Photo of the finest details of soap bubbles from the soap bubbles macro abstract photography assignment captured via Minolta MD Macro Rokkor-X 100mm F/4 lens. Inside the creative halls of the 494 ∞ Labs. Mid December 2021.

 

Exposure Time: 1/250 sec. * ISO Speed: ISO-1250 * Aperture: F/4 * Bracketing: None * Color Temperature: 3900 K * Adaptor: 1:1 Extension Tube * Tele-Converter: Deitz 2X MC-4 M/MD

Curiosity is one of the most reliable and safe characteristics of an active intellect.

(Samuel Johnson)

 

www.marcellomachelli.com/

Alessia Scriboni

Brussels

One of the weaknesses of much abstract painting is the attempt to substitute the inventions of the intellect for a pristine imaginative conception. The inner life of a human being is a vast and varied realm and does not concern itself alone with stimulating arrangements of color, form and design. The term 'life' as used in art is something not to be held in contempt, for it applies all of its existence, and the province of art is to react to it and not to shun it. Painting will have to deal more fully and less obliquely with life and nature's phenomena before it can again be great.

 

-- Edward Hopper

 

I am awake, but do not open my eyes. Instead, I process everything that has happened:

We were running

K'hym is dead

So is M'yri'ah

I am not

At least, not as far as I am aware.

I am also aware that I am not the only being in this room.

I go into deep thought, accessing the being's mind.

 

~His thoughts merge into my mind. I see the basic shapes and colours that form in another's mind.

This being is not Martian. That much I can tell. His thought patterns differ from that of a Martian's; for one thing, his mind is far less complicated than mine.

His intellect is far less superior, too.

I look deeper, and discover the aspects of the being's life. His culture, species and language all flood into my mind.

Earth

Human

English

America

Name...

 

Name...~

 

I open my eyes.

 

"You are Doctor Saul Erdel."

 

The doctor stops his actions and stands still.

 

"W...w...what did you just say?"

 

I find this statement interesting. Do these humans require everything to be said to them twice?

 

"Doctor Saul Erdel. You are doctor Saul Erdel."

 

He still appears to be in shock.

 

"You are human. This planet is Earth."

 

He walks around the screen he has been monitoring for the duration of my stay, and finally manages to structure a sentence to reply to me with.

 

"But you...how do you know me? My language?"

 

He moves in closer to me, and only now I realise I am securely bound to a table of some kind.

 

"Remarkable. Where are you from?"

 

I say nothing.

 

"Oh...okay. You do speak English, don't you?"

 

"Everyone I know is dead."

 

My words do have an effect on him. His mouth is open, but no words escape.

 

"..."

 

"I am a coward."

 

He finally manages to engage in conversation with me.

 

"Your family...what happened?"

 

"I abandoned them."

 

His eyes widen.

 

"Oh God. Is this...Is this my fault? My machine, did it kill your family? Oh God..."

 

I am confused.

 

"Your machine? Your machine is responsible for the Plague?"

 

He stops rubbing his face with his hand, and looks down to me.

 

"What? Plague? I...I don't..."

 

He rabbles on as I enter his mind again-

 

~This "machine" he talks about is responsible for bringing me to Earth. He believes it is responsible for killing my family too. I tell him what has really happened to put his mind at rest.

It seems only fair.

 

"Your machine did not kill my family."

 

"..."

 

He falls silent. But his mind is clearly still uneasy due to my telepathic abilities.

 

"I can read you thoughts."

 

"You...you can?"

 

"Yes. And I do not mean you harm."

 

He is slightly more relaxed now, but still clearly uneasy.

 

"I have done enough harm already."

 

"Did you-"

 

Reading his thoughts, I answer the question he is about to ask.

 

"No. I do not kill."

 

"Oh."

 

Silence.

 

"You are quite remarkable."

 

I do not know how to reply, so I do not.

 

"Do you...do you have a name?"

 

This I can, and do, answer.

 

"Yes. My name is J'onn J'onzz."

 

He clearly has many questions to ask me.

 

"So, you read minds?"

 

"Yes."

 

"Can you do anything else?"

 

"That depends. What are you humans capable of?"

 

He presses a button on the side of my table, and my restraints rise up, freeing me.

 

"You are uneasy, I understand. But I will not harm you."

 

He steps closer as I sit up.

 

"Mister J'onzz, I would very much like to study you, if you don't mind."

 

"Why would I mind."

 

He hesitates.

 

"Well, I take that as a yes then."

 

He places a hand on my shoulder, and helps me stand up. He is a small man, but my size does not seem to impose him.

 

"Mister J'onzz-"

 

"Call me J'onn."

 

"J'onn, would you like to follow me?"

 

He gestures towards the door, and walks out.

I follow.

 

He turns and looks at me, but before he can ask, I answer his question again.

 

"Yes, if you wish to study me, you may."

 

He smiles, turns and with that, we leave the room.

 

{3.2.2010 ~ Day 107 of 365} **EXPLORE**

 

It was far too beautiful a day to be stuck inside an office, though that's where I found myself. Thank goodness for a leisurely lunch and stroll around the park - fresh air and warm sunshine is what my soul needed today :)

 

Today's gratitude ~ left overs! Girlfriend is tired, and in no mood to waste precious veg time in the kitchen ;)

Happy Melancholia

 

Blue Fire

Keeps me flying

Through happy nights

 

I love being alone with you

Logos – North Island

 

Cool Fire

Cool Mind

 

HKD

  

I am nearly happy

Means I am happy

With beeing

Nearly happy

  

HKD

  

via Instagram ift.tt/2uaMlu8

www.youtube.com/watch?v=x7BeGDZewHs

A Tibetan Terrier rescued in the nick of time. My heartfelt admiration to all those folk who rescue dogs and give them a loving home.

"We may think we understand them, but ultimately our judgement of a dog and its behaviour and intellect is almost always effected by our own way of perceiving the world.

We seem to judge the worth of every animal on the planet, according to what they can give us or how much they resemble us. Can they think like us? Can they feel like us? It's the wrong way to look at it because we're not acknowledging their innate worth.

There are so many different kinds of intelligence in animals that are nothing like ours.

However much we like to think we understand them, they probably understand us better."

 

Hailing from the 31st Century, Querl Dox, aka Brainiac 5, was the 12-level intellect behind the Legion of Super-Heroes. When he and his fellow Legionnaires Mon-El and Saturn Girl accidentally traveled back in time, he allied himself with the 21st Century's Girl of Steel, Supergirl, to defeat the villain Reign. After meeting Nia Nal, the ancestor of another 31st century hero, Brainy decided to stay behind while his teammates returned to the future. Since then, Brainiac 5 has become an invaluable member in the fight to protect National City!

 

I've said it before and I'll say it again: I love Brainiac 5, but I /hate/ how Brainiac 5 looks in this show. The show seems to realize that they made a mistake (or maybe that that makeup is too time-consuming and expensive) and mostly uses him "in disguise" as a normal human. I'm still hopeful that something (Crisis, maybe?) will give them an excuse to redesign him with a proper green skintone and inhumanly blond hair.

 

But until that day, I have to make what I see, so Brainy gets his Doc Brown hair. I'm not crazy about the head, but the choices are very limited in most lighter shades of blue. I was hoping to use the new Ninjago Jay head, but it looks like it won't be out until early next year. I was almost tempted to hold off on this until next year, between that and the DC CMF, but tackling more than 16 shows and movies and their entire canon was hard enough without all the surprises they'll be busting out during Crisis!

Intellect is in itself a mode of exaggeration and destroys the harmony of any face. (Wilde)

 

once, if i remember well, my life was a feast

where all hearts opened and all wines flowed.

one evening i seated beauty on my knees, and i

found her bitter, and i cursed her

i armed myself against justice

i fled, o witches, o misery, o hate, to you has

my treasure been entrusted!

i contrived myself to purge my mind of all human hope (Rimbaud)

 

Way back Home

 

Exploring

Light and Darkness

 

Wise words of true mystic enlighten the darkness.

 

Prometheus - the bringer of light.

Logos, Apollon.

The archetype and energy of the intellect.

The motivation to read and to learn.

  

HKD

 

Die Erforschung von Licht und Dunkelheit ist Bedingung für den bewussten Weg nach Hause.

 

HKD

 

Für psychologisch Interessierte: A5

 

Motivationsenergie A5 sorgt für intensive Ausbeildung des Intellekts - der rationalen Aspekte des Bewusstseins. Bewusstsein hat auch emotionale Aspekte. Wenn es emotionale Erfahrungen in bestimmten Bereichen, z. B. Eros macht, tritt vor allem die Energie B5 als Motivationskraft in Erscheinung.

Logos und Eros - Kopf und Bauch - Verstand und Gefühl sind oppositionell.

 

In dem oben gezeigten Bild steht das Licht, das heißt die Erkenntnis und der Logos im Vordergrund. Ein typisches Bild für Apollon, den Gott des Lichtes oder eben A5.

 

HKD

Name- Ronald Johnson/ Bone Crusher (Hero)

 

Universe: DC

 

Age: 45

 

Weapons- Any firearm or bladed weaponry

 

Allies: The US Marines, Commissioner Gordon and The GCPD, and Batman

 

Enemies- Anyone who threatens the US, The Shadow, and gang operations. and Thugs.

 

Skills/ Abilities- Extreme strength, Extreme intellect, Rock Hard Skin, Great Leadership Qualities, Weapons and Hand to Hand Combat knowledge and experience.

 

Back Story:

Ronald Johnson, Ron to his friends, was always a good child. He was a tall, built boy with blond hair. He did well in school and never got in trouble. He knew that he wanted to join the US Marines when he grew up. When Ron was 19, he joined the US Marine Corps. He was one of the top members of his squad. When Ron was 29, he was sent over seas for War. Ron had such a strong punch, he would break several bones of anyone he hit. Because of this, his squad gave him the nickname "Bone Crusher".

 

During the war, he suffered a horrible accident, causing him to loose both his arms and legs. Surprisingly, he survived the incident, but his life was forever changed.

 

The Military had been working on a new procedure that would allow injured War veterans to be able to move and fight like they use to be able to. Hearing of Ron's accident, they asked if Ron would like to be the first subject to the operation. John accepted.

 

The procedure made Ron into a new Man and changed his appearance drastically. His arms and legs were extended and his skin was turned rock hard, making it extremely hard to pierce his skin with a bullet or knife. Some of his body was also reinforced with metal joints and plates. He was made a custom US Marine Armor Suit that covered his head and Chest. He could take the armor off, but he wore it most of the time to show support for his Country. Because of the procedure, Ron was not able to age. He is not immortal, but he would not show signs of aging.

 

Ron used his new body to fight against terrorist and anyone who fought against his country. He was given his own squad and was sent back overseas to fight in the war. Due to the non stop battle that Ron and his fellow soldiers fought, the war was won

 

When John returned from the war, he was shocked by the actions of the new vigilante "The Shadow". He agreed with what he was doing, but not how he was doing it. He did not want to anymore people suffer from the horrible deaths caused by The Shadow. After seeing multiple News Reports about The Shadow, he finally contacted the GCPD and traveled to Gotham to meet with the Commissioner. He was also introduced to Batman by the Commissioner. He was amazed by The Batman and how he was able to stop crimes with only his Mind, Gadgets, and his Fists. He took Batman's ways to heart, and vowed to only kill if absolutely necessary.

 

Since his trip to Gotham, he has moved there. He is the leader of the top Swat team in the city and does whatever he can to stop the horrific murders of The Shadow. He frequently reports in with Batman and The Commissioner, and together they try to find the whereabouts of The Shadow. Ron is now a full time member of the GCPD and and would gladly go back overseas to fight if another War was to come up.

    

"Winter is good -- his Hoar Delights

Italic flavor yield

To Intellects inebriate

With Summer, or the World --

 

Generic as a Quarry

And hearty -- as a Rose --

Invited with Asperity

But welcome when he goes."

