View allAll Photos Tagged Explicating
Suddenly there is no way to escapre reality..
it hits me without a warning or prediction
it sweeps my feet away..
and shakes my stability away..
My opened mouth..will never close again..
questions are many
I have my explications already there as a strong defense.
Did she help that lady that was found on the hard ground in the snow?
Of course she must have done...
Flying was never an option...
©hajlana
The day following the expulsion of Oct. 5, a demonstration took place in the front of the Ministère de la Crise du Logement to denounce the conditions of the police intervention. After what they had endured at night, it was a release for many people and spirits were high ! But people were also tired and worrying about the future.
Merci de lire les explications en début d'album / Please read the explanations at the beginning of the set
Miners and other workers demonstrates in La Paz on Aug. 5 after 2 protesters were killed and dozens hurt during the day near Oruro. The COB (Central Obrera Boliviana), one of the traditional ally of Evo Morales´ government, has turned against it recently on a proposed reform of the pension law. The current events, less than a week before the referendum, fuel the general wave of protests thoughout the country.
Merci de lire les explications en début d'album / Please read the explanations at the beginning of the set
On May 21, a couple of hundreds fishermen came to Paris to demonstrate against the increase in oil prices and the failure of the government to fulfill its promises (partly due to UE rules). While a delegation was received by the minister Michel Barnier, some protested outside the ministery, clashing with the police for about an hour with flares and emergency rockets. 3 policemen were seriously hurt. Everybody calmed down afterwards and no arrest were made.
Merci de lire les explications en début d'album et de parcourir les photos par ordre chronologique / Please read the explanation at the beginning of the set and view the pictures in chronological order.
Part of "Pêcheurs en colère"
# Le Myanmar ou Birmanie -
# Le Lac Inlé -
# Etonnant pays que La Birmanie avec un accueil et une gentillesse remarquable malgré la pauvreté De ses habitants.
# La population est surtout constituée des Inthas en majorité et aussi dans le nord du lac
Les Shan, également appelés Dai ou Thai Yai, sont un groupe ethnique de langue tai de l'Asie du Sud-Est. Ils forment la plus grande minorité ethnique de Birmanie avec quelques
Femmes Girafes ou Les Padaung, aussi connus sous le nom de Kayan, du peuple Karenni (Karens rouges) qui est une minorité ethnique tibéto-birmane du Myanmar .
# L’artisanat local : une curiosité le tissage de la soie à partir de tiges de Lotus !
Explication les tiges de lotus sont coupées en tronçons de 10 cm environ et ensuite cassés en deux pour étirer des fils qui vont devenir des fils de soie … Ensuite c’est la coloration de ces fils et son tissage …
# - Merci pour vos passages sur les vues, favoris et commentaires.
# Astonishing country that Burma with a reception and a remarkable kindness in spite of the poverty of its inhabitants.
# The population is mainly made up of the Inthas in the majority and also in the north of the lake
The Shan, also called Dai or Thai Yai, are a Tai-speaking ethnic group of Southeast Asia. They form the largest ethnic minority in Burma with a few
Giraffe Women or The Padaung, also known as Kayan, of the Karenni (Red Karen) people who are a Tibetan-Burmese ethnic minority in Myanmar.
# Local craftsmanship: a curiosity weaving silk from Lotus stems!
Explanation the lotus stems are cut into sections of about 10 cm and then broken in half to stretch threads that will become silk threads ... Then it is the coloring of these threads and their weaving ...
# - Thank you for your passages on views, favorites and comments.
An old Pakistani man is waiting outside a polling station.
Merci de lire les explications en début d'album / Please read the explanations at the beginning of the set
Part of Pakistani Elections (Recommended as a slideshow)
Réalisation :
- grande softbox en hauteur
- 2 flashs nus à l'arrière, à droite et à gauche
> FICHES "MAKING OFF" :
Recevez les fiches making off avec schémas d'éclairage et explications techniques :
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ENGLISH :
- Large softbox high above
- 2 bare flashes back right and back left
On May 21, a couple of hundreds fishermen came to Paris to demonstrate against the increase in oil prices and the failure of the government to fulfill its promises (partly due to UE rules). While a delegation was received by the minister Michel Barnier, some protested outside the ministery, clashing with the police for about an hour with flares and emergency rockets. 3 policemen were seriously hurt. Everybody calmed down afterwards and no arrest were made.
Merci de lire les explications en début d'album et de parcourir les photos par ordre chronologique / Please read the explanation at the beginning of the set and view the pictures in chronological order.
Part of "Pêcheurs en colère"
A trainer is demonstrating his horse-dancing skills in the small village of Sohan, near Islamabad. Horse dancing is a tradition of Punjab province: the horses are not ridden but conducted by the man nearby. Normally, in festivals, drums are also played to guide the horse. The horse dances mostly on his back legs, kneeling, standing up, or tapping his front legs on the ground.
Merci de lire les explications en début d'album / Please read the explanations at the beginning of the set
Part of Pakistani Lifestyle (Recommended as a slideshow)
Video: www.youtube.com/watch?v=Ow5e-Nh7-_g
Video with explications (FR): www.youtube.com/watch?v=HXHXU8gnuSs
2 years and 1 month after... I show you my 2nd Version of my Clone Base, biggest, more details with a really battle !
2 ans et 1 mois après.. Voici la Version 2 de ma base clone, plus grande, plus détaillé avec une vraie bataille !
Chaine Principale: youtube.com/republicattak
Chaine Secondaire: youtube.com/republicattakstudio
Twitter: twitter.com/republicattak
Blog: republicattak.unblog.fr
On Oct. 26 2008, hundreds of people gathered in Les Halles for the first Parisian edition of the Zombie Walk, a tribute to Romero's cult movie. Volunteers offered free make-up but many people showed already dressed to kill ! The parade, from Les Halles to Beaubourg, was a big success and many people were "hurt" ;-)
Merci de lire les explications en début d'album / Please read the explanations at the beginning of the set
Part of "Zombie Walk" (Recommended as a slideshow)
On January 3, 2009, 20 to 25 thousand people demonstrated in Paris to condemn the killings of Palestinians in the Gaza strip by Israel since the beginning of the offensive on Dec. 27. Similar demonstrations took place in other French cities. Spirits were high, and the organizers had a tough time maintaining order.
Incidents broke out around 5pm in St Augustin, where the rally ended, when approx. 200 to 300 people started attacking the police with stones, bottles, etc. as well as vandalizing cars, storefronts, phone booths, bus stops, etc. all the way to the Opéra. 3 or 4 cars were burnt down, others flipped upside down, and dozens had their windows smashed.
While many protesters complained and tried to stop the violence, some also attacked the photographers (sometimes physically), accused of showing the "wrong" side of the event.
Here, a CRS (riot police) "poses" in front of a burning car with his grenade launcher. A few teargas grenades were launched at some point in St Augustin square.
Merci de lire les explications en début d'album / Please read the explanations at the beginning of the set
Part of Stop the killing in Gaza ! (Recommended as a slideshow)
I went to the Giant Causeway early in the morning before the opening time so I had the place almost by myself. The only problem I didn't stay long enough as a breakfast was waiting for me.
It's an amawzng place to see with all these columns and bricks. There are 2 explanations:
Geological explanation : About 50 to 60 million years ago there was a volcano nearby rejecting lots of lava. The lava, made of molten basalt, cooled down then contracted leading to the formation of columns. The pillars then fractured horizontally to form these hexagonal bricks.
Alternative explanation : an Irish giant, called Finn Mac Cool build the causeway to fight another giant called Benandonner living in Scotland. However Finn realised the scotish giant was much bigger then himself so he walked back to Ireland followed by the upset scottish giant. The irish giant asked to his wife to disguise him as a baby. So when his wife presented his son to the Benandonner, . the scots was then scared imaging the size of his husband. The Scottish giant ran back to Scotland destroying the causeway on his way back .
* * * * * *
Voici la célèbre Chaussée des Géants en Irlande du Nord dans le comté d'Antrim. Je l'ai visité de bonne matin avant l'ouverture officielle et l'arrivée massive de touristes. C'est impressionnant de voir ces rochers basaltiques à la forme de briques hexagonales. Il y a deux explications.
Explication scientifique : Il a environ 50 millions d'années, cette région était volcanique avec la coulée de lave basaltique. Quand cette lave c'est refroidie elle a formé sous la pression des roches voisines des colonnes de basaltes, qui ensuite se sont fractionnées en ces briques hexagonales.
une autre explication : un géant irlandais, nommé Finn MacCoole aurait construit cette chaussée pour aller à pied jusqu'en Ecosse défier un autre géant nommé Benandonner. Seulement Benandonner était beaucoup plus grand que lui, aussi il repartit en Ireland poursuivit par le géant Écossais énervé par cette visite. Le géant Irlandais demande à sa femme de le faire passer pour un nourrisson et de le présenter comme son fils. A son arrivée le géant Écossais prend peur à la vue de ce nourrisson énorme en imaginant qu'il n'arrivera jamais à défier son père vue la taille du bébé. Il repart en Ecosse et pour se protéger détruit le passage fait de briques. hexagonales.
On Oct. 26 2008, hundreds of people gathered in Les Halles for the first Parisian edition of the Zombie Walk, a tribute to Romero's cult movie. Volunteers offered free make-up but many people showed already dressed to kill ! The parade, from Les Halles to Beaubourg, was a big success and many people were "hurt" ;-)
Merci de lire les explications en début d'album / Please read the explanations at the beginning of the set
Part of "Zombie Walk" (Recommended as a slideshow)
Au musée Animalaine (voir photo précédente pour explication), il n'y avait pas que des moutons, il y avait aussi des lamas dont celui-ci qui m'a fait plein de bisous. Du moins tant que j'avais des friandises (sachet avec mélange pour moutons vendus à l'entrée)... après il m'a complètement ignorée le vilain
At the Animalaine museum (see previous photo for explanation), there were not only sheep, there were also llamas including this one that gave me kisses. At least as long as I had treats (bag with mix for sheep sold at the entrance) ... after he completely ignored me, naughty guy
I looked out my window and saw something flying toward my place. As it approached I realized it was not an airplane not a helicopter. I managed to get 2 photos of it these are the best I could get. It made no noise, flew in a South to North direction . I am not trying to fool anyone , I do not think it was an alien craft of anykind but something that is unknown and needs and explanation . Has anyone else seen anything like this ?
J'ai regardé par la fenêtre et j'ai vu quelque chose voler vers ma place. En approchant, j'ai réalisé que ce n'était pas un avion, pas un hélicoptère. J'ai réussi à en prendre 2 photos, celles-ci sont les meilleures que j'ai pu obtenir. Il n'a fait aucun bruit, a volé dans une direction du sud vers le nord. Je n'essaie pas de tromper qui que ce soit, je ne pense pas que ce soit un vaisseau extraterrestre de quelque genre que ce soit, mais quelque chose d'inconnu, de besoin et d'explication. Est-ce que quelqu'un d'autre a vu quelque chose comme ça ?
