snow! Beautiful Bryce Canyon Fine Art Sunrise!
My fine art landscape lenses for the A7RII are the Sony 16-35mm Vario-Tessar T FE F4 ZA OSS E-Mount Lens and the Sony FE 24-240mm f/3.5-6.3 OSS Lens ! Love the Carl Zeiss and super sharp Sony Glass!