 

- Emily Dickinson

I’ve never been all that impressed with educators: gurus, mentors or otherwise. Don’t get me wrong I liked the people I worked with during my 32 years in the teaching profession, it wasn’t their fault that none of them quite measured up to Shirley.

 

It all began on my first day as a 7th grader wandering the hallowed halls in Red Hook, NY. I had already met my history teacher, Minor Treat (honest, that was his name), and could have cared less about the fact that if I wanted to impress him I’d have to put a shine on my shoes better than he put on his, and I had already met my English teacher, Mr. Wilson, who had already begun rapping his class ring on the top of my head to get my attention, when I arrived at my science classroom and met Shirley.

 

She was a vision of perfection with her perfect blond hair, her perfect lipstick, and her perfect outfits. To at least one student sitting in front of her she was drop dead gorgeous. I distinctly remember one particular outfit, a green cowl neck sweater and black knee length skirt, but I digress. Although Shirley was a stunner that didn’t make me any better of a student. From time to time Shirley would have to verbally dissect me for my lack of classroom decorum, a job her razor sharp intellect was more than qualified to do. I didn’t mind at all.

 

All totaled I spent nearly 50 years amongst educators and never came across another one that possessed the total package of brains, looks, and ability to teach that Shirley possessed.

 

PS Years later when Mom would talk about the parties Carl and Shirley threw that Mom and Dad attended those stories only served to reinforce my view that Shirley was the coolest of teachers.

 

Photo taken at the Sacramento International Airport (SMF), Sacramento, CA

.

***

 

This duality has been reflected in classical as well as modern literature as reason versus passion, or mind versus intuition. The split between the conscious mind and the unconscious. There are moments in each of our lives when our verbal-intellect suggests one course, and our hearts, or intuition, another.

 

"Robert E. Ornstein"

 

***

 

Sweet Home Alabama - Lynyrd Skynyrd

      

.

 

CLASSIC is the topic for Saturday March 3, 2012

 

ODC3

 

spotted when searching for walnuts in the yard (the shells are toxic to the dogs)

 

Rebirth, wisdom, fluidity, wholeness, transmutations, sexuality, look for transitions, changes and new opportunities. Creative forces are awakening with heightened intuition. Snake can teach about shedding what is not needed; perceptions, attitudes, ideals. Snake shows how to access vitality, ambitions and dreams along with intellect and personal power. What things are surfacing that you need to strike out and take advantage of? Perhaps a time to rest and reflect? Listen to your intuition and visions at this time. Contemplate the colors, striking ability and activity of the snake type to further understand what snake is saying.

Martes, 16 de marzo / Tuesday, march 16 2010

 

Autorretrato (Selfportrait)

 

El hecho de que tome un autorretrato (casi) diario, no significa en lo absoluto que yo sea una persona segura.

Al contrario, durante toda mi vida he debido afrontar ciertos temores, ya sea con mi cuerpo, mi intelecto o mis "talentos".

 

pd: creo que esta es una de mis fotografias favoritas :-)

..................................................................................................................................................................

 

The fact of taking a self portrait (almost) daily, doesn't mean at all that I am a secure person.

On the contrary, my whole life I've had to face some fears, either with my body, my intellect or my "talents".

 

ps: I think this is one of my favorites photos :-)

Genius-level intellect

Highly creative and skilled at making and/or solving puzzles and/or riddles be them actual, conceptual, or otherwise that can encompass virtually any conventional difficulty and/or variety especially those that require logical thought be them philosophical and/or mathematical in nature and/or practice

Intellectual prowess including, but not limited to, astonishing feats of inductive, abductive and deductive reasoning

Lateral and critical thinking

Pattern recognition

Vast esoteric knowledge

Mastery of a plethora of different sciences such as engineering, chemistry and technology

Photographic memory

Apophenia

Vast knowledge of philosophy, literature and geography

The Great Work in Heidelberg, look at the Serpent (Green Snacke by Goethe) under his face?the Universal Mind of the "highest Power" is over his head?

Palingenesia liberates the soul and is a reversal of physical birth (which imprisoned the soul in the body). This spiritual birth leads (thanks to the presence of a spiritual master and an initiatory father/son-relationship) to the soul's perfection through the knowledge of God, a "baptism in intellect" (IV.3-4). In the process of purification and Self-knowledge, traditional rituals may have been used, but the higher mysteries (the Hermetic initiation proper) involved a "mental" or "spiritual" sacrifice (I.31), the offering of hymns of praise and thanksgiving. The ritual and the noetic were thus fully integrated.Indeed, the "Nous", the Divine intellect or "soul of God", binds together the hierarchy of God, the world (of the Deities, minerals, plants & animals) and man. In particular, "Nous" is the way of the human soul to free itself from the snares of the flesh and be illuminated by the "light" of the "gnosis", for indeed, God is experienced as light. A "good Nous" will be able to repel the assaults of the world. The spiritual master becomes a personification of this Divine intellect. The master becomes one with the Divine Nous ("I am Mind") in the initiation of his disciple. In Hermetism, this "Nous" is personified by Hermes Trismegistus, the Universal Mind of the "highest Power" (situated on the Enneadic plane).In Ancient Egyptian theology, divine triads were used to express the divine family-unit, usually composed out of Pharaoh (the son) and a divine couple (father & mother), legitimizing his rule as divine king. Pharaoh Akhenaten had introduced a monotheistic triad (exclusive and against all other deities) : Aten, Akhenaten and Nefertiti. In Heliopolis, the original triad was Atum, Shu and Tefnut, in Memphis, Ptah, Sekhmet and Nefertem emerged, whereas Thebes worshipped Amun, Mut and Khonsu. The trinity naturally developed into three or one Ennead.In Hermetic triad reads as :God, the Unbegotten One, the essence of being, the Father of All - the "Decad" ;

Nous, the First Intellect, the Self-Begotten One, the Mind or Light of God - the "Ennead" ;

Ennead circle ⭕️ began with Atlantis was a great landing on Earth and a energetic belting game in production of a cosmically electric ⚡️

Logos, the "son" from "Nous", the Begotten One above the Seven Archons - the "Ogdoad". In Global Sacred Alignments, Terry Walsh diagrams several alignments of ancient sites on straight lines around the center of the earth, and mentions several others. He addresses the alignment of the Great Pyramid with Easter Island, Machupicchu and Persepolis, and he diagrams an alignment of Easter Island with Tiahuanaco, Luxor, Mohenjo Daro, Varanasi and Bandiagara, the ancient land of the Dogons. This second alignment also crosses over Dendera, Bodh Gaya and Mandalay.

The total circumference of this second alignment is 24,892 miles. The great circle distance from Easter Island to Tiahuanaco is 2,703 miles, 10.8% of the total circumference. The distance from Tiahuanaco to Bandiagara is 4,930 miles, 19.8%. The distance from Bandiagara to Luxor is 2,473 miles, 9.9%. The distance from Luxor to Easter Island’s antipodal point in the Indus Valley near Ganweriwali is 2,363 miles, 9.5%.

The One Entity or God (the "Tenth") is known to Its creation as the One Mind or Hermes which contains the "noetic" root of every individual existing thing (cf. Plato, Spinoza). This Divine Mind (the attributes or names of the nameless God) allows all things to be sympathetic transformations (adaptations, modi) of God.Hermetism is initiatory because it wants to elevate the soul to the level of its true Divine nature. Palingenesia is an ascension while alive. Rebirth implies more than just a confrontation with the Gods (as in Ancient Egypt), but a true interaction between Perfect Man and -thanks to the Presence of Mind- God. This interaction leads to a total emergence of the Divine spark in man and hence to his Deification (finally being completely his own Divine Self and thus himself "a God", a being permanently realizing the Enneadic nature (XIII.3,10 & 14). This highest state may be attained in the afterlife, although the Ogdoadic nature may be realized while alive on Earth. Because Easter Island, Machupicchu, the Great Pyramid, the Indus Valley and Angkor are also aligned at 10% intervals around the earth, there is a high coincidence of paired sites along these two alignments. In addition to the convergence of the two alignments at Easter Island and Mohenjo-Daro, Machupicchu is paired with Tiahuanaco and the Great Pyramid is paired with Luxor. If the pairing of these sites along these two alignments is not a coincidence, two good places to look for other ancient sites would be in the Sahara Desert, near the border between Mali and Mauritania, at 21° N, 7° 40' W, 2,488 miles southwest of the Great Pyramid, and in the shallow water of the South China Sea, just off the coast of Vietnam, at 18°43'N, 106°27'E, 2,488 miles southeast of Mohenjo-Daro.

The axis points of this great circle are 62°03'N, 124°40'W and 62°03'S, 55°20'E. The great circle crosses the equator at 34°40'W and 145°20'E. The upper latitudes are 27°57'N at 55°20'E and 27°57'S at 124°40'W.

"Man is a Divine being, not to be compared with the other Earthly beings, but with those who are called Gods, up in the heavens. Rather, if one must dare to speak the truth, man truly is established above even these Gods, or at least fully their equal. After all, none of the celestial Gods will leave the heavenly frontiers and descend to Earth ; yet man ascends even into heavens, and measured them, and knows their heights and depths, and everything else about them he learns with exactitude, and, supreme marvel, he even has no need to leave the Earth to establish himself upon high, so far does his power extend ! We must thus dare to say : Earthly man is a mortal God, the celestial God is an immortal Man. And so it is through these two, the world and man, that all things exist ; but they were all created by the One." CH, Libellus X, 24-25.The Hermetic triad can be traced back to Egyptian sources thus :the one god alone, pre-existing before creation as the primordial ocean of Nun ; the self-creative creator (in the form of Atum-Re), emerging out of the Nun (hatching out of his egg) as the origin of everything and the "father of the gods ; the unique "son of god" or Pharaoh, who mediates between the realm of the deities (sky) and the realm of humans (Earth). In this scheme, 10 ontological layers, strata or realms are posited : One supernatural Divine triad ("agennetos, autogennetos, gennetos") and Seven natural "powers of fate" or "archons". Hermetism is a gnosticism because it claims knowledge of God is possible. To know God one has to merge with Universal Mind, conveying a "special" light, causing a private and inner illumination or "gnosis". The purified soul is absorbed into God and realizes its own Divinity. Hermetism is a "way of immortality" (X.7). But as an Alexandro-Egyptian gnosticism, Hermetism did not introduce "evil" in the archons : God our Father is Good and His creation (including His Deities) is beautiful, the crucial moral choice is up to the individual. "For from thee, the unbegotten one, the begotten one came into being. The birth of the self-begotten one is through thee, giving birth to all begotten things that exists."