The Raja bazaar in Rawalpindi at night.
Merci de lire les explications en début d'album / Please read the explanations at the beginning of the set
Part of Pakistani Lifestyle (Recommended as a slideshow)
വായുപുത്രനായ ഹനുമാന് തന്റെ സഹോദരനായ ഭീമസേനനെ ആദ്യമായി കാണാന് പോകുന്ന നിമിഷത്തെക്കുറിച്ച് ആലോചിച്ച് സന്തോഷവാനായി നില്ക്കുന്നു. പാഞ്ചാലിക്കുവേണ്ടി കല്യാണം സൌഗന്ധികം അന്വേഷിച്ചിറങ്ങിയ ഭീമന് കദളീ വനത്തിലെത്താന് പോകുന്നതാണ് സന്ദര്ഭം.
Hanuman, the mighty son of vaayu bhagavaan is looking forward to meet his brother bheem, one of the pandavas and one with the strength of a thousand elephants. Bheem is in search of kalyana saugandigam flower for his wife. The tale is from Mahabharatha.
കല്യാണസൌഗന്ധികം ഓട്ടന് തുള്ളല്. കോഴിക്കോട് കടല്പ്പുറത്ത് ജില്ലാ ടൂറിസം പ്രമോഷന് കൌണ്സില് സംഘടിപ്പിക്കുന്ന “ഉത്സവം” എന്ന കേരള കലാരൂപങ്ങളുടെ മേളയില് നിന്നും.
അവതരിപ്പിക്കുന്നത് നാദാപുരം മാതാ. കലാകാരന് പ്രഭാകരന് പുന്നശ്ശേരി
kalynasaugandigam ottamthullal performance organized by kozhikkode district tourism promotion counsil. The tourism department is organizing a series of cultral events by the name "utsav" and it started in november.
performed by nadapuram matha & the artist is prabhakaran punnasseri.
Thullal (ottamthullal) is distinct for its simplicity of presentation, wit and humour. It follows the classical principles of Natyasasthra (a treatise on art compiled in the 2nd century B.C). Ottanthullal is the most popular among its three varieties. The other two are Seethankan and Parayan Thullal. Thullal is a solo performance combining dance and recitation. Staged during temple festivals, the performer explicates the verses through expressive gestures. Themes are based on mythological stories. Humour, satire and social criticism are the hallmarks of this art form. The Thullal dancer is accompanied by a singer who repeats the verses.
www.jaimalayalam.com/malakavitha2.htm
www.naturemagics.com/kerala-ethnic-traditional/ottanthull...
First, thanks a lot to all the blogs and website which featured the pictures from this session and the backstage video.
I got a huge amount of visitors from these sources.
And so, a big welcome to all the new contacts I got during the past 4 days !!
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Je commence un nouveau blog pour photographes avec un ami (en français). Nous y mettrons des tutoriaux, des conseils, et des explications de shootings "backstage", comme pour cette série. N'hésitez pas à aller faire un tour et à donner vos avis !
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This is yet another picture from the amazing studio session with Elodie.
Setup shot is still here.
Backstage video is HERE.
Thanks again to the team. It was a great afternoon.
Strobist:
Cactus V5s as triggers.
1 LP160 @ 1/4th in Lumodi BeautyDish on the right, behind.
1 LP160 @ 1/4th in 40x60cm softbox on the left, behind.
Several flags to avoid light spills.
Canon EOS 5DmkII with EF 50mm f/1.4 @ 1/100th sec; f/5; iso100.
Best Explore rank: #403 on Wednesday, November 14, 2012
Website - Twitter - Getty - 500px - Book - ModelMayhem - Facebook - Blog
Parámetros :: Parameters: Fuji FinePix SL1000; ISO 400; 0 ev; f / 2.9; 1/170; 21 mm
Título :: Title :: Titre ::: Fecha (Date): Casi infinito :: Almost immensely :: Presque infiniment ::: 2014/11/17 21:32
(Es). Historia: León, España. Entré en otro ascensor el Hospital de León. Esta vez tenía los espejos muy altos. Levanté la mano busco a ciegas esa infinitud que dan los espejos paralelos y perpendiculares.
Toma: No tenía una idea clara de lo que iba a obtener, así que disparé la primera y corregí. Pero se abrieron las puertas mientras bajaba y tuve que dejar de hacer fotos. Tendría que dar muchas explicaciones a unas caras atónitas.
Tratamiento: Con Aperture. Original en JPG. Mejora básica del JPG con los parámetros predefinidos de Aperture. El encuadre ha sido muy forzado para captar la escena que me gustaba. No aumento la definición para dejar ese ambiente difuso. Un ligero aumento del punto negro.
¡Eso es todo amigos!
(En). The History: León, España. I entered another elevator León's Hospital. This time had the very high mirrors. I raised the hand I look blindly for this infinity that there give the parallel and perpendicular mirrors.
Taking up: It did not have a clear idea of what it was going to obtain, so I shot the first one and corrected. But the doors were opened while it was going down and I had to stop doing photos. It would have to give many explanations to a few amazed faces.
Treatment: With Aperture. Original in JPG. Basic improvement of the JPG with Aperture's preset parameters. The setting has been very forced to catch the scene that I liked. I do not increase the definition to leave this diffuse environment. A light increase of the black point.
That's all folks !!
(Fr). Histoire: León, Espagne. J'ai entré dans un autre ascenseur l'Hôpital du Léon. Cette fois avait les très hauts miroirs. J'ai levé la main je cherche à l'aveuglette cette infinitude que les miroirs parallèles et perpendiculaires donnent.
Prendre: N'avait pas de claire idée de, celui ce qu'il allait obtenir, donc j'ai tiré sur la première et ai corrigé. Mais les portes ont été ouvertes tandis qu'il baissait et j'ai eu à cesser de faire des photos. Il aurait à donner beaucoup d'explications quelques visages abasourdis.
Traitment: Avec Aperture. Origine JPG . Avec amélioration de JPG d'Aperture base. Le cadre a été très forcé pour capter la scène qui me plaisait. Je n'augmente pas la définition pour laisser cette atmosphère diffuse. Une légère augmentation du point noir.
Voilà, c'est tout!
Brückenleger IVb (photo 1/6)
Fully functional (posable) -see the 6 photos in the series for how to deploy the bridge.
Also, please visit;
www.mocpages.com/moc.php/141738
for more photos, explication and presentation.
Coq fighting in the streets of Rawalpindi at night. I was visiting some pet shops, with birds, fishes, and a few dogs and rabbits, when some guys started to show off their roosters and improvised a fight in the street.
Merci de lire les explications en début d'album / Please read the explanations at the beginning of the set
Part of Pakistani Lifestyle (Recommended as a slideshow)
The Quran (English pronunciation: /kɔrˈɑːn/ kor-AHN , Arabic: القرآن al-qur'ān, IPA: [qurˈʔaːn], literally meaning "the recitation", also romanised Qur'an or Koran) is the central religious text of Islam, which Muslims believe to be a revelation from God (Arabic: الله, Allah). Its scriptural status among a world-spanning religious community, and its major place within world literature generally, has led to a great deal of secondary literature on the Quran. Quranic chapters are called suras and verses are called ayahs.
Muslims believe that the Quran was verbally revealed by God to Muhammad through the angel Gabriel (Jibril), gradually over a period of approximately 23 years, beginning on 22 December 609 CE, when Muhammad was 40, and concluding in 632 CE, the year of his death. Muslims regard the Quran as the most important miracle of Muhammad, a proof of his prophethood, and the culmination of a series of divine messages that started with the messages revealed to Adam and ended with Muhammad. They consider the Quran to be the only revealed book that has been protected by God from distortion or corruption.
According to the traditional narrative, several companions of Muhammad served as scribes and were responsible for writing down the revelations. Shortly after Muhammad's death, the Quran was compiled by his companions who wrote down and memorized parts of it. These codices had differences that motivated the Caliph Uthman to establish a standard version now known as Uthman's codex, which is generally considered the archetype of the Quran we have today. However, the existence of variant readings, with mostly minor and some significant variations, and the early unvocalized Arabic script mean the relationship between Uthman's codex to both the text of today's Quran and to the revelations of Muhammad's time is still unclear.
The Quran assumes familiarity with major narratives recounted in the Jewish and Christian scriptures. It summarizes some, dwells at length on others and, in some cases, presents alternative accounts and interpretations of events. The Quran describes itself as a book of guidance. It sometimes offers detailed accounts of specific historical events, and it often emphasizes the moral significance of an event over its narrative sequence. The Quran is used along with the hadith to interpret sharia law. During prayers, the Quran is recited only in Arabic.
Someone who has memorized the entire Quran is called a hafiz. Some Muslims read Quranic ayahs (verses) with elocution, which is often called tajwīd. During the month of Ramadan, Muslims typically complete the recitation of the whole Quran during tarawih prayers. In order to extrapolate the meaning of a particular Quranic verse, most Muslims rely on the tafsir.
ETYMOLOGY & MEANING
The word qurʼān appears about 70 times in the Quran itself, assuming various meanings. It is a verbal noun (maṣdar) of the Arabic verb qaraʼa (قرأ), meaning "he read" or "he recited". The Syriac equivalent is (ܩܪܝܢܐ) qeryānā, which refers to "scripture reading" or "lesson". While some Western scholars consider the word to be derived from the Syriac, the majority of Muslim authorities hold the origin of the word is qaraʼa itself. Regardless, it had become an Arabic term by Muhammad's lifetime. An important meaning of the word is the "act of reciting", as reflected in an early Quranic passage: "It is for Us to collect it and to recite it (qurʼānahu)."
In other verses, the word refers to "an individual passage recited [by Muhammad]". Its liturgical context is seen in a number of passages, for example: "So when al-qurʼān is recited, listen to it and keep silent." The word may also assume the meaning of a codified scripture when mentioned with other scriptures such as the Torah and Gospel.
The term also has closely related synonyms that are employed throughout the Quran. Each synonym possesses its own distinct meaning, but its use may converge with that of qurʼān in certain contexts. Such terms include kitāb (book); āyah (sign); and sūrah (scripture). The latter two terms also denote units of revelation. In the large majority of contexts, usually with a definite article (al-), the word is referred to as the "revelation" (waḥy), that which has been "sent down" (tanzīl) at intervals. Other related words are: dhikr (remembrance), used to refer to the Quran in the sense of a reminder and warning, and ḥikmah (wisdom), sometimes referring to the revelation or part of it.