Robinson, 1984, p.294. The Hermetic Divine triad is modalistic and subordinates the hierarchy of being. God (10 : the Decad) is the first and ultimate level of existence, the One existing for Unity Alone (the Absolute in its Absoluteness). God (the incomprehensible, unrevealable and unknowable Father) is unborn, the "Logos autogenes" and the "son of Nous" born. What this is can not be said (cf. apophasis : absolute silence, no tales). Hermes (9 : the Ennead) is Self-begotten (not created or generated by God) and is the "soul" of God, the mode of God's holding together His creation by Universal Mind (Nous) and Word (logos). The Begotten One (8 : the Ogdoad), again a level lower, has no power of Self-generation, and is part of the process of time and space (this "son" is the "world" or "logos" given by Hermes as master, teacher and father). This level of the Perfect(ed) Human beings is higher than the Deities (or at least equal to them).The Seven Archons, ruling fate and subordinated to supernatural command, are beautiful and good (demons may exists, but there is no evil God). That evil exists at all is due to man's nature and his slavish prostrations before his physical passions & vices. Clouding his true nature, these evils cause ignorance and make man subject to the fatal blows of the blind planetary forces, measured by astrologers and manipulated by magicians. On their own, both astrologers and magi fail to reach the Hermetic goal of life : "gnosis" or an inner awakening in the light coming forth from God's Mind, i.e. an entrance in the supernatural strata of being (the Ogdoad, which borders the natural world, and the Ennead). "{O my Father}, yesterday You promised me that You would bring my mind into the eighth and afterwards You would bring me into the ninth. You said that this is the order of the tradition."Robinson, 1984, p.292.Resisting fate binds one to fate. Only the Divine light of "gnosis" allows the soul to move beyond nature and abide in the supernatural. Here, fate has no hold, for the Gods never leave their heaven, and, as Paracelsus would claim centuries earlier : the wise command the stars !► literary Hermeticism and the Western Tradition : a few highlights The earliest links made between Egyptian wisdom and Christianity appear in the writings of Clement of Alexandria (150 - 215), Origen of Alexandria (185 - 254) and Augustine of Hippo (354 - 430)."As early as Origen's Contra Celsus (I, 28), we encounter the claim that it was in Egypt, and specifically as an adult laborer, that Jesus had learned all the magical arts with which he worked miracles and on which he based his divinity. The tradition also occurred in early rabbinic literature, but it was of course suppressed in official Christianity."Hornung, 2001, pp.76-77.Indeed, Morton (1978) writes :"The rabbinic report that in Egypt Jesus was tattooed with magic spells does not appear in polemic material, but is cited as a known fact in discussion of a legal question by a rabbi who was probably born about the time of the crucifixion. The antiquity of the source, type of citation, connection with the report that he was in Egypt, and agreement with Egyptian magical practices are considerable arguments in its favor."Morton, 1978, pp.150-151.The link between Egyptian wisdom, under the guise of Hermetism, Christianity and Islam is also pertinent and often forgotten. "The mystical powers of Hermes exerted themselves far beyond the Pagan world of Late Antiquity, transmuting medieval Christian and Islamic understanding of the relationship between rational knowledge and revelation." Green, 1992, p.85.This explains why, when Arab translations overflowed Europe, Hermetic concepts came along."The Sabaeans in Harran, who were without a sacred scripture under Islam, in order to count as a 'people of the Book', elevated the Corpus Hermeticum into such a holy book in the ninth century, thereby contributing to the continued existence of Hermetic texts among the Arab writers."Hornung, 2001, pp.53.The first elements of literary Hermeticism were probably introduced in Western Europe by the Knight Templars (an order initiated in 1118). This powerful organization would pass on "the light of the Orient" to Rosicrucianism and Freemasonry. Both drew on the translations of the Corpus Hermeticum, available as early as 1471, but also on alchemy, centuries older."The first Latin texts on alchemy were translated from Arabic in the 12th century, and included the Septem tractatus Hermetis Sapientia Triplicis and the Liber de Compositione Alchemiae of Morienus. A leitmotif that occurs with respect of the Arabic and Latin alchemical texts is the discovery in an underground chamber or crypt of a stela made of marble, ebony or emerald, with mysterious writing or symbols on it."

Burnett, Ch (Ucko & Champion, 2003, p.94).► the Order of the Temple. Jerusalem fell to the curved swords of Islam in 638 AD. In 1095, Pope Urban II decided to incite the sovereigns of the West to recapture the city. He wanted to bring together the Eastern (Orthodox) and Western (Roman) strains of Christianity, a scandalous divide caused by a fundamental dogmatic difference about the nature of the Holy Spirit (who, in the Eastern Church, does not proceed from the Son as in the Filioquist West). In 1099, the year Godefroy de Bouillon of Flanders conquered the city, the Pope died. It would be recaptured in 1244. According to Templar tradition, the Order of the Knights Templar was founded by Huges de Payns, a 48 year old nobleman, and eight other Knights. They took their vows on the 12th of June 1118 at the Castle of Arginy in the County of Rhône. The nine Knights were devoted to Christ and pledged to ensure the safety of the pilgrims to Jerusalem and the protection of the Holy Sepulchre. The Grand Master was very successful and obtained gifts of land and property to start the order. By 1129, the Templar Order was established in Europe. The battle standard of the Order, the Gonfalon Beauceant or Beauseant was a red eight-pointed cross, the "Croix patteé gueules", on a background of white and black squares. Their motto was : Non nobis Domine, non nobis, sed Nomini Tua da gloriam. The seal of the Order was the design of two horsemen on the same horse, indicating the vow of poverty, the fraternity as well as the dual role of monk and warrior. When Pope Honorius died in 1130, Bernard of St. Clairvaux supported the man who became Innocent II, to the great advantage of the Order, for eventually his Templars were subject to no authority save the Pope's. Their Order became a state within states and enjoyed considerable freedom, endowed with incredible wealth. The purity of these ideals were compromised by the politics of the Near East. Although the inner order retained the ideal, the outer structures failed. This inner order had access to "heretical" knowledge. Hermetical doctrines taught them the universe was conditioned by the laws of sound, color, number, weight and measure. Impregnated with the "Orientale Lumen", studying the "sciences of the Moors", Jewish Qabalah & Muslim Sufism and helped by Arab translations, they were able to read unknown Greek & Latin authors and drink from the grand reservoir of Mediterranean and Hellenistic spirituality. Eventually, new technologies were learned. These were introduced in the West, fertilized Christian culture, transformed the architecture of churches & cathedrals and enlightened the intelligentsia of their time. Hence, the Templar Order helped prepare the European Renaissance ...In 1312, during a Council held in Vienne, Pope Clement V, backed by the King of France (who had been refused by the Order) abolished the Order of the Knights Templar. After this, the Order lost central command, and various groups were created, like the Order of Montesa in Spain (1317), the Order of Christ in Portugal (1319) and the Elder Brothers of the Rose Cross in France (returning from Scotland). These "Frères Aînés de la Rose-Croix" (1317) drew up a new Templar Rule adopted by a college of 33 men, renewed and maintained by co-option.Templars made links with troubadours, alchemists, qabalists and Muslims, in particular certain Muslim brotherhoods (the flowering of Sufism, the mysticism of Islam, was conterminous with the rise of the Knights Templar). It was one of the tasks of St. Bernard and his Templars, to bring Judaism, Christianity and Islam together, and in this intention they saw the work of the Paraclete. They also worked to allow the latter to manifest in this world again and strove for the "Return of the Christ in Solar Glory". This was accepted by both Judaism (the coming of the Messiah), Christianity (the "Parousia") and Islam (prophet Jesus, the "Word" of Allah, returning to judge the world). Templars are called to sacrifice the selfish aspect of their natures, so the spirit of Christ may manifest in them in victu.

► the Zohar..Before the entry of the Hermetica on the European scene, Jewish gnosticism made its move. In the Sepher Zohar (Book of Splendor), the "classic" of Jewish mysticism, a commentary on the Torah is presented. Written in Aramaic, it was purported to be the teachings of the 2nd century Palestinian Rabbi Shimon ben Yohai. During the time of Roman persecution, so its legend relates, Rabbi Shimon hid in a cave for 13 years, studying the Torah with his son. During this time, he is said to have been inspired by God to write the Zohar ... Around the same time, the Corpus Hermeticum was codified.

In the 13th century, a Spanish Jew by the name of Moshe de Leon (according to Graetz "a base and despicable swindler") claimed to have discovered the text, and it was subsequently published and distributed throughout the Jewish world. This strategy of finding so-called "lost texts" would become a standard approach (only in the previous century would it make real science, cf. the Qumran scrolls and the Nag Hammadi library). The influence of the Zohar was considerable, also on members of the Western Tradition. Eventually, its basic scheme, the "Tree of Life", would be viewed as the backbone of Western spirituality ... "... the level of abstraction reached by cabalistic thought was foreign to the Egyptian mindset. Nevertheless, in later esoterica, we constantly find a link between Egyptosophy and cabala, and the connection between Moses and Egyptian wisdom to be found in many Christian writers is also relevant to our theme." Hornung, 2001, p.80. Unfortunately for the literalists, historian Gershom Scholem made clear de Leon himself was the most likely author of the Zohar. He had forged its ancient origins. Among other things, but most importantly, Scholem noticed frequent errors in Aramaic grammar and its highly suspicious traces of Spanish words and sentence patterns ! There is no real mention of this book in any Jewish literature until the 13th century. Moreover, recent studies showed how early qabalah (cf. Sepher Bahir, Sepher Yetzirah) was influenced by the Greeks, in particular the mathematical mysticism of Pythagoras (the Sephiroth and the Greek Decad, numerology and Merkabah mysticism - Barry, 1999). It even contains elements of Egyptian thought, introducing precreation and describing it in identical negative terms as had the Egyptians (cf. Nun and "Ain Soph Aur"). "... it is sufficient to note that Hebrew Qabalist doctrines reached their pinnacle of importance in Judaism in Europe during the Middle Ages. Consequently they also had a huge influence on Western magical tradition, which drew heavily on Jewish esoteric lore, and as a source for the inner gnosis of orthodox Christian thought." Barry, 1999, p.185. In the best case scenario, Jewish mysticism cannot claim roots earlier than the Second Temple and in general the impact of Hellenism (Hermetism and Philonic thought) on Judaism has been largely underestimated by orthodox Jews. Rabbinical Judaism as a whole may well be the product of a Hellenistic interpretation of the available scriptural sources (by themselves posing considerable historical problems regarding authenticity).

"Of the large number of Hebrew sacred writings, the canon of books that were eventually selected for the Hebrew Bible, or 'Old Testament', as the Christians later called it, was only established after the fall of Jerusalem to the Romans in 70 CE, by surviving rabbis at Jamnia who were anxious to preserve their religion from the catastrophe of the failed Jewish revolt." Barry, 1999, p.175. ► the first translation of the Corpus Hermeticumn "The thirteenth century saw a renaissance of pyramids and sphinxes. (...) the first western representation of the pyramids appeared in San Marco in Venice, but they were believed to be the granaries of Joseph, and thus not part of an esoteric tradition."nHornung, 2001, p.83. In Florence, a new Platonic Academy had been founded in 1459. It tried to resume the traditions of the Athenian Academy closed by emperor Justinian in 529. Around 1460 CE, Brother Leonardo of Pistoia brought a Greek manuscript from Macedonia to Florence. Cosimo de' Medici was fascinated and asked his Plato expert Marsilio Ficino (1433 - 1499) to stop translating Plato in order to look into these texts. In 1463, even before finishing his Latin version of the works of Plato, he translated them, which took him only a few months. For Fincino, the CH contained a philosophy older than Plato's. This Latin version of the Corpus Hermeticum was extremely influential, especially its first treatise, the Poimandres, circulating in many copies before it was published in Treviso in 1471 together with the other books as Liber de potestate et sapientia Dei (On the Power and Wisdom of God). Fincino also translated the On the Mysteries of the Egyptians by Iamblichus, and the latter's Opera omnia, published in Basel in 1561. The original Greek version of the CH was published in Paris in 1554.

 

► A SECOND EASTER ISLAND ALIGNMENT ► A THIRD EASTER ISLAND ALIGNMENT ► A FOURTH EASTER ISLAND ALIGNMENT ► A SECOND GREAT PYRAMID ALIGNMENT ► A THIRD GREAT PYRAMID ALIGNMENT ►A SECOND PERSEOPOLIS ALIGNMENT ► A SECOND ANGKOR ALIGNMENT ► A SECOND NAZCA ALIGNMENT ► A SECOND MACHUPICCHU ALIGNMENT ► A SECOND CHACO CANYON ALIGNMENT ► A SECOND PALENQUE ALIGNMENT ►CONVERGENT ALIGNMENTS ►CONVERGENT ALIGNMENTS - PART II ►THE AVENUE OF THE DEAD ► THE GOLDEN SECTION - PART II ► IN SEARCH OF ATLANTIS - PART II ©

"... It is a bridge that unites the world of the gods and the world of men. The notion of metaxis can be extended in the modern era, affirming that humans are suspended in a network of polarities: the one and the many, eternity and time, freedom and destiny, instinct and intellect, risk and security, love and hate, etc. Metaxis has also been defined as the state of total and simultaneous belonging to two different autonomous worlds "

Year of the Monkey

 

Lunar Lanterns, giant lanterns representing animal signs of the Chinese zodiac in city centre locations from 6–14 February.

 

Ox

  

"People born in the Year of the Monkey are fun-loving, energetic and inquisitive. Their intellect allows them to adapt to any situation, they are confident, charismatic, loyal and inventive.

Sometimes, the Monkey can be a little too curious for his or her own good, as well as careless, restless, immature and arrogant."

  

whatson.cityofsydney.nsw.gov.au/posts/lunar-lanterns

© Ben Heine || Facebook || Twitter || www.benheine.com

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Enlarge HERE

 

These are some details of my recent paintings on large canvases. I'll share the full versions of each work shortly (when they are dry... lol). I used 2 different techniques and I wanted them to be very colorful, spontaneous and decorative.

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For more information about my art: info@benheine.com

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It's a gentleman who articulates his mystery with intellect and grace, it's a beautiful mind.

  

My edition of 'goat unmasked' by goat transforming into a cathedral for 1pic 2souls.

  

“I can stand brute force, but brute reason is quite unbearable. There is something unfair about its use. It is hitting below the intellect.”

 

~Oscar Wilde (Irish Poet, Novelist, Dramatist and Critic, 1854-1900)

 

Taken on Kapas Island on Malaysias east coast. The weather shifted quickly. Just 30 minutes before this was taken we enjoyed blue sky and the sun was shining. But I'm not complaining though… ;))

 

Hope you're all having a great Sunday!

 

Exif

 

Camera: Nikon D700

Lens: Sigma 12.0-24.0 mm f/4.5-5.6

Aperture: f/22.0

Exposure Time: 0.20 sec (1/5)

Focal Length: 12mm

ISO: 100

 

Name- Duke Atoms (Villain)

 

Universe: DC

 

Age: 32

 

Weapons- Fist

 

Allies- Deadshot

 

Enemies- Police and certain thugs

 

Skills- Extreme Agility and strength and large arms for certain task. Extreme intellect and robotics knowledge.

 

Back story:

Duke Atoms grew up in South Gotham. His parents divorced when he was young, but overall, he had a good childhood. He was always a hard worker and would not take any crap from anyone.

 

Duke worked at Ace Chemicals as a mechanic for the robotics and machinery at the plant. One day, while repairing a robotic arm that lifts barrels of chemicals and pours them into a vat with other chemicals, he hit the wrong switch. This caused the robotic arm to swing around violently, knocking Duke into the vat of chemicals. His fellow workers saw what happened and quickly pulled him out and called for medical services.

 

Duke awoke in the hospital. He was strapped to a bed and was being prepped for some form of surgery. Duke looked to his left and saw a mirror on the table next to his bed. What he saw horrified him. His skin had been bleached yellow and his arms had tripled in size.

 

Due to the chemicals absorbed into Duke's brain, he suffered severe case of amnesia. The only thing he remembered was his name and where he lived. Scared of what he saw, he was convinced that the doctors at the hospital had done this to him. Thinking quickly, he broke free from his restraints and flung himself out the window. When he jumped out, he grabbed the side of the building, digging his fingers into the bricks. In doing this, he realized his over sized arms had super human strength and grip. He climbed the rest of the way down and quickly headed back to his home.

 

When duke arrived at his home, he discovered his personal belongings and other things that he owned. Using them, he gained back some of his memories about what he did for a living. He found his robotics books and skimmed through them, remembering some of the knowledge that he already knew. While desperately turning the pages, his over sized arms ripped them out, and eventually tore the book in half.

 

Duke realized that his legs were unable to support him and he had to use his arms as his legs. Using his knowledge of robotics that he had relearned, he used parts and materials from his home, he crafted a make shift leg brace that would allow him to use his legs for a short period of time. Duke knew he would need something better.

 

The next night, he returned to ace chemicals after closing and took robotics parts and equipment from the machines that he had once fixed. He took them home and made himself a suit that had built in leg braces that could easily hold his weight. The braces not only supported him. but gave his legs a boost of strength as well.

 

Duke decided that the only way he could provide for himself was to steal the things he needed, like food and other supplies to improves his suit. Duke began to rob small shops and gas stations, taking everything from the cash register and anything else of use. He would also go to auto parts shops and steal other thing for his suit. Using everything he had stolen, he crafted a red suit to cover his braces that was also equipped with pouches for storage.

 

One night while roaming the roof tops, he ran into Deadshot. He began to talk with Deadshot, and the two eventually became good friends. Deadshot even helped Duke to make a eye HUD. Duke used this to scan areas before he entered them. Duke began to accompany Deadshot on some of his jobs. He was fascinated by Deadshot's accuracy and by his precision, and he soon began to kill.

 

He would use his large fist and pulverize his enemies, breaking most of there bones, then leaving them to bleed to death. When other criminals heard of Duke, they gave him the appropriate name "Atom Smasher". Duke works with Deadshot, but sometimes goes off on his own. Duke is not known for leaving his foes alive, and he tries to cause as much pain as possible before his victims actually die.

 

What is your color?

Aphrodite – emotional red? B5

Athena – intellectual blue? A2

 

HKD

 

Logos und Eros

Im Verlauf des Lebens sind diese beiden Kräfte unterschiedlich gewichtet.

In der Jugend wird Coolness angestrebt. Blau wird verehrt. Später darf sich die Emotionalität wieder entfalten. Rot braucht nicht mehr abgewehrt zu werden.

 

HKD

 

Ein bestimmter Typus Mensch (A2) gehört bevorzugt zu den "Weltverbesserern", den Korrekten, den Vorbildern und Refomatoren. Ich nenne ihn den "Lehrer". (Analoge Gottheit: Athene)

Der Typ A2 geht gern ordentlich und planerisch mit dem Leben um. Man sagt ihm einen ernsthaften, tugendhaften und verantwortungsbewussten Lebenswandel nach.

  

Der andere hier gezeigte Typus ist die B5, der lebenslustige und nicht selten hedonistisch ausgerichtete Typ mit starker erotischer Komponente. Ich nenen diesen Typus "Künstler". (Analoge Gottheit: Dionysos - Aphrodite)

Der Typ B 5 lebt gern locker und spielerisch.

 

Zum Überblick:

Es gibt die Typen:

A1 Herrscher

A2 Lehrer

A3 Händler

A4 Krieger

A5 Denker

B1 Administrator

B2 Bauer

B3 Seelsorger

B4 Helfer

B5 Künstler

 

HKD

Yellow is the color of sunshine. It's associated with joy, happiness, intellect, and energy.

So if "this" means "that" and "that" means "this", are they both interchangeable? Hmmm.

 

www.riverhillgardens.co.uk/

History

 

The John Rogers who bought Riverhill in 1840 was an only child, with a modest fortune, and a fine intellect. He became a classics scholar, a scientist and a friend of Charles Darwin. He was one of the first members of the Royal Horticultural Society and a patron of the plant collectors of the day.

 

He chose Riverhill because its sheltered situation offered an ideal lime free hillside where he could hope to establish newly introduced trees and shrubs. From his garden notebook, it can be seen that planting started in 1842. Subsequent generations, continued the planting and in 1910 Colonel John Middleton Rogers created what is now known as ‘The Wood Garden’ a fine collection of Japanese Maples, Rhododendrons and Azaleas. His wife, the infamous Muriel, created many additions including the now hidden Rock Gardens.

 

Until the beginning of the 2nd World War, eight full time gardeners kept Riverhill looking immaculate. Since the war years, however, a shortage of manpower and a lack of money has meant that the garden was allowed to deteriorate, with many parts of the original planting lost to everyday use and visitors.

 

Today, four generations of the Rogers family live at Riverhill,

 

The estate is managed by Edward Rogers (Great-great-great-grandson of the John Rogers who bought Riverhill in 1840) and his wife, Sarah.

  

www.riverhillgardens.co.uk/

History

 

The John Rogers who bought Riverhill in 1840 was an only child, with a modest fortune, and a fine intellect. He became a classics scholar, a scientist and a friend of Charles Darwin. He was one of the first members of the Royal Horticultural Society and a patron of the plant collectors of the day.

 

He chose Riverhill because its sheltered situation offered an ideal lime free hillside where he could hope to establish newly introduced trees and shrubs. From his garden notebook, it can be seen that planting started in 1842. Subsequent generations, continued the planting and in 1910 Colonel John Middleton Rogers created what is now known as ‘The Wood Garden’ a fine collection of Japanese Maples, Rhododendrons and Azaleas. His wife, the infamous Muriel, created many additions including the now hidden Rock Gardens.

 

Until the beginning of the 2nd World War, eight full time gardeners kept Riverhill looking immaculate. Since the war years, however, a shortage of manpower and a lack of money has meant that the garden was allowed to deteriorate, with many parts of the original planting lost to everyday use and visitors.

 

Today, four generations of the Rogers family live at Riverhill,

 

The estate is managed by Edward Rogers (Great-great-great-grandson of the John Rogers who bought Riverhill in 1840) and his wife, Sarah.

  

~It is the marriage of the soul with Nature that makes the intellect fruitful, and gives birth to imagination.

- Henry David Thoreau

"Ulysses" , James Joyce

In the Platonic, Neopythagorean, Middle Platonic, and Neoplatonic schools of philosophy, the demiurge (/ˈdɛmi.ɜːrdʒ/) is an artisan-like figure responsible for fashioning and maintaining the physical universe. The Gnostics adopted the term demiurge. Although a fashioner, the demiurge is not necessarily the same as the creator figure in the monotheistic sense, because the demiurge itself and the material from which the demiurge fashions the universe are both considered consequences of something else. Depending on the system, they may be considered either uncreated and eternal or the product of some other entity.

 

The word demiurge is an English word derived from demiurgus, a Latinised form of the Greek δημιουργός or dēmiurgós. It was originally a common noun meaning "craftsman" or "artisan", but gradually came to mean "producer", and eventually "creator". The philosophical usage and the proper noun derive from Plato's Timaeus, written c. 360 BC, where the demiurge is presented as the creator of the universe. The demiurge is also described as a creator in the Platonic (c. 310–90 BC) and Middle Platonic (c. 90 BC – AD 300) philosophical traditions. In the various branches of the Neoplatonic school (third century onwards), the demiurge is the fashioner of the real, perceptible world after the model of the Ideas, but (in most Neoplatonic systems) is still not itself "the One". In the arch-dualist ideology of the various Gnostic systems, the material universe is evil, while the non-material world is good. According to some strains of Gnosticism, the demiurge is malevolent, as it is linked to the material world. In others, including the teaching of Valentinus, the demiurge is simply ignorant or misguided.