The Quran describes itself as "the discernment or the criterion between truth and falsehood" (al-furqān), "the mother book" (umm al-kitāb), "the guide" (huda), "the wisdom" (hikmah), "the remembrance" (dhikr) and "the revelation" (tanzīl; something sent down, signifying the descent of an object from a higher place to lower place). Another term is al-kitāb (the book), though it is also used in the Arabic language for other scriptures, such as the Torah and the Gospels. The adjective of "Quran" has multiple transliterations including "quranic," "koranic" and "qur'anic," or capitalised as "Qur'anic," "Koranic" and "Quranic." The term muṣḥaf ('written work') is often used to refer to particular Quranic manuscripts but is also used in the Quran to identify earlier revealed books. Other transliterations of "Quran" include "al-Coran", "Coran", "Kuran" and "al-Qurʼan".
HISTORY
PROPHETIC ERA
Islamic tradition relates that Muhammad received his first revelation in the Cave of Hira during one of his isolated retreats to the mountains. Thereafter, he received revelations over a period of 23 years. According to hadith and Muslim history, after Muhammad emigrated to Medina and formed an independent Muslim community, he ordered many of his companions to recite the Quran and to learn and teach the laws, which were revealed daily. It is related that some of the Quraish who were taken prisoners at the battle of Badr regained their freedom after they had taught some of the Muslims the simple writing of the time. Thus a group of Muslims gradually became literate. As it was initially spoken, the Quran was recorded on tablets, bones, and the wide, flat ends of date palm fronds. Most suras were in use amongst early Muslims since they are mentioned in numerous sayings by both Sunni and Shia sources, relating Muhammad's use of the Quran as a call to Islam, the making of prayer and the manner of recitation. However, the Quran did not exist in book form at the time of Muhammad's death in 632 CE. There is agreement among scholars that Muhammad himself did not write down the revelation.
Sahih al-Bukhari narrates Muhammad describing the revelations as, "Sometimes it is (revealed) like the ringing of a bell" and Aisha reported, "I saw the Prophet being inspired Divinely on a very cold day and noticed the sweat dropping from his forehead (as the Inspiration was over)." Muhammad's first revelation, according to the Quran, was accompanied with a vision. The agent of revelation is mentioned as the "one mighty in power", the one who "grew clear to view when he was on the uppermost horizon. Then he drew nigh and came down till he was (distant) two bows' length or even nearer." The Islamic studies scholar Welch states in the Encyclopaedia of Islam that he believes the graphic descriptions of Muhammad's condition at these moments may be regarded as genuine, because he was severely disturbed after these revelations. According to Welch, these seizures would have been seen by those around him as convincing evidence for the superhuman origin of Muhammad's inspirations. However, Muhammad's critics accused him of being a possessed man, a soothsayer or a magician since his experiences were similar to those claimed by such figures well known in ancient Arabia. Welch additionally states that it remains uncertain whether these experiences occurred before or after Muhammad's initial claim of prophethood. The Quran describes Muhammad as "ummi", which is traditionally interpreted as "illiterate," but the meaning is rather more complex. The medieval commentators such as Al-Tabari maintained that the term induced two meanings: first, the inability to read or write in general; second, the inexperience or ignorance of the previous books or scriptures (but they gave priority to the first meaning). Besides, Muhammad's illiteracy was taken as a sign of the genuineness of his prophethood. For example, according to Fakhr al-Din al-Razi, if Muhammad had mastered writing and reading he possibly would have been suspected of having studied the books of the ancestors. Some scholars such as Watt prefer the second meaning.
COMPILATION
Based on earlier transmitted reports, in the year 632 CE, after Muhammad died and a number of his companions who knew the Quran by heart were killed in a battle by Musaylimah, the first caliph Abu Bakr (d. 634CE) decided to collect the book in one volume so that it could be preserved. Zayd ibn Thabit (d. 655CE) was the person to collect the Quran since "he used to write the Divine Inspiration for Allah's Apostle". Thus, a group of scribes, most importantly Zayd, collected the verses and produced a hand-written manuscript of the complete book. The manuscript according to Zayd remained with Abu Bakr until he died. Zayd's reaction to the task and the difficulties in collecting the Quranic material from parchments, palm-leaf stalks, thin stones and from men who knew it by heart is recorded in earlier narratives. After Abu Bakr, Hafsa bint Umar, Muhammad's widow, was entrusted with the manuscript. In about 650 CE, the third Caliph Uthman ibn Affan (d. 656CE) began noticing slight differences in pronunciation of the Quran as Islam expanded beyond the Arabian peninsula into Persia, the Levant, and North Africa. In order to preserve the sanctity of the text, he ordered a committee headed by Zayd to use Abu Bakr's copy and prepare a standard copy of the Quran. Thus, within 20 years of Muhammad's death, the Quran was committed to written form. That text became the model from which copies were made and promulgated throughout the urban centers of the Muslim world, and other versions are believed to have been destroyed. The present form of the Quran text is accepted by Muslim scholars to be the original version compiled by Abu Bakr.
According to Shia and some Sunni scholars, Ali ibn Abi Talib (d. 661CE) compiled a complete version of the Quran shortly after Muhammad's death. The order of this text differed from that gathered later during Uthman's era in that this version had been collected in chronological order. Despite this, he made no objection against the standardized Quran and accepted the Quran in circulation. Other personal copies of the Quran might have existed including Ibn Mas'ud's and Ubayy ibn Kab's codex, none of which exist today.
The Quran most likely existed in scattered written form during Muhammad's lifetime. Several sources indicate that during Muhammad's lifetime a large number of his companions had memorized the revelations. Early commentaries and Islamic historical sources support the above-mentioned understanding of the Quran's early development. The Quran in its present form is generally considered by academic scholars to record the words spoken by Muhammad because the search for variants has not yielded any differences of great significance. Although most variant readings of the text of the Quran have ceased to be transmitted, some still are. There has been no critical text produced on which a scholarly reconstruction of the Quranic text could be based. Historically, controversy over the Quran's content has rarely become an issue, although debates continue on the subject.
In 1972, in a mosque in the city of Sana'a, Yemen, manuscripts were discovered that were later proved to be the most ancient Quranic text known to exist. The Sana'a manuscripts contain palimpsests, a manuscript page from which the text has been washed off to make the parchment reusable again - a practice which was common in ancient times due to scarcity of writing material. However, the faint washed-off underlying text (scriptio inferior) is still barely visible and believed to be "pre-Uthmanic" Quranic content, while the text written on top (scriptio superior) is believed to belong to Uthmanic time. Studies using radiocarbon dating indicate that the parchments are dated to the period before 671 AD with a 99 percent probability.
SIGNIFICANCE IN ISLAM
WORSHIP
Muslims believe the Quran to be the book of divine guidance revealed from God to Muhammad through the angel Gabriel over a period of 23 years and view the Quran as God's final revelation to humanity. They also believe that the Quran has solutions to all the problems of humanity irrespective of how complex they may be and in what age they occur.
Revelation in Islamic and Quranic concept means the act of God addressing an individual, conveying a message for a greater number of recipients. The process by which the divine message comes to the heart of a messenger of God is tanzil (to send down) or nuzūl (to come down). As the Quran says, "With the truth we (God) have sent it down and with the truth it has come down."
The Quran frequently asserts in its text that it is divinely ordained. Some verses in the Quran seem to imply that even those who do not speak Arabic would understand the Quran if it were recited to them. The Quran refers to a written pre-text, "the preserved tablet", that records God's speech even before it was sent down.
The issue of whether the Quran is eternal or created became a theological debate (Quran's createdness) in the ninth century. Mu'tazilas, an Islamic school of theology based on reason and rational thought, held that the Quran was created while the most widespread varieties of Muslim theologians considered the Quran to be co-eternal with God and therefore uncreated. Sufi philosophers view the question as artificial or wrongly framed.
Muslims believe that the present wording of the Quran corresponds to that revealed to Muhammad, and according to their interpretation of Quran 15:9, it is protected from corruption ("Indeed, it is We who sent down the Quran and indeed, We will be its guardian."). Muslims consider the Quran to be a guide, a sign of the prophethood of Muhammad and the truth of the religion. They argue it is not possible for a human to produce a book like the Quran, as the Quran itself maintains.
Muslims commemorate annually the beginning of Quran's revelation on the Night of Destiny (Laylat al-Qadr), during the last 10 days of Ramadan, the month during which they fast from sunrise until sunset.
The first sura of the Quran is repeated in daily prayers and in other occasions. This sura, which consists of seven verses, is the most often recited sura of the Quran:
"All praise belongs to God, Lord of the Universe, the Beneficent, the Merciful and Master of the Day of Judgment, You alone We do worship and from You alone we do seek assistance, guide us to the right path, the path of those to whom You have granted blessings, those who are neither subject to Your anger nor have gone astray."
Respect for the written text of the Quran is an important element of religious faith by many Muslims, and the Quran is treated with reverence. Based on tradition and a literal interpretation of Quran 56:79 ("none shall touch but those who are clean"), some Muslims believe that they must perform a ritual cleansing with water before touching a copy of the Quran, although this view is not universal. Worn-out copies of the Quran are wrapped in a cloth and stored indefinitely in a safe place, buried in a mosque or a Muslim cemetery, or burned and the ashes buried or scattered over water.
In Islam, most intellectual disciplines, including Islamic theology, philosophy, mysticism and Jurisprudence, have been concerned with the Quran or have their foundation in its teachings. Muslims believe that the preaching or reading of the Quran is rewarded with divine rewards variously called ajr, thawab or hasanat.
IN ISLAMIC ART
The Quran also inspired Islamic arts and specifically the so-called Quranic arts of calligraphy and illumination.[1] The Quran is never decorated with figurative images, but many Qurans have been highly decorated with decorative patterns in the margins of the page, or between the lines or at the start of suras. Islamic verses appear in many other media, on buildings and on objects of all sizes, such as mosque lamps, metal work, pottery and single pages of calligraphy for muraqqas or albums.
INIMITABILITY
Inimitability of the Quran (or "I'jaz") is the belief that no human speech can match the Quran in its content and form. The Quran is considered an inimitable miracle by Muslims, effective until the Day of Resurrection - and, thereby, the central proof granted to Muhammad in authentication of his prophetic status. The concept of inimitability originates in the Quran where in five different verses opponents are challenged to produce something like the Quran: "If men and sprites banded together to produce the like of this Quran they would never produce its like not though they backed one another."[61] So the suggestion is that if there are doubts concerning the divine authorship of the Quran, come forward and create something like it. From the ninth century, numerous works appeared which studied the Quran and examined its style and content. Medieval Muslim scholars including al-Jurjani (d. 1078CE) and al-Baqillani (d. 1013CE) have written treatises on the subject, discussed its various aspects, and used linguistic approaches to study the Quran. Others argue that the Quran contains noble ideas, has inner meanings, maintained its freshness through the ages and has caused great transformations in individual level and in the history. Some scholars state that the Quran contains scientific information that agrees with modern science. The doctrine of miraculousness of the Quran is further emphasized by Muhammad's illiteracy since the unlettered prophet could not have been suspected of composing the Quran.