  

Contents

1Platonism and neoplatonism

1.1Plato and the Timaeus

1.2Middle Platonism

1.3Neoplatonism

1.3.1Henology

1.3.2Iamblichus

2Gnosticism

2.1Mythos

2.2Angels

2.3Yaldabaoth

2.3.1Names

2.4Marcion

2.5Valentinus

2.6The devil

2.7Cathars

3Neoplatonism and Gnosticism

3.1Plotinus

4See also

5References

5.1Notes

5.2Sources

6External links

Platonism and neoplatonism[edit]

Plato and the Timaeus[edit]

Plato, as the speaker Timaeus, refers to the Demiurge frequently in the Socratic dialogue Timaeus (28a ff.), c. 360 BC. The main character refers to the Demiurge as the entity who "fashioned and shaped" the material world. Timaeus describes the Demiurge as unreservedly benevolent, and so it desires a world as good as possible. Plato's work Timaeus is a philosophical reconciliation of Hesiod's cosmology in his Theogony, syncretically reconciling Hesiod to Homer.[1][2][3]

 

Middle Platonism[edit]

In Numenius's Neo-Pythagorean and Middle Platonist cosmogony, the Demiurge is second God as the nous or thought of intelligibles and sensibles.[4]

 

Neoplatonism[edit]

Plotinus and the later Platonists worked to clarify the Demiurge. To Plotinus, the second emanation represents an uncreated second cause (see Pythagoras' Dyad). Plotinus sought to reconcile Aristotle's energeia with Plato's Demiurge,[5] which, as Demiurge and mind (nous), is a critical component in the ontological construct of human consciousness used to explain and clarify substance theory within Platonic realism (also called idealism). In order to reconcile Aristotelian with Platonian philosophy,[5] Plotinus metaphorically identified the demiurge (or nous) within the pantheon of the Greek Gods as Zeus.[6]

 

Henology[edit]

The first and highest aspect of God is described by Plato as the One (Τὸ Ἕν, 'To Hen'), the source, or the Monad.[7] This is the God above the Demiurge, and manifests through the actions of the Demiurge. The Monad emanated the demiurge or Nous (consciousness) from its "indeterminate" vitality due to the monad being so abundant that it overflowed back onto itself, causing self-reflection.[8] This self-reflection of the indeterminate vitality was referred to by Plotinus as the "Demiurge" or creator. The second principle is organization in its reflection of the nonsentient force or dynamis, also called the one or the Monad. The dyad is energeia emanated by the one that is then the work, process or activity called nous, Demiurge, mind, consciousness that organizes the indeterminate vitality into the experience called the material world, universe, cosmos. Plotinus also elucidates the equation of matter with nothing or non-being in The Enneads[9] which more correctly is to express the concept of idealism or that there is not anything or anywhere outside of the "mind" or nous (c.f. pantheism).

 

Plotinus' form of Platonic idealism is to treat the Demiurge, nous as the contemplative faculty (ergon) within man which orders the force (dynamis) into conscious reality.[10] In this, he claimed to reveal Plato's true meaning: a doctrine he learned from Platonic tradition that did not appear outside the academy or in Plato's text. This tradition of creator God as nous (the manifestation of consciousness), can be validated in the works of pre-Plotinus philosophers such as Numenius, as well as a connection between Hebrew and Platonic cosmology (see also Philo).[11]

 

The Demiurge of Neoplatonism is the Nous (mind of God), and is one of the three ordering principles:

 

Arche (Gr. 'beginning') – the source of all things,

Logos (Gr. 'reason/cause') – the underlying order that is hidden beneath appearances,

Harmonia (Gr. 'harmony') – numerical ratios in mathematics.

Before Numenius of Apamea and Plotinus' Enneads, no Platonic works ontologically clarified the Demiurge from the allegory in Plato's Timaeus. The idea of Demiurge was, however, addressed before Plotinus in the works of Christian writer Justin Martyr who built his understanding of the Demiurge on the works of Numenius.[citation needed]

 

Iamblichus[edit]

See also: Panentheism

Later, the Neoplatonist Iamblichus changed the role of the "One", effectively altering the role of the Demiurge as second cause or dyad, which was one of the reasons that Iamblichus and his teacher Porphyry came into conflict.

 

The figure of the Demiurge emerges in the theoretic of Iamblichus, which conjoins the transcendent, incommunicable “One,” or Source. Here, at the summit of this system, the Source and Demiurge (material realm) coexist via the process of henosis.[12] Iamblichus describes the One as a monad whose first principle or emanation is intellect (nous), while among "the many" that follow it there is a second, super-existent "One" that is the producer of intellect or soul (psyche).

 

The "One" is further separated into spheres of intelligence; the first and superior sphere is objects of thought, while the latter sphere is the domain of thought. Thus, a triad is formed of the intelligible nous, the intellective nous, and the psyche in order to reconcile further the various Hellenistic philosophical schools of Aristotle's actus and potentia (actuality and potentiality) of the unmoved mover and Plato's Demiurge.

 

Then within this intellectual triad Iamblichus assigns the third rank to the Demiurge, identifying it with the perfect or Divine nous with the intellectual triad being promoted to a hebdomad (pure intellect).

 

In the theoretic of Plotinus, nous produces nature through intellectual mediation, thus the intellectualizing gods are followed by a triad of psychic gods.

 

Gnosticism[edit]

 

It has been suggested that this section be split out into another article titled Yaldabaoth. (Discuss) (November 2018)

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Gnosticism presents a distinction between the highest, unknowable God or Supreme Being and the demiurgic "creator" of the material. Several systems of Gnostic thought present the Demiurge as antagonistic to the will of the Supreme Being: his act of creation occurs in an unconscious semblance of the divine model, and thus is fundamentally flawed, or else is formed with the malevolent intention of entrapping aspects of the divine in materiality. Thus, in such systems, the Demiurge acts as a solution to (or, at least possibly, the problem or cause that gives rise to)[citation needed] the problem of evil.

 

Mythos[edit]

One Gnostic mythos describes the declination of aspects of the divine into human form. Sophia (Greek: Σοφία, lit. 'wisdom'), the Demiurge's mother and partial aspect of the divine Pleroma or "Fullness," desired to create something apart from the divine totality, without the receipt of divine assent. In this act of separate creation, she gave birth to the monstrous Demiurge and, being ashamed of her deed, wrapped him in a cloud and created a throne for him within it. The Demiurge, isolated, did not behold his mother, nor anyone else, and concluded that only he existed, ignorant of the superior levels of reality.

 

The Demiurge, having received a portion of power from his mother, sets about a work of creation in unconscious imitation of the superior Pleromatic realm: He frames the seven heavens, as well as all material and animal things, according to forms furnished by his mother; working, however, blindly and ignorant even of the existence of the mother who is the source of all his energy. He is blind to all that is spiritual, but he is king over the other two provinces. The word dēmiurgos properly describes his relation to the material; he is the father of that which is animal like himself.[13]

 

Thus Sophia's power becomes enclosed within the material forms of humanity, themselves entrapped within the material universe: the goal of Gnostic movements was typically the awakening of this spark, which permitted a return by the subject to the superior, non-material realities which were its primal source.

 

Angels[edit]

Psalm 82 begins (verse 1), "God stands in the assembly of El [LXX: assembly of gods], in the midst of the gods he renders judgment", indicating a plurality of gods, although it does not indicate that these gods were co-actors in creation. Philo had inferred from the expression "Let us make man" of the Book of Genesis that God had used other beings as assistants in the creation of man, and he explains in this way why man is capable of vice as well as virtue, ascribing the origin of the latter to God, of the former to his helpers in the work of creation.[14]

 

The earliest Gnostic sects ascribe the work of creation to angels, some of them using the same passage in Genesis.[15] So Irenaeus tells[16] of the system of Simon Magus,[17] of the system of Menander,[18] of the system of Saturninus, in which the number of these angels is reckoned as seven, and[19] of the system of Carpocrates. In the report of the system of Basilides,[20] we are told that our world was made by the angels who occupy the lowest heaven; but special mention is made of their chief, who is said to have been the God of the Jews, to have led that people out of the land of Egypt, and to have given them their law. The prophecies are ascribed not to the chief but to the other world-making angels.

 

The Latin translation, confirmed by Hippolytus of Rome,[21] makes Irenaeus state that according to Cerinthus (who shows Ebionite influence), creation was made by a power quite separate from the Supreme God and ignorant of him. Theodoret,[22] who here copies Irenaeus, turns this into the plural number "powers", and so Epiphanius of Salamis[23] represents Cerinthus as agreeing with Carpocrates in the doctrine that the world was made by angels.

 

Yaldabaoth[edit]

 

A lion-faced deity found on a Gnostic gem in Bernard de Montfaucon's L'antiquité expliquée et représentée en figures may be a depiction of the Demiurge.

In the Ophite and Sethian systems, which have many affinities with the teachings of Valentinus, the making of the world is ascribed to a company of seven archons, whose names are given, but still more prominent is their chief, "Yaldabaoth" (also known as "Yaltabaoth" or "Ialdabaoth").

 

In the Apocryphon of John c. AD 120–180, the demiurge arrogantly declares that he has made the world by himself:

 

Now the archon ["ruler"] who is weak has three names. The first name is Yaltabaoth, the second is Saklas ["fool"], and the third is Samael. And he is impious in his arrogance which is in him. For he said, 'I am God and there is no other God beside me,' for he is ignorant of his strength, the place from which he had come.[24]

He is Demiurge and maker of man, but as a ray of light from above enters the body of man and gives him a soul, Yaldabaoth is filled with envy; he tries to limit man's knowledge by forbidding him the fruit of knowledge in paradise. At the consummation of all things, all light will return to the Pleroma. But Yaldabaoth, the Demiurge, with the material world, will be cast into the lower depths.[25]

 

Yaldabaoth is frequently called "the Lion-faced", leontoeides, and is said to have the body of a serpent. The demiurge is also[26] described as having a fiery nature, applying the words of Moses to him: "the Lord our God is a burning and consuming fire". Hippolytus claims that Simon used a similar description.[27]

 

In Pistis Sophia, Yaldabaoth has already sunk from his high estate and resides in Chaos, where, with his forty-nine demons, he tortures wicked souls in boiling rivers of pitch, and with other punishments (pp. 257, 382). He is an archon with the face of a lion, half flame, and half darkness.

 

Under the name of Nebro (rebel), Yaldabaoth is called an angel in the apocryphal Gospel of Judas. He is first mentioned in "The Cosmos, Chaos, and the Underworld" as one of the twelve angels to come "into being [to] rule over chaos and the [underworld]". He comes from heaven, and it is said his "face flashed with fire and [his] appearance was defiled with blood". Nebro creates six angels in addition to the angel Saklas to be his assistants. These six, in turn, create another twelve angels "with each one receiving a portion in the heavens".

 

Names[edit]

 

Drawing of the lion-headed figure found at the Mithraeum of C. Valerius Heracles and sons, dedicated 190 CE at Ostia Antica, Italy (CIMRM 312).

The most probable derivation of the name "Yaldabaoth" was that given by Johann Karl Ludwig Gieseler. Gieseler believed the name was derived from the Aramaic yaldā bahuth, ילדאבהות, meaning "Son of Chaos". However, Gilles Quispel notes:

 

Gershom Scholem, the third genius in this field, more specifically the genius of precision, has taught us that some of us were wrong when they believed that Jaldabaoth means "son of chaos", because the Aramaic word bahutha in the sense of chaos only existed in the imagination of the author of a well-known dictionary. This is a pity because this name would suit the demiurge risen from chaos to a nicety. And perhaps the author of the Untitled Document did not know Aramaic and also supposed as we did once, that baoth had something to do with tohuwabohu, one of the few Hebrew words that everybody knows. ... It would seem then that the Orphic view of the demiurge was integrated into Jewish Gnosticism even before the redaction of the myth contained in the original Apocryphon of John. ... Phanes is represented with the mask of a lion's head on his breast, while from his sides the heads of a ram and a buck are budding forth: his body is encircled by a snake. This type was accepted by the Mithras mysteries, to indicate Aion, the new year, and Mithras, whose numerical value is 365. Sometimes he is also identified with Jao Adonai, the creator of the Hebrews. His hieratic attitude indicates Egyptian origin. The same is true of the monstrous figure with the head of a lion, which symbolises Time, Chronos, in Mithraism; Alexandrian origin of this type is probable.[28]

"Samael" literally means "Blind God" or "God of the Blind" in Hebrew (סמאל‎). This being is considered not only blind, or ignorant of its own origins, but may, in addition, be evil; its name is also found in Judaism as the Angel of Death and in Christian demonology. This link to Judeo-Christian tradition leads to a further comparison with Satan. Another alternative title for the demiurge is "Saklas", Aramaic for "fool".

 

The angelic name "Ariel" (Hebrew: 'the lion of God')[29] has also been used to refer to the Demiurge and is called his "perfect" name;[30] in some Gnostic lore, Ariel has been called an ancient or original name for Ialdabaoth.[31] The name has also been inscribed on amulets as "Ariel Ialdabaoth",[32][33] and the figure of the archon inscribed with "Aariel".[34]

 

Marcion[edit]

According to Marcion, the title God was given to the Demiurge, who was to be sharply distinguished from the higher Good God. The former was díkaios, severely just, the latter agathós, or loving-kind; the former was the "god of this world" (2 Corinthians 4:4), the God of the Old Testament, the latter the true God of the New Testament. Christ, in reality, is the Son of the Good God. The true believer in Christ entered into God's kingdom, the unbeliever remained forever the slave of the Demiurge.[25]

 

Valentinus[edit]

It is in the system of Valentinus that the name Dēmiurgos is used, which occurs nowhere in Irenaeus except in connection with the Valentinian system; we may reasonably conclude that it was Valentinus who adopted from Platonism the use of this word. When it is employed by other Gnostics either it is not used in a technical sense, or its use has been borrowed from Valentinus. But it is only the name that can be said to be specially Valentinian; the personage intended by it corresponds more or less closely with the Yaldabaoth of the Ophites, the great Archon of Basilides, the Elohim of Justinus, etc.

 

The Valentinian theory elaborates that from Achamoth (he kátō sophía or lower wisdom) three kinds of substance take their origin, the spiritual (pneumatikoí), the animal (psychikoí) and the material (hylikoí). The Demiurge belongs to the second kind, as he was the offspring of a union of Achamoth with matter.[25][35] And as Achamoth herself was only the daughter of Sophía the last of the thirty Aeons, the Demiurge was distant by many emanations from the Propatôr, or Supreme God.[25]

 

In creating this world out of Chaos the Demiurge was unconsciously influenced for good; and the universe, to the surprise even of its Maker, became almost perfect. The Demiurge regretted even its slight imperfection, and as he thought himself the Supreme God, he attempted to remedy this by sending a Messiah. To this Messiah, however, was actually united with Jesus the Saviour, Who redeemed men. These are either hylikoí or pneumatikoí.[25]

 

The first, or material men, will return to the grossness of matter and finally be consumed by fire; the second, or animal men, together with the Demiurge, will enter a middle state, neither Pleroma nor hyle; the purely spiritual men will be completely freed from the influence of the Demiurge and together with the Saviour and Achamoth, his spouse, will enter the Pleroma divested of body (hyle) and soul (psyché).[25][36] In this most common form of Gnosticism the Demiurge had an inferior though not intrinsically evil function in the universe as the head of the animal, or psychic world.[25]

 

The devil[edit]

Opinions on the devil, and his relationship to the Demiurge, varied. The Ophites held that he and his demons constantly oppose and thwart the human race, as it was on their account the devil was cast down into this world.[37] According to one variant of the Valentinian system, the Demiurge is also the maker, out of the appropriate substance, of an order of spiritual beings, the devil, the prince of this world, and his angels. But the devil, as being a spirit of wickedness, is able to recognise the higher spiritual world, of which his maker the Demiurge, who is only animal, has no real knowledge. The devil resides in this lower world, of which he is the prince, the Demiurge in the heavens; his mother Sophia in the middle region, above the heavens and below the Pleroma.[38]

 

The Valentinian Heracleon[39] interpreted the devil as the principle of evil, that of hyle (matter). As he writes in his commentary on John 4:21,

 

The mountain represents the Devil, or his world, since the Devil was one part of the whole of matter, but the world is the total mountain of evil, a deserted dwelling place of beasts, to which all who lived before the law and all Gentiles render worship. But Jerusalem represents the creation or the Creator whom the Jews worship. ... You then who are spiritual should worship neither the creation nor the Craftsman, but the Father of Truth.

This vilification of the creator was held to be inimical to Christianity by the early fathers of the church. In refuting the beliefs of the gnostics, Irenaeus stated that "Plato is proved to be more religious than these men, for he allowed that the same God was both just and good, having power over all things, and himself executing judgment."[40]

 

Cathars[edit]

Catharism apparently inherited their idea of Satan as the creator of the evil world from Gnosticism. Quispel writes,

 

There is a direct link between ancient Gnosticism and Catharism. The Cathars held that the creator of the world, Satanael, had usurped the name of God, but that he had subsequently been unmasked and told that he was not really God.[41]

Neoplatonism and Gnosticism[edit]

Main article: Neoplatonism and Gnosticism

Wikisource has original text related to this article:

Against the Gnostics; or, Against Those that Affirm the Creator of the Cosmos and the Cosmos Itself to be Evil

Gnosticism attributed falsehood or evil to the concept of the Demiurge or creator, though in some Gnostic traditions the creator is from a fallen, ignorant, or lesser—rather than evil—perspective, such as that of Valentinius.

 

Plotinus[edit]

The Neoplatonic philosopher Plotinus addressed within his works Gnosticism's conception of the Demiurge, which he saw as un-Hellenic and blasphemous to the Demiurge or creator of Plato. Plotinus, along with his teacher Ammonius Saccas, was the founder of Neoplatonism.[42] In the ninth tractate of the second of his Enneads, Plotinus criticizes his opponents for their appropriation of ideas from Plato:

 

From Plato come their punishments, their rivers of the underworld and the changing from body to body; as for the plurality they assert in the Intellectual Realm—the Authentic Existent, the Intellectual-Principle, the Second Creator and the Soul—all this is taken over from the Timaeus.

 

— Ennead 2.9.vi; emphasis added from A. H. Armstrong's introduction to Ennead 2.9

Of note here is the remark concerning the second hypostasis or Creator and third hypostasis or World Soul. Plotinus criticizes his opponents for "all the novelties through which they seek to establish a philosophy of their own" which, he declares, "have been picked up outside of the truth";[43] they attempt to conceal rather than admit their indebtedness to ancient philosophy, which they have corrupted by their extraneous and misguided embellishments. Thus their understanding of the Demiurge is similarly flawed in comparison to Plato’s original intentions.

 

Whereas Plato's Demiurge is good wishing good on his creation, Gnosticism contends that the Demiurge is not only the originator of evil but is evil as well. Hence the title of Plotinus' refutation: "Against Those That Affirm the Creator of the Kosmos and the Kosmos Itself to be Evil" (generally quoted as "Against the Gnostics"). Plotinus argues of the disconnect or great barrier that is created between the nous or mind's noumenon (see Heraclitus) and the material world (phenomenon) by believing the material world is evil.

 

The majority of scholars tend[44] to understand Plotinus' opponents as being a Gnostic sect—certainly (specifically Sethian), several such groups were present in Alexandria and elsewhere about the Mediterranean during Plotinus' lifetime. Plotinus specifically points to the Gnostic doctrine of Sophia and her emission of the Demiurge.

 

Though the former understanding certainly enjoys the greatest popularity, the identification of Plotinus' opponents as Gnostic is not without some contention. Christos Evangeliou has contended[45] that Plotinus' opponents might be better described as simply "Christian Gnostics", arguing that several of Plotinus' criticisms are as applicable to orthodox Christian doctrine as well. Also, considering the evidence from the time, Evangeliou thought the definition of the term "Gnostics" was unclear. Of note here is that while Plotinus' student Porphyry names Christianity specifically in Porphyry's own works, and Plotinus is to have been a known associate of the Christian Origen, none of Plotinus' works mention Christ or Christianity—whereas Plotinus specifically addresses his target in the Enneads as the Gnostics.

 

A. H. Armstrong identified the so-called "Gnostics" that Plotinus was attacking as Jewish and Pagan, in his introduction to the tract in his translation of the Enneads. Armstrong alluding to Gnosticism being a Hellenic philosophical heresy of sorts, which later engaged Christianity and Neoplatonism.[46][47]

 

John D. Turner, professor of religious studies at the University of Nebraska, and famed translator and editor of the Nag Hammadi library, stated[48] that the text Plotinus and his students read was Sethian Gnosticism, which predates Christianity. It appears that Plotinus attempted to clarify how the philosophers of the academy had not arrived at the same conclusions (such as dystheism or misotheism for the creator God as an answer to the problem of evil) as the targets of his criticism.

 

Emil Cioran also wrote his Le mauvais démiurge ("The Evil Demiurge"), published in 1969, influenced by Gnosticism and Schopenhauerian interpretation of Platonic ontology, as well as that of Plotinus.

 

See also[edit]

iconReligion portal

Albinus (philosopher)

Azazil

Emil Cioran

Devil in Christianity

Gnosticism

Mara (demon)

Mayasura

Narasimha

Problem of the creator of God

Ptah

Simulated reality

Tenth Intellect (Isma'ilism)

Urizen

References[edit]

Notes[edit]

^ Fontenrose, Joseph (1974). Python: A Study of Delphic Myth and Its Origin. Biblo & Tannen Publishers. p. 226. ISBN 978-0-8196-0285-5.

^ Sallis, John (1999). Chorology: On Beginning in Plato's Timaeus. Indiana University Press. p. 86. ISBN 0-253-21308-8.

^ Keightley, Thomas (1838). The mythology of ancient Greece and Italy. Oxford University. p. 44. theogony timaeus.

^ Kahn, Charles (2001). Pythagoras and the Pythagoreans. Indianapolis: Hacket Publishing. pp. 124. ISBN 978-0-872205758.

^ Jump up to: a b Karamanolis, George (2006). Plato and Aristotle in Agreement?: Platonists on Aristotle from Antiochus to Porphyry. Oxford University Press. p. 240. ISBN 0-19-926456-2.

^ The ordering principle is twofold; there is a principle known as the Demiurge, and there is the Soul of the All; the appellation "Zeus" is sometimes applied to the Demiurge and sometimes to the principle conducting the universe.[citation needed]

^ Wear, Sarah; Dillon, John (2013). Dionysius the Areopagite and the Neoplatonist Tradition: Despoiling the Hellenes. Burlington, VT: Ashgate Publishing, Ltd. p. 15. ISBN 9780754603856.

^ Wallis, Richard T.; Bregman, Jay, eds. (1992). Neoplatonism and Gnosticism. International Society for Neoplatonic Studies. SUNY Press. ISBN 978-0-7914-1337-1.

^ "Matter is therefore a non-existent"; Plotinus, Ennead 2, Tractate 4 Section 16.

^ Schopenhauer wrote of this Neoplatonist philosopher: "With Plotinus there even appears, probably for the first time in Western philosophy, idealism that had long been current in the East even at that time, for it taught (Enneads, iii, lib. vii, c.10) that the soul has made the world by stepping from eternity into time, with the explanation: 'For there is for this universe no other place than the soul or mind' (neque est alter hujus universi locus quam anima), indeed the ideality of time is expressed in the words: 'We should not accept time outside the soul or mind' (oportet autem nequaquam extra animam tempus accipere)." (Parerga and Paralipomena, Volume I, "Fragments for the History of Philosophy", § 7) Similarly, Professor Ludwig Noiré wrote: "For the first time in Western philosophy we find idealism proper in Plotinus (Enneads, iii, 7, 10), where he says, 'The only space or place of the world is the soul', and 'Time must not be assumed to exist outside the soul'." [5] It is worth noting, however, that like Plato but unlike Schopenhauer and other modern philosophers, Plotinus does not worry about whether or how we can get beyond our ideas in order to know external objects.

^ Numenius of Apamea was reported to have asked, "What else is Plato than Moses speaking Greek?" Fr. 8 Des Places.

^ See Theurgy, Iamblichus and henosis Archived 2010-01-09 at the Wayback Machine.

^ Irenaeus, Adversus Haereses, i. 5, 1.

^

It is on this account that Moses says, at the creation of man alone that God said, "Let us make man," which expression shows an assumption of other beings to himself as assistants, in order that God, the governor of all things, might have all the blameless intentions and actions of man, when he does right attributed to him; and that his other assistants might bear the imputation of his contrary actions.

— "Philo: On the Creation, XXIV". www.earlyjewishwritings.com.

^ Justin Martyr, Dialogue with Trypho. c. 67.

^ Irenaeus, Adversus Haereses, i. 23, 1.