TEXT & ARRANGEMENT
The Quran consists of 114 chapters of varying lengths, each known as a sura. Suras are classified as Meccan or Medinan, depending on whether the verses were revealed before or after the migration of Muhammad to the city of Medina. However, a sura classified as Medinan may contain Meccan verses in it and vice versa. Sura titles are derived from a name or quality discussed in the text, or from the first letters or words of the surah. Suras are arranged roughly in order of decreasing size. The sura arrangement is thus not connected to the sequence of revelation. Each sura except the ninth starts with the Bismillah (بسم الله الرحمن الرحيم) an Arabic phrase meaning 'In the name of God.' There are, however, still 114 occurrences of the Bismillah in the Quran, due to its presence in Quran 27:30 as the opening of Solomon's letter to the Queen of Sheba.
Each sura consists of several verses, known as ayat, which originally means a 'sign' or 'evidence' sent by God. The number of verses differs from sura to sura. An individual verse may be just a few letters or several lines. The total number of verses in the Quran is 6236, however, the number varies if the bismillahs are counted separately.
In addition to and independent of the division into suras, there are various ways of dividing the Quran into parts of approximately equal length for convenience in reading. The 30 juz' (plural ajzāʼ) can be used to read through the entire Quran in a month. Some of these parts are known by names - which are the first few words by which the juzʼ starts. A juz' is sometimes further divided into two ḥizb (plural aḥzāb), and each hizb subdivided into four rubʻ al-ahzab. The Quran is also divided into seven approximately equal parts, manzil (plural manāzil), for it to be recited in a week.
Muqatta'at, or the Quranic initials, are 14 different letter combinations of 14 Arabic letters that appear in the beginning of 29 suras of the Quran. The meanings of these initials remain unclear.
According to one estimate the Quran consists of 77,430 words, 18,994 unique words, 12,183 stems, 3,382 lemmas and 1,685 roots.
CONTENTS
The Quranic content is concerned with the basic beliefs of Islam which include the existence of God and the resurrection. Narratives of the early prophets, ethical and legal subjects, historical events of Muhammad's time, charity and prayer also appear in the Quran. The Quranic verses contain general exhortations regarding right and wrong and the historical events are related to outline general moral lessons. Verses pertaining to natural phenomena have been interpreted by Muslims as an indication of the authenticity of the Quranic message.
MONOTHEISM
The central theme of the Quran is monotheism. God is depicted as living, eternal, omniscient and omnipotent (see, e.g., Quran 2:20, 2:29, 2:255). God's omnipotence appears above all in his power to create. He is the creator of everything, of the heavens and the earth and what is between them (see, e.g., Quran 13:16, 50:38, etc.). All human beings are equal in their utter dependence upon God, and their well-being depends upon their acknowledging that fact and living accordingly.
The Quran uses cosmological and contingency arguments in various verses without referring to the terms to prove the existence of God. Therefore, the universe is originated and needs an originator, and whatever exists must have a sufficient cause for its existence. Besides, the design of the universe, is frequently referred to as a point of contemplation: "It is He who has created seven heavens in harmony. You cannot see any fault in God's creation; then look again: Can you see any flaw?"
ESCHATOLOGY
The doctrine of the last day and eschatology (the final fate of the universe) may be reckoned as the second great doctrine of the Quran. It is estimated that around a full one-third of the Quran is eschatological, dealing with the afterlife in the next world and with the day of judgment at the end of time. There is a reference of the afterlife on most pages of the Quran and the belief in the afterlife is often referred to in conjunction with belief in God as in the common expression: "Believe in God and the last day". A number of suras such as 44, 56, 75, 78, 81 and 101 are directly related to the afterlife and its preparations. Some of the suras indicate the closeness of the event and warn people to be prepared for the imminent day. For instance, the first verses of Sura 22, which deal with the mighty earthquake and the situations of people on that day, represent this style of divine address: "O People! Be respectful to your Lord. The earthquake of the Hour is a mighty thing."
The Quran is often vivid in its depiction of what will happen at the end time. Watt describes the Quranic view of End Time:
"The climax of history, when the present world comes to an end, is referred to in various ways. It is 'the Day of Judgment,' 'the Last Day,' 'the Day of Resurrection,' or simply 'the Hour.' Less frequently it is 'the Day of Distinction' (when the good are separated from the evil), 'the Day of the Gathering' (of men to the presence of God) or 'the Day of the Meeting' (of men with God). The Hour comes suddenly. It is heralded by a shout, by a thunderclap, or by the blast of a trumpet. A cosmic upheaval then takes place. The mountains dissolve into dust, the seas boil up, the sun is darkened, the stars fall and the sky is rolled up. God appears as Judge, but his presence is hinted at rather than described. [...] The central interest, of course, is in the gathering of all mankind before the Judge. Human beings of all ages, restored to life, join the throng. To the scoffing objection of the unbelievers that former generations had been dead a long time and were now dust and mouldering bones, the reply is that God is nevertheless able to restore them to life."
The Quran does not assert a natural immortality of the human soul, since man's existence is dependent on the will of God: when he wills, he causes man to die; and when he wills, he raises him to life again in a bodily resurrection.[68]
PROPHETS
According to the Quran, God communicated with man and made his will known through signs and revelations. Prophets, or 'Messengers of God', received revelations and delivered them to humanity. The message has been identical and for all humankind. "Nothing is said to you that was not said to the messengers before you, that your lord has at his Command forgiveness as well as a most Grievous Penalty." The revelation does not come directly from God to the prophets. Angels acting as God's messengers deliver the divine revelation to them. This comes out in Quran 42:51, in which it is stated: "It is not for any mortal that God should speak to them, except by revelation, or from behind a veil, or by sending a messenger to reveal by his permission whatsoever He will."
ETHICO-RELIGIOUS CONCEPTS
Belief is the center of the sphere of positive moral properties in the Quran. A number of scholars have tried to determine the semantic contents of the words meaning 'belief' and 'believer' in the Quran [70] The Ethico-legal concepts and exhortations dealing with righteous conduct are linked to a profound awareness of God, thereby emphasizing the importance of faith, accountability and the belief in each human's ultimate encounter with God. People are invited to perform acts of charity, especially for the needy. Believers who "spend of their wealth by night and by day, in secret and in public" are promised that they "shall have their reward with their Lord; on them shall be no fear, nor shall they grieve" It also affirms family life by legislating on matters of marriage, divorce and inheritance. A number of practices such as usury and gambling are prohibited. The Quran is one of the fundamental sources of the Islamic law, or sharia. Some formal religious practices receive significant attention in the Quran including the formal prayers and fasting in the month of Ramadan. As for the manner in which the prayer is to be conducted, the Quran refers to prostration. The term used for charity, Zakat, actually means purification. Charity, according to the Quran, is a means of self-purification.
LITERARY STYLE
The Quran's message is conveyed with various literary structures and devices. In the original Arabic, the suras and verses employ phonetic and thematic structures that assist the audience's efforts to recall the message of the text. Muslims[who?] assert (according to the Quran itself) that the Quranic content and style is inimitable.
The language of the Quran has been described as "rhymed prose" as it partakes of both poetry and prose, however, this description runs the risk of compromising the rhythmic quality of Quranic language, which is certainly more poetic in some parts and more prose-like in others. Rhyme, while found throughout the Quran, is conspicuous in many of the earlier Meccan suras, in which relatively short verses throw the rhyming words into prominence. The effectiveness of such a form is evident for instance in Sura 81, and there can be no doubt that these passages impressed the conscience of the hearers. Frequently a change of rhyme from one set of verses to another signals a change in the subject of discussion. Later sections also preserve this form but the style is more expository.
The Quranic text seems to have no beginning, middle, or end, its nonlinear structure being akin to a web or net. The textual arrangement is sometimes considered to have lack of continuity, absence of any chronological or thematic order and presence of repetition. Michael Sells, citing the work of the critic Norman O. Brown, acknowledges Brown's observation that the seeming disorganization of Quranic literary expression – its scattered or fragmented mode of composition in Sells's phrase – is in fact a literary device capable of delivering profound effects as if the intensity of the prophetic message were shattering the vehicle of human language in which it was being communicated. Sells also addresses the much-discussed repetitiveness of the Quran, seeing this, too, as a literary device.
A text is self-referential when it speaks about itself and makes reference to itself. According to Stefan Wild the Quran demonstrates this meta-textuality by explaining, classifying, interpreting and justifying the words to be transmitted. Self-referentiality is evident in those passages when the Quran refers to itself as revelation (tanzil), remembrance (dhikr), news (naba'), criterion (furqan) in a self-designating manner (explicitly asserting its Divinity, "And this is a blessed Remembrance that We have sent down; so are you now denying it?"), or in the frequent appearance of the 'Say' tags, when Muhammad is commanded to speak (e.g. "Say: 'God's guidance is the true guidance' ", "Say: 'Would you then dispute with us concerning God?' "). According to Wild the Quran is highly self-referential. The feature is more evident in early Meccan suras.
INTERPRETATION
The Quran has sparked a huge body of commentary and explication (tafsīr), aimed at explaining the "meanings of the Quranic verses, clarifying their import and finding out their significance".
Tafsir is one of the earliest academic activities of Muslims. According to the Quran, Muhammad was the first person who described the meanings of verses for early Muslims. Other early exegetes included a few Companions of Muhammad, like ʻAli ibn Abi Talib, ʻAbdullah ibn Abbas, ʻAbdullah ibn Umar and Ubayy ibn Kaʻb. Exegesis in those days was confined to the explanation of literary aspects of the verse, the background of its revelation and, occasionally, interpretation of one verse with the help of the other. If the verse was about a historical event, then sometimes a few traditions (hadith) of Muhammad were narrated to make its meaning clear.
Because the Quran is spoken in classical Arabic, many of the later converts to Islam (mostly non-Arabs) did not always understand the Quranic Arabic, they did not catch allusions that were clear to early Muslims fluent in Arabic and they were concerned with reconciling apparent conflict of themes in the Quran. Commentators erudite in Arabic explained the allusions, and perhaps most importantly, explained which Quranic verses had been revealed early in Muhammad's prophetic career, as being appropriate to the very earliest Muslim community, and which had been revealed later, canceling out or "abrogating" (nāsikh) the earlier text (mansūkh). Other scholars, however, maintain that no abrogation has taken place in the Quran. The Ahmadiyya Muslim Community has published a 10-volume Urdu commentary on the Quran, with the name Tafseer e Kabir.
ESOTERIC INTERPRETATION
Esoteric or Sufi interpretation attempts to unveil the inner meanings of the Quran. Sufism moves beyond the apparent (zahir) point of the verses and instead relates Quranic verses to the inner or esoteric (batin) and metaphysical dimensions of consciousness and existence. According to Sands, esoteric interpretations are more suggestive than declarative, they are 'allusions' (isharat) rather than explanations (tafsir). They indicate possibilities as much as they demonstrate the insights of each writer.
Sufi interpretation, according to Annabel Keeler, also exemplifies the use of the theme of love, as for instance can seen in Qushayri's interpretation of the Quran. Quran 7:143 says:
"when Moses came at the time we appointed, and his Lord spoke to him, he said, 'My Lord, show yourself to me! Let me see you!' He said, 'you shall not see me but look at that mountain, if it remains standing firm you will see me.' When his Lord revealed Himself to the mountain, He made it crumble. Moses fell down unconscious. When he recovered, he said, 'Glory be to you! I repent to you! I am the first to believe!'"
Moses, in 7:143, comes the way of those who are in love, he asks for a vision but his desire is denied, he is made to suffer by being commanded to look at other than the Beloved while the mountain is able to see God. The mountain crumbles and Moses faints at the sight of God's manifestation upon the mountain. In Qushayri's words, Moses came like thousands of men who traveled great distances, and there was nothing left to Moses of Moses. In that state of annihilation from himself, Moses was granted the unveiling of the realities. From the Sufi point of view, God is the always the beloved and the wayfarer's longing and suffering lead to realization of the truths.[90]
Muhammad Husayn Tabatabaei says that according to the popular explanation among the later exegetes, ta'wil indicates the particular meaning a verse is directed towards. The meaning of revelation (tanzil), as opposed to ta'wil, is clear in its accordance to the obvious meaning of the words as they were revealed. But this explanation has become so widespread that, at present, it has become the primary meaning of ta'wil, which originally meant "to return" or "the returning place". In Tabatabaei's view, what has been rightly called ta'wil, or hermeneutic interpretation of the Quran, is not concerned simply with the denotation of words. Rather, it is concerned with certain truths and realities that transcend the comprehension of the common run of men; yet it is from these truths and realities that the principles of doctrine and the practical injunctions of the Quran issue forth. Interpretation is not the meaning of the verse - rather it transpires through that meaning, in a special sort of transpiration. There is a spiritual reality - which is the main objective of ordaining a law, or the basic aim in describing a divine attribute - and then there is an actual significance that a Quranic story refers to.
According to Shia beliefs, those who are firmly rooted in knowledge like Muhammad and the imams know the secrets of the Quran. According to Tabatabaei, the statement "none knows its interpretation except God" remains valid, without any opposing or qualifying clause. Therefore, so far as this verse is concerned, the knowledge of the Quran's interpretation is reserved for God. But Tabatabaei uses other verses and concludes that those who are purified by God know the interpretation of the Quran to a certain extent.
According to Tabatabaei, there are acceptable and unacceptable esoteric interpretations. Acceptable ta'wil refers to the meaning of a verse beyond its literal meaning; rather the implicit meaning, which ultimately is known only to God and can't be comprehended directly through human thought alone. The verses in question here refer to the human qualities of coming, going, sitting, satisfaction, anger and sorrow, which are apparently attributed to God. Unacceptable ta'wil is where one "transfers" the apparent meaning of a verse to a different meaning by means of a proof; this method is not without obvious inconsistencies. Although this unacceptable ta'wil has gained considerable acceptance, it is incorrect and cannot be applied to the Quranic verses. The correct interpretation is that reality a verse refers to. It is found in all verses, the decisive and the ambiguous alike; it is not a sort of a meaning of the word; it is a fact that is too sublime for words. God has dressed them with words to bring them a bit nearer to our minds; in this respect they are like proverbs that are used to create a picture in the mind, and thus help the hearer to clearly grasp the intended idea.
HISTORY OF SUFI COMMENTARIES
One of the notable authors of esoteric interpretation prior to the 12th century is Sulami (d. 1021 CE) without whose work the majority of very early Sufi commentaries would not have been preserved. Sulami's major commentary is a book named haqaiq al-tafsir ("Truths of Exegesis") which is a compilation of commentaries of earlier Sufis. From the 11th century onwards several other works appear, including commentaries by Qushayri (d. 1074), Daylami (d. 1193), Shirazi (d. 1209) and Suhrawardi (d. 1234). These works include material from Sulami's books plus the author's contributions. Many works are written in Persian such as the works of Maybudi (d. 1135) kash al-asrar ("the unveiling of the secrets"). Rumi (d. 1273) wrote a vast amount of mystical poetry in his book Mathnawi. Rumi makes heavy use of the Quran in his poetry, a feature that is sometimes omitted in translations of Rumi's work. A large number of Quranic passages can be found in Mathnawi, which some consider a kind of Sufi interpretation of the Quran. Rumi's book is not exceptional for containing citations from and elaboration on the Quran, however, Rumi does mention Quran more frequently. Simnani (d. 1336) wrote two influential works of esoteric exegesis on the Quran. He reconciled notions of God's manifestation through and in the physical world with the sentiments of Sunni Islam. Comprehensive Sufi commentaries appears in the 18th century such as the work of Ismail Hakki Bursevi (d. 1725). His work ruh al-Bayan (the Spirit of Elucidation) is a voluminous exegesis. Written in Arabic, it combines the author's own ideas with those of his predecessors (notably Ibn Arabi and Ghazali), all woven together in Hafiz, a Persian poetry form.
LEVELS OF MEANING
Unlike the Salafis and Zahiri, Shias and Sufis as well as some other Muslim philosophers believe the meaning of the Quran is not restricted to the literal aspect. For them, it is an essential idea that the Quran also has inward aspects. Henry Corbin narrates a hadith that goes back to Muhammad:
"The Quran possesses an external appearance and a hidden depth, an exoteric meaning and an esoteric meaning. This esoteric meaning in turn conceals an esoteric meaning (this depth possesses a depth, after the image of the celestial Spheres, which are enclosed within each other). So it goes on for seven esoteric meanings (seven depths of hidden depth)."
According to this view, it has also become evident that the inner meaning of the Quran does not eradicate or invalidate its outward meaning. Rather, it is like the soul, which gives life to the body. Corbin considers the Quran to play a part in Islamic philosophy, because gnosiology itself goes hand in hand with prophetology.
Commentaries dealing with the zahir (outward aspects) of the text are called tafsir, and hermeneutic and esoteric commentaries dealing with the batin are called ta'wil ("interpretation" or "explanation"), which involves taking the text back to its beginning. Commentators with an esoteric slant believe that the ultimate meaning of the Quran is known only to God. In contrast, Quranic literalism, followed by Salafis and Zahiris, is the belief that the Quran should only be taken at its apparent meaning.
TRANSLATIONS
Translation of the Quran has always been a problematic and difficult issue. Many argue that the Quranic text cannot be reproduced in another language or form. Furthermore, an Arabic word may have a range of meanings depending on the context, making an accurate translation even more difficult.
Nevertheless, the Quran has been translated into most African, Asian and European languages. The first translator of the Quran was Salman the Persian, who translated surat al-Fatiha into Persian during the seventh century. Another translation of the Quran was completed in 884 CE in Alwar (Sindh, India now Pakistan) by the orders of Abdullah bin Umar bin Abdul Aziz on the request of the Hindu Raja Mehruk.
The first fully attested complete translations of the Quran were done between the 10th and 12th centuries in Persian language. The Samanid king, Mansur I (961-976), ordered a group of scholars from Khorasan to translate the Tafsir al-Tabari, originally in Arabic, into Persian. Later in the 11th century, one of the students of Abu Mansur Abdullah al-Ansari wrote a complete tafsir of the Quran in Persian. In the 12th century, Najm al-Din Abu Hafs al-Nasafi translated the Quran into Persian. The manuscripts of all three books have survived and have been published several times.
Islamic tradition also holds that translations were made for Emperor Negus of Abyssinia and Byzantine Emperor Heraclius, as both received letters by Muhammad containing verses from the Quran. In early centuries, the permissibility of translations was not an issue, but whether one could use translations in prayer.
In 1936, translations in 102 languages were known. In 2010, the Hürriyet Daily News and Economic Review reported that the Quran was presented in 112 languages at the 18th International Quran Exhibition in Tehran.
# Le Myanmar ou Birmanie -
# Le Lac Inlé -
# Etonnant pays que La Birmanie avec un accueil et une gentillesse remarquable malgré la pauvreté De ses habitants.
# La population est surtout constituée des Inthas en majorité et aussi dans le nord du lac
Les Shan, également appelés Dai ou Thai Yai, sont un groupe ethnique de langue tai de l'Asie du Sud-Est. Ils forment la plus grande minorité ethnique de Birmanie avec quelques
Femmes Girafes ou Les Padaung, aussi connus sous le nom de Kayan, du peuple Karenni (Karens rouges) qui est une minorité ethnique tibéto-birmane du Myanmar .
# L’artisanat local : une curiosité le tissage de la soie à partir de tiges de Lotus !
Explication les tiges de lotus sont coupées en tronçons de 10 cm environ et ensuite cassés en deux pour étirer des fils qui vont devenir des fils de soie … Ensuite c’est la coloration de ces fils et son tissage …
# - Merci pour vos passages sur les vues, favoris et commentaires.
# Astonishing country that Burma with a reception and a remarkable kindness in spite of the poverty of its inhabitants.
# The population is mainly made up of the Inthas in the majority and also in the north of the lake
The Shan, also called Dai or Thai Yai, are a Tai-speaking ethnic group of Southeast Asia. They form the largest ethnic minority in Burma with a few
Giraffe Women or The Padaung, also known as Kayan, of the Karenni (Red Karen) people who are a Tibetan-Burmese ethnic minority in Myanmar.
# Local craftsmanship: a curiosity weaving silk from Lotus stems!
Explanation the lotus stems are cut into sections of about 10 cm and then broken in half to stretch threads that will become silk threads ... Then it is the coloring of these threads and their weaving ...
# - Thank you for your passages on views, favorites and comments.
Un groupe d'environ 400 à 500 manifestants fait face aux forces de l'ordre sur le pont Vauban, a quelques heures du debut de la manifestation du 4 avril 2009 contre le sommet de l'OTAN a Strasbourg.
Merci de lire les explications en début d'album / Please read the explanations at the beginning of the set
On Oct. 7, 2008, approx. 10.000 people gathered at the Trocadéro in Paris to celebrate the "World Day for Decent Work" (Journée Mondiale pour le Travail Décent").
Merci de lire les explications en début d'album / Please read the explanations at the beginning of the set
Le 10 Octobre 2008, l'EMI-CFD (Ecole des Métiers de l'Information) a fêté ses 25 ans à la Maison des Métallos. Pour l'occasion, plus de 800 "anciens" se sont retrouvés pour souffler les bougies.