^ Irenaeus, Adversus Haereses, i. 23, 5.

^ Irenaeus, i. 24, 1.

^ Irenaeus, Adversus Haereses, i. 25.

^ Irenaeus, Adversus Haereses, i. 24, 4.

^ Hippolytus, Refutation of All Heresies. vii. 33.

^ Theodoret, Haer. Fab. ii. 3.

^ Epiphanius, Panarion, 28.

^ "Apocryphon of John," translation by Frederik Wisse in The Nag Hammadi Library. Accessed online at gnosis.org

^ Jump up to: a b c d e f g One or more of the preceding sentences incorporates text from a publication now in the public domain: Herbermann, Charles, ed. (1913). "Demiurge". Catholic Encyclopedia. New York: Robert Appleton Company.

^ Hipp. Ref. vi. 32, p. 191.

^ Hipp. Ref. vi. 9.

^ Quispel, Gilles (2008). Van Oort, Johannes (ed.). Gnostica, Judaica, Catholica: Collected Essays of Gilles Quispel. Leiden: Koninklijke Brill NV. p. 64. ISBN 978-90-04-13945-9.

^ Scholem, Gershom (1965). Jewish Gnosticism, Merkabah Mysticism, and Talmudic Tradition. Jewish Theological Seminary of America. p. 72.

^ Robert McLachlan Wilson (1976). Nag Hammadi and gnosis: Papers read at the First International Congress of Coptology. BRILL. pp. 21–23. Therefore his esoteric name is Jaldabaoth, whereas the perfect call him Ariel, because he has the appearance of a lion.

^ Gustav Davidson (1994). A dictionary of angels: including the fallen angels. Scrollhouse. p. 54.

^ David M Gwynn (2010). Religious Diversity in Late Antiquity. BRILL. p. 448.

^ Campbell Bonner (1949). "An Amulet of the Ophite Gnostics". The American School of Classical Studies at Athens, Hesperia Supplements, Vol. 8: 43–46.

^ Gilles Quispel; R. van den Broek; Maarten Jozef Vermaseren (1981). Studies in gnosticism and hellenistic religions. BRILL. pp. 40–41.

^ Irenaeus, Adversus Haereses, i. 5.

^ Irenaeus, Adversus Haereses, i. 6.

^ Irenaeus, Adversus Haereses, i. 30, 8.

^ Irenaeus, Adversus Haereses, i. 5, 4.

^ Heracleon, Frag. 20.

^ Irenaeus, Adversus Haereses, iii. 25.

^ Quispel, Gilles and Van Oort, Johannes (2008), p. 143.

^ John D. Turner. Neoplatonism.

^ "For, in sum, a part of their doctrine comes from Plato; all the novelties through which they seek to establish a philosophy of their own have been picked up outside of the truth." Plotinus, "Against the Gnostics", Ennead II, 9, 6.

^ Plotinus, Arthur Hilary Armstrong (trans.) (1966). Plotinus: Enneads II (Loeb Classical Library ed.). Harvard University Press. From this point to the end of ch. 12 Plotinus is attacking a Gnostic myth known to us best at present in the form it took in the system of Valentinus. The Mother, Sophia-Achamoth, produced as a result of the complicated sequence of events which followed the fall of the higher Sophia, and her offspring the Demiurge, the inferier and ignorant maker of the material universe, are Valentinian figures; cp. Irenaeus, Adversus haereses 1.4 and 5. Valentinius had been in Rome, and there is nothing improbable in the presence of Valentinians there in the time of Plotinus. But the evidence in the Life ch. 16 suggests that the Gnostics in Plotinus's circle belonged rather to the older group called Sethians or Archontics, related to the Ophites or Barbelognostics: they probably called themselves simply 'Gnostics'. Gnostic sects borrowed freely from each other, and it is likely that Valentinius took some of his ideas about Sophia from older Gnostic sources, and that his ideas in turn influenced other Gnostics.

^ Evangeliou, "Plotinus's Anti-Gnostic Polemic and Porphyry's Against the Christians", in Wallis & Bregman, p. 111.

^ From "Introduction to Against the Gnostics", Plotinus' Enneads as translated by A. H. Armstrong, pp. 220–222: "The treatise as it stands in the Enneads is a most powerful protest on behalf of Hellenic philosophy against the un-Hellenic heresy (as it was from the Platonist as well as the orthodox Christian point of view) of Gnosticism. There were Gnostics among Plotinus's own friends, whom he had not succeeded in converting (Enneads ch. 10 of this treatise) and he and his pupils devoted considerable time and energy to anti-Gnostic controversy (Life of Plotinus ch. 16). He obviously considered Gnosticism an extremely dangerous influence, likely to pervert the minds even of members of his own circle. It is impossible to attempt to give an account of Gnosticism here. By far the best discussion of what the particular group of Gnostics Plotinus knew believed is M. Puech's admirable contribution to Entretiens Hardt V (Les Sources de Plotin). But it is important for the understanding of this treatise to be clear about the reasons why Plotinus disliked them so intensely and thought their influence so harmful."

^ Armstrong, pp. 220–22: "Short statement of the doctrine of the three hypostasis, the One, Intellect and Soul; there cannot be more or fewer than these three. Criticism of the attempts to multiply the hypostasis, and especially of the idea of two intellects, one which thinks and that other which thinks that it thinks. (ch. 1). The true doctrine of Soul (ch. 2). The law of necessary procession and the eternity of the universe (ch.3). Attack on the Gnostic doctrine of the making of the universe by a fallen soul, and on their despising of the universe and the heavenly bodies (chs. 4–5). The senseless jargon of the Gnostics, their plagiarism from and perversion of Plato, and their insolent arrogance (ch. 6). The true doctrine about Universal Soul and the goodness of the universe which it forms and rules (chs. 7–8). Refutation of objections from the inequalities and injustices of human life (ch. 9). Ridiculous arrogance of the Gnostics who refuse to acknowledge the hierarchy of created gods and spirits and say that they alone are sons of God and superior to the heavens (ch. 9). The absurdities of the Gnostic doctrine of the fall of "Wisdom" (Sophia) and of the generation and activities of the Demiurge, maker of the visible universe (chs. 10–12). False and melodramatic Gnostic teaching about the cosmic spheres and their influence (ch. 13). The blasphemous falsity of the Gnostic claim to control the higher powers by magic and the absurdity of their claim to cure diseases by casting out demons (ch. 14). The false other-worldliness of the Gnostics leads to immorality (ch. 15). The true Platonic other-worldliness, which love and venerates the material universe in all its goodness and beauty as the most perfect possible image of the intelligible, contracted at length with the false, Gnostic, other-worldliness which hates and despises the material universe and its beauties (chs. 16–18)."

^ Turner, "Gnosticism and Platonism", in Wallis & Bregman.

Sources[edit]

This article incorporates text from the entry Demiurgus in A Dictionary of Christian Biography, Literature, Sects and Doctrines by William Smith and Henry Wace (1877), a publication now in the public domain.

 

en.wikipedia.org/wiki/Demiurge

Alter Ego: Vacuum

 

Real Name: Victor Neggan

 

Powers:

* Enhanced Physical Attributes

* Enhanced Durability

* Enhanced healing factor

* Extreme Intellect

 

Weapons:

* Hidden Destrite metal knife

* Robotic arm which can cause and hold a vacuum in a large atmosphere and can be held for 2minutes

 

Weakness: Being outmatched

 

Backstory: A deadly assassin working for T.O.X.I.N is well known for his unique Vacuum weapon which he engineered hence the name. He is also well known for being The Kingston's arch enemy and blackmailing Circuits into working for him.

 

Victor was always a troubled individual...being abandoned at the German Army and brought up there Victor was well trained and soon was recommended to T.O.X.I.N for their super soldier experiment. The experiment was a success and Vacuum was sent to kill The Kingston's due to them stopping shipments of T.O.X.I.N chemicals being shipped into Avalon City. Vacuum was notorious for never being beat until he was defeated by The Kingston's...Circuits was then sent to Vacuum to be "fixed" with mechanical limbs. Vacuum then realised he could use the vulnerable Circuits to his advantage by blackmailing him with a memory chip which could give Circuits his memory back. Vacuum became obsessed with The Kingston's after they defeated him wondering how they did it. He now uses Circuits to pair up against The Kingston's so he can defeat them and be notoriously known for killing the greatest heroes in Avalon City...

Nikon D80, Nikkor 55-200/4-5.6, ISO 200, f/5,3, 1/800, 165mm

  

Thank you all for faves and comments

copy and paste copy and paste. there's a ton of interesting and fun info here about yellow. see if you learn anything new, or don't read it at all. i just put it here thinking i might come back someday and use this info w/ teaching. maybe not...:)

 

Yellow shines with optimism, enlightenment, and happiness. Shades of golden yellow carry the promise of a positive future. Yellow will advance from surrounding colors and instill optimism and energy as well as spark creative thoughts.

 

How the color yellow effects us mentally and physically

* Mentally stimulating

* Stimulates the nervous system

* Activates memory

* Encourages communication

     

In Hindu mythology it is considered that yellow has the power to influence the intellect.

 

In ancient China, yellow was the symbol of Centre and Earth, one of the main five colors.

 

In South Korea the color yellow is associated with jealousy.

 

Near the end of the 19th century, the color yellow was often associated with mental illness, specifically including insanity, and with other sorts of mental problems (e.g. depravity). Examples include The Yellow Book, The Yellow Wallpaper, The King in Yellow, and The Yellow Sign.

 

In Chinese culture, yellow is associated with royalty, as it is also in southeast Asia. In China, commoners were not allowed to wear yellow until modern times.

 

In the Malay the term budaya kuning (lit. "yellow culture") is used to refer to lewd or uncouth behaviour, with the implication that such culture is an import from Western societies.

 

There is a yellow smile, in Arab culture, which is an ingenuine smile. A yellow smile is used when a person is concealing lack of interest, fear, or any emotion he wishes to keep hidden. It is sometimes used as a joke, by making a face of a crooked, ingenuine smile, when somebody tells a bad joke or is trying to make others laugh for something they do not find humorous enough.

  

Pencils are often painted yellow because of the association of this color with China, where the best graphite is found; in the past, only pencils with Chinese graphite used to be painted yellow.

 

Yellow and golden are the two most popular colors for painting kitchens.

 

Yellow journalism was sensationalist journalism that distorts, exaggerates, or exploits news to maximize profit. The term came from Joseph Pulitzer's New York World and William Randolph Hearst's New York Journal American, who engaged in sensational reporting during the late 19th and early 20th century, most famously during the Spanish-American War. The term was derived from the color comic strip The Yellow Kid, which appeared in both papers.

  

Yellow is associated with hepatitis A, since someone who has that disease turns yellow.

 

Yellowcake (also known as urania and uranic oxide) is concentrated uranium oxide, obtained through the milling of uranium ore. Yellowcake is used in the preparation of fuel for nuclear reactors and in uranium enrichment, one of the essential steps for creating nuclear weapons.

 

The March 1967 album by Donovan called Mellow Yellow was very popular among the hippies. The featured song on the album, Mellow Yellow, popularized during the Spring of 1967 a widely believed hoax that it was possible to get high by smoking scrapings from the inside of banana peels, although this rumor was actually started in 1966 by a different musician popular among the hippies, Country Joe McDonald.

Yellow Submarine is a 1966 song by the Beatles (written by the Lennon-McCartney duo) and the theme song for the a 1968 animated United Artists film based on the music of the Beatles.

Yellow Bird is a famous song from Jamaica. The most popular recording was the one done by Lawrence Welk

Yellow is a song written by Coldplay. It appeared on Parachutes in 2000 and reached #4 on the UK Singles Charts.

 

In the metaphysics of the New Age Prophetess, Alice A. Bailey, in her system called the Seven Rays which classifies humans into seven different metaphysical personality types, the fourth ray of harmony through conflict is represented by the color yellow.

Yellow is used to symbolically represent the third (Manipura) chakra.