Merci de lire les explications en début d'album / Please read the explanations at the beginning of the set
Part of "25 ans de l'EMI-CFD" (Recommended as a slideshow)
Is it a red Transformer robot hiding from his ennemies ?
Or an unknown model of an Alien spaceship lost in Slovakia ?
Or do you have another explanation ?
Ca pourrait être un robot Transformer, planqué dans ce parc de Bratislava.
Ou un modèle inconnu de vaisseau spatial extra-terrestre, perdu en Slovaquie.
A moins que vous n'ayez une autre explication...
Bratislava, Slovakia
Pedestrian footbridge is part of the Calvin S. Hamilton Pedway:
"The Calvin S. Hamilton Pedway, as the system is formally known, is a network of elevated walkways that was first presented in the 1970 Concept Los Angeles: The Concept for the Los Angeles General Plan. Hamilton was the city planning director at the time, having taken the position in 1964. The plan, adopted by the city in 1974, promoted dense commercial developments connected to one another by a rapid transit system. The plan was abandoned in 1981 when federal funding for the project was eliminated. Hamilton stepped down from his position in 1985 after a criminal investigation."
www.kcet.org/socal/departures/landofsunshine/block-by-blo...
"The pedways fall within the Downtown Center Business Improvement District, but the organization's CEO says its strained resources can only cover maintenance crews on the pedways about once a week."
articles.latimes.com/2013/may/23/opinion/la-ed-pedways-20...
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Los Angeles World Trade Center:
350 South Figueroa Street
Built 1974
Original Developer: Edward K. Rice (general partner of Bunker Hill Center Associates)
ZIMAS:
Central City Community Plan Area, Freeway Adjacent Advisory Notice for Sensitive Uses, Greater Downtown Housing Incentive Area, Los Angeles State Enterprise Zone, General Plan Land Use ="Regional Center Commercial", Downtown Adaptive Reuse Incentive Area, Bunker Hill Redevelopment Project, w/in 500 ft of USC Hybrid High, Downtown Center Business Improvement District, Central City Revitalization Zone.
Assessment:
Use Code: 2730 - Parking Structure (Commercial)
Assessed Land Val.: $1,154,591
Assessed Improvement Val.: $1,500,967
Last Owner Change: 07/14/06
Last Sale Amount: $9
...
Year Built: 1974
It was decertified by the World Trade Centers Association in 1983, but limped along anyway. A "Greater Los Angeles World Trade Center" was subsequently built in Long Beach. The two merged into one organization in 1989. This latter is now a subsidiary of the Los Angeles County Economic Development Corporation (LAEDC).
In the early 1990s there was an attempt to reorganize the space as a more public retail space oriented at evening uses and take advantage of the pedestrian infrastructure:
"Haseko's revitalization plans include three full-service restaurants--Italian, French and Japanese--stages for live performances, a video rental store, an art gallery and a newsstand. The restaurants would open onto the center's mall-like main concourse, which is connected through pedestrian bridges to the Bonaventure and Sheraton Grande hotels, Security Pacific Plaza and Bunker Hill Towers. 'We want to create a streetscape here,' said Haseko Vice President and General Manager Terry Tornek. 'This is a logical crossroads.'"
articles.latimes.com/1991-01-11/local/me-8359_1_bunker-hi...
This was opposed by residents of Bunker Hill Towers who had grown to quite like the quietness of downtown at that time.
Apparently part of the building is now (2013) being used for a charter school.
www.emporis.com/building/losangelesworldtradecenter-losan...
articles.latimes.com/1988-09-26/business/fi-1869_1_trade-...
articles.latimes.com/1988-09-26/business/fi-1867_1_world-...
articles.latimes.com/1989-03-20/business/fi-201_1_trade-c...
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Citi Building:
aka CitiGroup Center aka 444 Flower aka 444 Flower Building aka Flower Building aka L.A. Law Building aka 444 aka 444 Building
444 S. Flower Street
Built ca. 1976–81.
Architect: A.C. Martin & Associates
en.wikipedia.org/wiki/Citigroup_Center_(Los_Angeles)
www.hines.com/property/detail.aspx?id=2243
www.emporis.com/building/citigroupcenter-losangeles-ca-usa
forum.skyscraperpage.com/showthread.php?t=154492
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United California Bank Building / First Interstate Tower building / Aon Center:
707 Wilshire Boulevard
Built 1970–73.
Architect: Charles Luckman (or at least The Luckman Partnership)
Client: United California Bank (with note of the particular influence of Norman Barker Jr.), financed by United California Bank and the Equitable Group
Project management for post-fire clean-up and other work ca. 1988–89: Abraxas Architecture
Renovated: 2008 by Johnson Fain Architects
In 1988, part of the building caught on fire, injuring 40 people and killing one.
en.wikipedia.org/wiki/Aon_Center_(Los_Angeles)
articles.latimes.com/keyword/aon-center
brighamyen.com/2012/02/17/did-you-know-downtown-los-angel...
articles.latimes.com/2010/sep/16/local/la-me-norman-barke...
www.glasssteelandstone.com/BuildingDetail/3624.php
forum.skyscraperpage.com/showthread.php?t=152120
skyscraperpage.com/cities/?buildingID=1291
articles.latimes.com/keyword/united-california-bank
digital.lib.washington.edu/architect/structures/6162/
en.wikipedia.org/wiki/First_Interstate_Tower_fire
blogdowntown.com/2009/09/4647-downtowns-history-light-on-...
www.lafire.com/famous_fires/1988-0504_1stInterstateFire/0...
www.lafire.com/famous_fires/1988-0504_1stInterstateFire/E...
www.drj.com/drworld/content/w1_119.htm
www.abraxasarchitecture.com/fitfire.html
www.emporis.com/building/aoncenter-losangeles-ca-usa
www.mkp-us.com/building.php?portfolioID=4&building=AO...
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Westin Bonaventure:
404 South Figueroa Street
Built: 1974–76.
Architect: John Portman
ZIMAS data:
Central City Community Plan Area, Los Angeles State Enterprise Zone, Freeway Adjacent Advisory Notice for Sensitive Uses, Greater Downtown Housing Incentive Area, General Plan Land Use ="Regional Center Commercial", Downtown Adaptive Reuse Incentive Area, Bunker Hill Redevelopment Project, w/in 500 feet of USC Hybrid High, Downtown Center Business Improvement District, Central City Revitalization Zone
Assessment:
Assessed Land Val.: $31,878,705
Assessed Improvement Val.: $20,033,803
Last Owner Change: 12/18/95
Last Sale Amount: $260,002
...
Year Built: 1976
Famous for the elevators, the revolving cocktail lounge, the mirror glass exterior, et cetera et cetera, and for being the star of a famous essay by Fredric Jameson on postmodernism.
Before I get into that, let me just say that what I currently find interesting about the Westin Bonaventure and the urbanism of this section of Figueroa and Bunker Hill in general are the really complex histories about what was happening with and against modernism from the 1950s through the 1980s, especially in Los Angeles, especially with regards to Bunker Hill, housing, car culture, et cetera.
But with the Westin Bonaventure in particular, I'm also interested in visual/formal comparisons with both Prentice Women's Hospital in Chicago (1975), the BMW headquarters in Munich (1968–73), and LaForet Harajuku (1975–80).
www.nytimes.com/2012/10/18/arts/design/adapting-prentice-...
en.wikipedia.org/wiki/BMW_Headquarters
www.mori.co.jp/en/img/article/en081121.pdf
Or in terms of textures and materials, there's the more local Samuel Goldwyn Theater:
www.flickr.com/photos/jannon/4653822940/
(There used to be a lot more examples in Los Angeles of mirror glass facades combined with concrete, but I feel like a lot have been torn down.)
Because of its dramatic qualities and because of how Jameson explicated them, people don't really talk about this building in the context of Brutalism, even though that style arguably was just as interested in dramatic effects and complexity. (There's also the totally different social uses of the "main" buildings of each style as well, of course.)
Of course, I'm probably just massively ignorant and there are a ton of good books already out there that are full of chapters that explicitly talk about connections between architecture and urban planning in Los Angeles and the UK, with lovely details about Victor Gruen Associates and Milton Keynes and the Barbican and the Glendale Galleria. Even better if they also bring in Metabolism and connections with what was going on in Japan. Particularly since Mori Yoshiko seems a lot more important and successful at building the massive city-in-a-city projects than John Portman, on the whole. Anyway, if so, let me know what they are?
Jameson's essay (or at least the beginning of it):
newleftreview.org/I/146/fredric-jameson-postmodernism-or-... (original version, 1984, sub required)
books.google.com/books?id=oRJ9fh9BK8wC&lpg=PA39&v... (book version, first few pages of the part on the Westin Bonaventure)
books.google.com/books?id=wfd-c0blcb0C&lpg=PA103&... (another book version, w/ an intro by Asa Berger, again the first few pages about the Westin Bonaventure)
More of other people quoting Jameson:
" In Frederick Jameson’s essay on the utterly bizarre Westin Bonaventure in Los Angeles, he describes a 'postmodern hyperspace,' an emblem of the 80s trend in which building design hoped to create hermetically sealed miniature cities. At the Bonaventure, human activity is directed in a space threaded with fitness centers, plants that thrive without any natural light and functionless open spaces offering the blank hyperreality of grandeur and respite contained in concrete."
www.newmediacaucus.org/wp/a-room-to-view/
"Citing the example of the Westin Bonaventure hotel in Los Angeles, Jameson argues that 'this latest mutation in space -- postmodern hyperspace -- has finally succeeded in transcending the capacities of the individual human body to locate itself, to organize its immediate surroundings perceptually, and cognitively to map its position in a mappable external world'. The effect on cultural politics, according to Jameson, is that the subject 'submerged' by this postmodern hyperspace is deprived of the 'critical distance' that makes possible the 'positioning of the cultural act outside of the massive Being of capital.'"
muse.jhu.edu/journals/dia/summary/v029/29.3reynolds.html
"Its reflective glass façades seemed to disappear into their surroundings. Behind them (for those who could afford it) there opened up a city within a city. Portman’s Hotels—where client, financier, and architect were all one and the same—are for Jameson the epitome of late-capitalist space. He writes of the lobby: 'I am tempted to say that such space makes it impossible for us to use the language of volume or volumes any longer, since these are impossible to seize. ... A constant busyness gives the feeling that emptiness is here absolutely packed, that it is an element within which you yourself are immersed, without any of that distance that formerly enabled the perception of perspective or volume. You are in this hyperspace up to your eyes and your body.'"
www.olafureliasson.net/studio/pdf/Ursprung_Taschen_S.pdf
Or drawing on Jameson:
"In his book Postmodern Geographies: the reassertion of space in critical social theory (1989), Edward W. Soja describes the hotel as 'a concentrated representation of the restructured spatiality of the late capitalist city: fragmented and fragmenting, homogeneous and homogenizing, divertingly packaged yet curiously incomprehensible, seemingly open in presenting itself to view but constantly pressing to enclose, to compartmentalize, to circumscribe, to incarcerate. Everything imaginable appears to be available in this micro-urb but real places are difficult to find, its spaces confuse an effective cognitive mapping, its pastiche of superficial reflections bewilder co-ordination and encourage submission instead. Entry by land is forbidding to those who carelessly walk but entrance is nevertheless encouraged at many different levels. Once inside, however, it becomes daunting to get out again without bureaucratic assistance. In so many ways, its architecture recapitulates and reflects the sprawling manufactured spaces of Los Angeles' (p. 243-44)."
en.wikipedia.org/wiki/Westin_Bonaventure_Hotel
See also Soja on Jameson on the Westin Bonaventure for the BBC: www.youtube.com/watch?v=oWlu3OlvL58
"Writing from California, Jameson imagined the whole new era was summed up in the alienating 'disorientation' one felt in hotels like John Portman's Westin Bonaventure in Los Angeles. Lost in its lobby, without any 'cognitive map,' Jameson found an allegory of a supposedly late phase in capitalism (coming before what?), which explained the kind of space to which French theory had unwittingly been leading us. For architecture, the art closest to capitalism, was the one best able to point out late capitalism's 'totality.' Frank Gehry, for one, was not pleased; more generally, at the very moment Jameson was confidently offering his allegory, architects like Gehry were departing from so-called po-mo (quotationalist, historicist) architecture, often to rediscover modernist strategies. Indeed, the architects that the Museum of Modern Art would group together in a 1988 exhibition as 'deconstructivists' (e.g., Gehry, Rem Koolhaas, and Peter Eisenman) were linked less by any sustained interest in Derrida than by their contempt for postmodernism. Jameson, though, was unable or unwilling to give up the 'totality-allegory' view of works, and in the face of this and other difficulties, he was gradually forced to admit that he no longer knew what to do with the categories modernity and postmodernity. In the absence of new works or ideas to 'totalize,' he tried to look back and reassert the Marxist sources of critical theory, now itself in a late or disappointed state."
—John Rajchman, "Unhappy Returns: John Rajchman on the Po-Mo Decade. (Writing the '80s)," Artforum International, Vol. 41 (2003), No. 8
www.questia.com/library/1G1-101938549/unhappy-returns-joh...
"The programmed music of the Westin Bonaventure Hotel in Los Angeles follows patterns of use typical to that of most programmed music. In the large open expanse of the lobby/atrium, music is always playing in the background. During the mornings and early afternoon typical small jazz group arrangements are played, never with vocals, and as the day progresses and the bar opens for the evening the music slowly shifts towards a more upbeat genre, signaling to the guests that the objectified content of the contemporary nightlife experience is beginning. Speaking to the maître d’ at the reception desk, however, he informed me that the neither the amplitude of the music nor its aesthetic intensity ever crosses above a consciousness level threshold where any guest would be forced to acknowledge its presence."
music.columbia.edu/~alec/page2/assets/Muzak%20as%20the%20...
"Downtown Los Angeles is notoriously quiet in the evening; the streets develop an abandoned, out-of-season feel, and the BonaVista Lounge shared some of this atmosphere. At first we were the only customers. Two people drinking alone in a revolving restaurant -- now there's an existential image for you. . . . It had been a clear, sunny day and now the sky was coalescing into a spectacular sunset. Because we were downtown we had a close-up view of some very untypical Los Angeles features: the few skyscrapers in this essentially low-rise city, shiny corporate blocks; then beyond them were the more familiar Los Angeles sights -- mountains, interweaving freeways, the vast ground-hugging grids of street lights, all bathed in a deep orange light. I wasn't so naïve, or so easily satisfied, as to think that I'd really found the perfect revolving restaurant; but for an hour or so, with the city far below, with a Cloud Buster in my hand, I found it hard to imagine anything better."
www.nytimes.com/2003/07/13/travel/done-to-a-turn-at-360-d...
"The Westin Bonaventure Hotel looks like something out of Robocop. Typical of architect John C. Portman Junior's style, at its heart is a large atrium and multi-story labyrinth of walkways, shops, and mostly empty seating pods. The building's inward orientation and imposing exterior make it feel, if not as impregnable as a fortress ideally is, something like an arcology, biosphere or space station. It's designed to provide everything one would need for tourists and business travelers within its walls, although most of it shuts down after lunch. I just managed to grab a bánh mì from Mr. Baguette before its closing time of 3:00 pm. Forced to order my food to-go, after wandering around the building I ventured back out into the lawless outlands."
www.kcet.org/socal/departures/landofsunshine/block-by-blo...
www.thebonaventure.com/history/
www.starwoodhotels.com/westin/property/overview/index.htm...
www.bartlett.ucl.ac.uk/architecture/events/kreider-oleary...
www.nytimes.com/2006/06/22/travel/22iht-hotdesign.html?pa...
www.artslant.com/ny/articles/show/11785
memory.loc.gov/phpdata/pageturner.php?type=contactminor&a...
John Portman:
en.wikipedia.org/wiki/John_C._Portman,_Jr.
www.nytimes.com/2011/10/20/garden/john-portman-symphonic-...
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Paul Hastings Building (the old ARCO Tower, one part of City National Plaza):
515 South Flower Street
Built 1970–72.
Architects: Albert C. Martin & Associates (A.C. Martin & Associates)
Renovated: 1994.
Owner: Thomas Properties Group Inc.
Also formerly known as: ARCO Center, ARCO Plaza, Atlantic Richfield Tower, ARCO Tower, ARCO building.
Built controversially on the former site of the Richfield Tower.
en.wikipedia.org/wiki/City_National_Plaza
en.wikipedia.org/wiki/Richfield_Tower
en.wikipedia.org/wiki/Paul_Hastings
www.cnp-la.com/building/history.htm
www.emporis.com/building/paulhastingstower-losangeles-ca-usa
skyscraperpage.com/cities/?buildingID=2730
www.southlandarchitecture.com/Building/3656/Paul-Hastings...
The busy fruits and vegetables market of Rawalpindi.
Merci de lire les explications en début d'album / Please read the explanations at the beginning of the set
Part of Pakistani Lifestyle (Recommended as a slideshow)
Video on my main channel :
www.youtube.com/watch?v=grDLMqSmd6k
Video of Explications with 98csi :
www.youtube.com/watch?v=t3LtlMYyDVs
Video of Blooper with 98csi :
Früher warb Fendt für die Fendt GT, Gerätetrager, mit "ENMANNSYSTEM",
heute mit GPS, brauchen sie gar keinen Mann. die Zukunft hat begonnen!
Nicht wirklich!
Highest position: 399 on Sunday, June 9, 2013
On Explore
June, 8, 2013, #399
Fendt GT sind zum Mähen und Futterholen ideal, man sieht wo man hinfährt mit dem Frontmähwerk und kein Reh oder Hase kommt zu schaden.
de.wikibooks.org/wiki/Traktorenlexikon:_ Fendt.
Der erste war der F 380 GTA (Geräteträger Allrad), und es folgte der F 360 GT/GTA sowie weitere Modelle von 50 bis 115 PS.
1998 Der 380 GTA-Turbo mit 95 PS und der 370 GTA mit 75 PS - die Original-Freisichtschlepper
Il existe de nombreuses variétés de marbre, cette roche dérivée du calcaire, et son utilisation est généralement réservée à l'art (la victoire de Samothrace ou le David de Michel-Ange, par exemple) et aux décorations intérieures luxueuses.
Avez-vous déjà eu le plaisir d'aller admirer les sculptures présentées au Louvre ? Si oui, vous aurez pu constater au moins deux choses évidentes :
- La finesse de la plupart des œuvres, le rendu des traits d'un visage ou d'un pli de vêtement étant souvent stupéfiant de vérité.
- Les statues sont parfaitement immobiles et, si le réalisme du visage que vous avez en face de vous et l'inquiétude que vous provoque son aspect un peu pâlichon, font germer dans votre esprit l'idée de converser avec son propriétaire, vous n'obtiendrez en retour qu'un silence méprisant.
Or, en général, sauf si vous êtes d'une zénitude incomparable, lorsque quelqu'un vous titille, vous agace, vous énerve, vous avez tendance à agiter quelque chose, que ce soit un sourcil, une paupière, vos lèvres ou bien certains de vos membres.
Contrairement à ce que font croire nos expressions, vous ne pouvez donc en aucun cas être comparé à une de ces statues complètement figées dont nombreuses sont taillées dans du marbre.
Et pourtant !
C'est depuis la deuxième moitié du XVIIIe siècle que nos expressions (être de marbre, d'abord) apparaissent. Ce sont bien évidemment des hyperboles exagérant quelque peu l'absence des manifestations physiques très apparentes qu'on attend de celui qu'on provoque ou auquel on apprend une grande nouvelle, bonne ou mauvaise.
Supporters of President Evo Morales are cheering during the closing ceremony of the referendum campaign in El Alto, on Aug. 7.
Merci de lire les explications en début d'album / Please read the explanations at the beginning of the set
The Morges road has the particularity of being made on certain sections with reinforced concrete slabs. One explanation could be that it was previously used by Swiss Army tanks, which were transported along this route from Morges station to the Bière barracks. Since the 1990s, the Bière-Apples-Morges railway (now BAM MBC) has provided this service using bogies adapted to 1435mm standard gauge wagons and the two "powerful" Ge4/4 21 and 22 locomotives. The building on the left is the Eaux-Minérales de Morges ice rink, inaugurated in 1962 and covered in 1992.
La route de Morges présente la particularité d'être réalisée sur certaines sections avec des plaques de bêton armé. Une des explications pourrait être le fait qu'elle était auparavant empruntée par les chars de l'Armée Suisse qui étaient convoyés par cet itinéraire de la Gare de Morges à la Caserne de Bière. Depuis les années 1990, le chemin de fer Bière-Apples-Morges (BAM actuel MBC) assure cette prestation à l'aide de bogies adaptées aux wagons à voie normale de 1435mm et des deux "puissantes" locomotives Ge4/4 21 et 22. Le bâtiment sur la gauche est la patinoire des Eaux-Minérales de Morges inaugurée en 1962 et couverte en 1992.
Good day collectors! It's Sara at the helm here. Jen had a brief break last week and is back to business-in-the-name-of-art and soon to be Boston-bound, so I'm filling in. Jen was so bummed she wasn't able to write this newsletter herself that she picked up a *phone* to talk about Chad's work. That's right, we did not have an IM conversation but actually spoke.
We were introduced to talented Minneapolis-based designer Chad Hagen by design writer Allison Arieff. She recently featured Chad's work in her NYT By Design column— not the first 20x200 artist to be seen both here and there—hopefully not the last!
As Allison highlighted, "good design can make the nonsensical beautiful and what seems to be nonsense... clear." Nonsensical Infographic No. 1 and Nonsensical Infographic No. 2 are indeed beautiful representations of the far end of the scale of useful information, in that they are not relaying any data. There are, of course, infographics out there that actually impart handy stats and figures: GOOD Magazine's pages are illustrated with transparencies that dissect and evaluate all of our social, political and environmental advancements and failures. Edward Tufte is likely the king of information design, giving us glorious works to examine and interpret, paving a pristine path for info design junkies and experts alike. And, Ben Fry deftly harnesses complex information into elegant, intelligent graphs.
Nearing Chad's end of the nonsense-scale is Andrew Kuo with his music-related analyses of the last summer of pool shows at McCarren Park and top albums of 2009 for The New York Times. But Chad's drawings delve furthest into the complete nonsense spectrum of info design, most akin to this diagram that explicates the origins of mythical creatures. Like these animals, Chad's diagrams are completely fictitious—whatever information they may convey is up to us to determine. Fun little game, no? Let's give it a go.
While the numbers and letters in Nonsensical Infographic No. 1 do not align, I'd like to think that this graphic may be tracking the intricate lives of bees and honeycomb production. Also possibly plausible: the graphic is an analysis of the parallel increase in anxiety levels of Tetris players and the speed at which each geometric shape falls. Non-stop puzzle action can be intense!
I am particularly pleased by the potential use for Nonsensical Infographic No. 2: documentation of the lifespan of a bubble. Perhaps, as indicated by the past, present and future aspects, Willy Wonka is in the process of manufacturing new, more durable bubbles that may float for minutes or hours instead of seconds, before bursting. The world would become like that anti-tobacco commercial, only better.
Because of the conversation in the office this morning, I'm wondering if the round diagrams might instead measure the density of fried bologna as its edible chemicals are processed over time. It's one of those foods that would still be on grocery shelves, post-apocalypse right? The future would be a relevant indicator were this indeed the story told by Nonsensical Infographic No. 2.
Nothing like a little nonsense on a Tuesday afternoon, is there? Now get back to work!
On Nov. 5, 2008, a couple of hundred people gathered on the Champs-Elysées near the Arc de Triomphe to celebrate the victory of Barack Obama in the US presidential elections. Most of them were from the CRAN (Conseil Représentatif des Associations Noires), a French federation of pro-black associations.
Merci de lire les explications en début d'album / Please read the explanations at the beginning of the set
Part of "Obama for president !" (Recommended as a slideshow)
And five more photographs in first comment.
1958. The bridge designed by engineer Pérignon for the forestry is completed. Entirely made of wood, this 87 yards (80 meters) long bridge anticipated the creation of the Lac de Yaté. Previously, loggers crossed a dyke often submerged because of the dam. Since hurricane Erica in March 2003, the bridge is forbidden to all traffic, because it can withstand over 0.8 ton (the car at the end is just parked and used by maintenance workers in the park). The oak-gum (Arillastrum gummiferrum) pillars date from the early 50's. The tamanou (Calophyllum caledonicum, endemic to New Caledonia) apron is maintained by park's officials and the technique is the same they used yesterdays: by hand! The 360 tamanou ties were all replaced in June 2011 by cross-pine from New Zealand. The future of the bridge, beloved to locals, is quite uncertain because it would provide for the installation of accommodation facilities on the peninsula between the White and Blue rivers. For now, the strength of the bridge structure is monitored by the property holdings and Public Works Management.
I tried to recreate the atmosphere of yesteryear by choosing black and white. A brief explanation of each photo is given in first comment.
To be continued…
Click the image for a view in light box.
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1958. Le pont conçu par l'ingénieur Pérignon pour les besoins d'exploitation forestière est achevé. Réalisé entièrement en bois, ce pont de 80 mètres de long anticipait la création du lac de Yaté. Auparavant, les coupeurs de bois passaient par une digue souvent submergée à cause du barrage. Depuis le passage du cyclone Erica mars 2003, le pont est interdit à toute circulation, car il ne peut supporter plus de 800 kgs (le véhicule au fond est juste garé et utilisé par les agents d'entretien du parc). Les piliers de chêne-gomme (Arillastrum gummiferrum) datent du début des années 50. Le tablier en tamanou (Calophyllum caledonicum endémique à la Nouvelle Calédonie), est entretenu par les agents du parc et la technique est la même qu'hier : à la main! Les 360 traverses ont été remplacées en totalité en juin 2011 par des traverses en pin de Nouvelle Zélande. L'avenir de ce pont, cher aux yeux des gens du coin, est assez incertain car il serait prévu l'installation de structures d'hébergement sur la presqu'île qui sépare les rivières Blanche et Bleue. Pour l'heure, la solidité de la structure même du pont est surveillée par les directions du patrimoine et de l'équipement.
J'ai essayé de retranscrire l'ambiance de l'époque en choisissant le noir et blanc. Une brève explication est fournie sur chaque photo du premier commentaire.
A suivre…
Cliquer sur la photo ou appuyer sur 'L' pour une vue dans lightbox.
______________________________________________________________________________________
Infos prises de vue
Canon 7D & EF 17-40mm f4L USM ▪ 1/250s à f/13 ▪ Iso 200 ▪ 17 mm ▪ Handheld | aperture priority |RAW| Crop
Philippe à l'intérieur de l'usine EDF de Vitry sur Seine, dans le tube qui contient le tapis roulant convoyant le charbon. / Philippe inside the EDF power plant of Vitry sur Seine (near Paris), within the pipe that contains the conveyor belt for coal.
Merci de lire les explications en début d'album / Please read the explanations at the beginning of the set
On January 17, 2009, 3.000 to 5.000 people (my own estimate vs. 2600 according to the police, and tens of thousands according to the organizers) demonstrated in Paris once again to condemn the Israeli offensive in the Gaza strip. Similar demonstrations took place in other French cities. After the incidents that tarnished the Parisian demonstrations of Jan. 3 and 10, the organizers were extremely preoccupied by security and calls for peace and calm were repeatedly heard during the march. The demonstration had actually not been authorized and until the last moments, negotiations were going on with the authorities regarding the route (organizers wanted to reach the Israeli embassy !). Finally, around 3pm, the gathering in Châtelet - Les Halles was allowed to march all the way to the Place de l'Opera.
The demonstration was peaceful except for a small incident when it left the Rue de Rivoli (a few protesters attacked a McDonald restaurant and one of them broke its window). Many protesters tried to calm down the most excited, usually young kids.
Some incidents broke out at 4:30pm when the rally reached the Opéra, after a hundred protesters unfurled banners and burned Israeli flags on top of the Opera house stairs, then tried to force its doors. That's when the riot police charged with tear gas, resulting in a stampede. Calm came back and the demonstration kept on with speeches, until the dispersion around 6pm.
As became usual, while many protesters complained and some even tried to stop the violence, some also attacked journalists (sometimes physically), accused of showing the "wrong" side of the event. A photographer was gased at point blank and a couple of others were kicked.
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Here, protesters are praying in front of the Opéra near the end of the rally.
Merci de lire les explications en début d'album / Please read the explanations at the beginning of the set
Part of Stop the killing in Gaza ! (Recommended as a slideshow)
The object represent what we see and understand. The shadow represents what we hide or what we can't articulate with words (good or bad).
I like to think in the shadows and thus find myself isolated most of the time. Isolated only in the sense of what I like to talk about. One way, I check myself and my ideas is through theological reading of authors from a variety of sources...not just Catholic. Not only do I receive comfort from the many authors I read, I find that most of their ideas were challenged by their peers...only in a future time were they considered seriously and their ideas vindicated.
On a personal level, I have made assumptions about some who I thought were in an equal place...talking about this spiritual frontier...only to find them retreat back into the rigidness of the solid or stepping back to the safety of a treasured mask. I do not judge them, for most take comfort in the known, but I did judge them incorrectly, when I felt a comfort in talking to them about deeper things.
But, I know that I'm not alone on this mysterious journey within these shadows...for my friends are those who have articulated with beautiful and poetic words, similar experiences that I am or have had. Each book I crack open, sheds some light within the darkness, and provides me the growth to keep dancing in the shadows.
Now for a lunch walk with my favorite dance partner...my G7X...
-rc
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To convey these insights, man must use a language which is compatible with his sense of the ineffable, the terms of which do not pretend to describe, but to indicate; to point to, rather than to capture. These terms are not always imaginative; they are often paradoxical, radical, or negative. The chief danger to philosophy of religion lies in the temptation to generalize what is essentially unique, to explicate what is intrinsically inexplicable, to adjust the uncommon to our common sense.
-Insecurity of Freedom by Abraham Joshua Heschel
Depth theology warns us against intellectual self-righteousness, against self-certainty and smugness. It insists upon the inadequacy of our faith, upon the incongruity of dogma and mystery.
-Insecurity of Freedom by Abraham Joshua Heschel
In the Pyongyang maternity, the staff showed us a raw of boxes where, thay said, the fathers and family comes to talk to the mother after delivery. It is made to prevent from bacterias. We asked if everybody has to go thru this process, they said yes, but it seems strange.
The official speech:
The Pyongyang Maternity Hospital has been birthplace of at least 710 000 children since its foundation in 1980. More than 390 triplets and quadruplets were born and over 600 triplets have grown up there for the past 30 years since the birth of the first triplet in September 1980. Whenever triplets were born, Kim Jonng Il offered different kinds of gifts including not only clothes, blankets and nutritious food, but also clothes for their wedding dresses.
A la maternité de Pyongyang, le staff médical nous a fièrement montré une série de box avec téléphones et écrans qui servent à parler à la mère et à voir, le bébé après l'accouchement. D'après les explications fournies, il semble que ce soit le process en vigueur en Corée du Nord pour éviter les microbes.
© Eric Lafforgue
On July 20, 2008, Colombia Independence day, a concert was organized in Paris at the Trocadéro with the recently freed Franco-Colombian hostage Ingrid Bétancourt, her family, friends and some artists such as Juanes.
Here, Paris mayor Bertrand Delanoë with Ingrid Betancourt, wearing the Colombian flag.
Merci de lire les explications en début d'album / Please read the explanations at the beginning of the set
Part of Ingrid Bétancourt (Recommended as a slideshow)
On Oct. 26 2008, hundreds of people gathered in Les Halles for the first Parisian edition of the Zombie Walk, a tribute to Romero's cult movie. Volunteers offered free make-up but many people showed already dressed to kill ! The parade, from Les Halles to Beaubourg, was a big success and many people were "hurt" ;-)
Merci de lire les explications en début d'album / Please read the explanations at the beginning of the set
Part of "Zombie Walk" (Recommended as a slideshow)