Psychics who claim to be able to observe the aura with their third eye report that someone with a yellow aura is typically someone who is in an occupation requiring intellectual acumen, such as a scientist. [7]

 

In Christianity, yellow represents the deadly sin Greed.

In Buddhism, yellow (actually, the color saffron) is commonly used in conjunction with red, orange , and brown by the monks. The Buddha wore yellow robes after Enlightenment.

 

In cycle racing, the yellow jersey - or maillot jaune - is awarded to the leader in a stage race. The tradition was begun in the Tour de France where the sponsoring L'Auto newspaper (later L'Équipe) was printed on distinctive yellow newsprint.

 

The Yellow Pages is the section of a phone book or online phone directory that lists business numbers by category. They are named for the color paper they are printed on in phone books to distinguish them from the regular listings (White Pages).

Yellow is the name of a submarine telecommunications cable system, also known as AC-2

 

In some countries, taxicabs are commonly yellow. This practice began in Chicago, where taxi entrepreneur John Hertz painted his taxis yellow based on a University of Chicago study alleging that yellow is the color most easily seen at a distance.

In Canada and the United States, school buses are almost uniformly painted a yellow color (often referred to as "school bus yellow") for purposes of visibility and safety, and British bus operators such as FirstGroup plc are attempting to introduce the concept there.

"Caterpillar yellow" and "high-visibility yellow" are used for highway construction equipment.

In the United Kingdom, railway locomotives and multiple units typically have part or all of their ends painted yellow, for visibility.

In the rules of the road, yellow (called "amber" in Britain) is a traffic light signal warning that the period in which passage is permitted is coming to an end. It is intermediate between green (go) and red (stop). In railway signaling, yellow is often the color for warning, slow down, such as with distant signals.

Several light rail and rapid transit lines on various public transportation have a Yellow Line.

 

Ganesha, also spelled Ganesh, and also known as Ganapati and Vinayaka, is a widely worshipped deity in the Hindu pantheon. His image is found throughout India and Nepal. Hindu sects worship him regardless of affiliations. Devotion to Ganesha is widely diffused and extends to Jains, Buddhists, and beyond India.

 

Although he is known by many attributes, Ganesha's elephant head makes him easy to identify. Ganesha is widely revered as the remover of obstacles, the patron of arts and sciences and the deva of intellect and wisdom. As the god of beginnings, he is honoured at the start of rituals and ceremonies. Ganesha is also invoked as patron of letters and learning during writing sessions. Several texts relate mythological anecdotes associated with his birth and exploits and explain his distinct iconography.

 

Ganesha emerged as a distinct deity in the 4th and 5th centuries CE, during the Gupta Period, although he inherited traits from Vedic and pre-Vedic precursors. He was formally included among the five primary deities of Smartism (a Hindu denomination) in the 9th century. A sect of devotees called the Ganapatya arose, who identified Ganesha as the supreme deity. The principal scriptures dedicated to Ganesha are the Ganesha Purana, the Mudgala Purana, and the Ganapati Atharvashirsa.

 

ETYMOLOGY AND OTHER NAMES

Ganesha has been ascribed many other titles and epithets, including Ganapati and Vighneshvara. The Hindu title of respect Shri is often added before his name. One popular way Ganesha is worshipped is by chanting a Ganesha Sahasranama, a litany of "a thousand names of Ganesha". Each name in the sahasranama conveys a different meaning and symbolises a different aspect of Ganesha. At least two different versions of the Ganesha Sahasranama exist; one version is drawn from the Ganesha Purana, a Hindu scripture venerating Ganesha.

 

The name Ganesha is a Sanskrit compound, joining the words gana, meaning a group, multitude, or categorical system and isha, meaning lord or master. The word gaņa when associated with Ganesha is often taken to refer to the gaņas, a troop of semi-divine beings that form part of the retinue of Shiva. The term more generally means a category, class, community, association, or corporation. Some commentators interpret the name "Lord of the Gaņas" to mean "Lord of Hosts" or "Lord of created categories", such as the elements. Ganapati, a synonym for Ganesha, is a compound composed of gaṇa, meaning "group", and pati, meaning "ruler" or "lord". The Amarakosha, an early Sanskrit lexicon, lists eight synonyms of Ganesha : Vinayaka, Vighnarāja (equivalent to Vighnesha), Dvaimātura (one who has two mothers), Gaṇādhipa (equivalent to Ganapati and Ganesha), Ekadanta (one who has one tusk), Heramba, Lambodara (one who has a pot belly, or, literally, one who has a hanging belly), and Gajanana; having the face of an elephant).

 

Vinayaka is a common name for Ganesha that appears in the Purāṇas and in Buddhist Tantras. This name is reflected in the naming of the eight famous Ganesha temples in Maharashtra known as the Ashtavinayak (aṣṭavināyaka). The names Vighnesha and Vighneshvara (Lord of Obstacles) refers to his primary function in Hindu theology as the master and remover of obstacles (vighna).

 

A prominent name for Ganesha in the Tamil language is Pillai. A. K. Narain differentiates these terms by saying that pillai means a "child" while pillaiyar means a "noble child". He adds that the words pallu, pella, and pell in the Dravidian family of languages signify "tooth or tusk", also "elephant tooth or tusk". Anita Raina Thapan notes that the root word pille in the name Pillaiyar might have originally meant "the young of the elephant", because the Pali word pillaka means "a young elephant".

 

In the Burmese language, Ganesha is known as Maha Peinne, derived from Pali Mahā Wināyaka. The widespread name of Ganesha in Thailand is Phra Phikhanet or Phra Phikhanesuan, both of which are derived from Vara Vighnesha and Vara Vighneshvara respectively, whereas the name Khanet (from Ganesha) is rather rare.

 

In Sri Lanka, in the North-Central and North Western areas with predominantly Buddhist population, Ganesha is known as Aiyanayaka Deviyo, while in other Singhala Buddhist areas he is known as Gana deviyo.

 

ICONOGRAPHY

Ganesha is a popular figure in Indian art. Unlike those of some deities, representations of Ganesha show wide variations and distinct patterns changing over time. He may be portrayed standing, dancing, heroically taking action against demons, playing with his family as a boy, sitting down or on an elevated seat, or engaging in a range of contemporary situations.

 

Ganesha images were prevalent in many parts of India by the 6th century. The 13th century statue pictured is typical of Ganesha statuary from 900–1200, after Ganesha had been well-established as an independent deity with his own sect. This example features some of Ganesha's common iconographic elements. A virtually identical statue has been dated between 973–1200 by Paul Martin-Dubost, and another similar statue is dated c. 12th century by Pratapaditya Pal. Ganesha has the head of an elephant and a big belly. This statue has four arms, which is common in depictions of Ganesha. He holds his own broken tusk in his lower-right hand and holds a delicacy, which he samples with his trunk, in his lower-left hand. The motif of Ganesha turning his trunk sharply to his left to taste a sweet in his lower-left hand is a particularly archaic feature. A more primitive statue in one of the Ellora Caves with this general form has been dated to the 7th century. Details of the other hands are difficult to make out on the statue shown. In the standard configuration, Ganesha typically holds an axe or a goad in one upper arm and a pasha (noose) in the other upper arm.

 

The influence of this old constellation of iconographic elements can still be seen in contemporary representations of Ganesha. In one modern form, the only variation from these old elements is that the lower-right hand does not hold the broken tusk but is turned towards the viewer in a gesture of protection or fearlessness (abhaya mudra). The same combination of four arms and attributes occurs in statues of Ganesha dancing, which is a very popular theme.

 

COMMON ATTRIBUTES

Ganesha has been represented with the head of an elephant since the early stages of his appearance in Indian art. Puranic myths provide many explanations for how he got his elephant head. One of his popular forms, Heramba-Ganapati, has five elephant heads, and other less-common variations in the number of heads are known. While some texts say that Ganesha was born with an elephant head, he acquires the head later in most stories. The most recurrent motif in these stories is that Ganesha was created by Parvati using clay to protect her and Shiva beheaded him when Ganesha came between Shiva and Parvati. Shiva then replaced Ganesha's original head with that of an elephant. Details of the battle and where the replacement head came from vary from source to source. Another story says that Ganesha was created directly by Shiva's laughter. Because Shiva considered Ganesha too alluring, he gave him the head of an elephant and a protruding belly.

 

Ganesha's earliest name was Ekadanta (One Tusked), referring to his single whole tusk, the other being broken. Some of the earliest images of Ganesha show him holding his broken tusk. The importance of this distinctive feature is reflected in the Mudgala Purana, which states that the name of Ganesha's second incarnation is Ekadanta. Ganesha's protruding belly appears as a distinctive attribute in his earliest statuary, which dates to the Gupta period (4th to 6th centuries). This feature is so important that, according to the Mudgala Purana, two different incarnations of Ganesha use names based on it: Lambodara (Pot Belly, or, literally, Hanging Belly) and Mahodara (Great Belly). Both names are Sanskrit compounds describing his belly. The Brahmanda Purana says that Ganesha has the name Lambodara because all the universes (i.e., cosmic eggs) of the past, present, and future are present in him. The number of Ganesha's arms varies; his best-known forms have between two and sixteen arms. Many depictions of Ganesha feature four arms, which is mentioned in Puranic sources and codified as a standard form in some iconographic texts. His earliest images had two arms. Forms with 14 and 20 arms appeared in Central India during the 9th and the 10th centuries. The serpent is a common feature in Ganesha iconography and appears in many forms. According to the Ganesha Purana, Ganesha wrapped the serpent Vasuki around his neck. Other depictions of snakes include use as a sacred thread wrapped around the stomach as a belt, held in a hand, coiled at the ankles, or as a throne. Upon Ganesha's forehead may be a third eye or the Shaivite sectarian mark , which consists of three horizontal lines. The Ganesha Purana prescribes a tilaka mark as well as a crescent moon on the forehead. A distinct form of Ganesha called Bhalachandra includes that iconographic element. Ganesha is often described as red in color. Specific colors are associated with certain forms. Many examples of color associations with specific meditation forms are prescribed in the Sritattvanidhi, a treatise on Hindu iconography. For example, white is associated with his representations as Heramba-Ganapati and Rina-Mochana-Ganapati (Ganapati Who Releases from Bondage). Ekadanta-Ganapati is visualized as blue during meditation in that form.

 

VAHANAS

The earliest Ganesha images are without a vahana (mount/vehicle). Of the eight incarnations of Ganesha described in the Mudgala Purana, Ganesha uses a mouse (shrew) in five of them, a lion in his incarnation as Vakratunda, a peacock in his incarnation as Vikata, and Shesha, the divine serpent, in his incarnation as Vighnaraja. Mohotkata uses a lion, Mayūreśvara uses a peacock, Dhumraketu uses a horse, and Gajanana uses a mouse, in the four incarnations of Ganesha listed in the Ganesha Purana. Jain depictions of Ganesha show his vahana variously as a mouse, elephant, tortoise, ram, or peacock.

 

Ganesha is often shown riding on or attended by a mouse, shrew or rat. Martin-Dubost says that the rat began to appear as the principal vehicle in sculptures of Ganesha in central and western India during the 7th century; the rat was always placed close to his feet. The mouse as a mount first appears in written sources in the Matsya Purana and later in the Brahmananda Purana and Ganesha Purana, where Ganesha uses it as his vehicle in his last incarnation. The Ganapati Atharvashirsa includes a meditation verse on Ganesha that describes the mouse appearing on his flag. The names Mūṣakavāhana (mouse-mount) and Ākhuketana (rat-banner) appear in the Ganesha Sahasranama.

 

The mouse is interpreted in several ways. According to Grimes, "Many, if not most of those who interpret Gaṇapati's mouse, do so negatively; it symbolizes tamoguṇa as well as desire". Along these lines, Michael Wilcockson says it symbolizes those who wish to overcome desires and be less selfish. Krishan notes that the rat is destructive and a menace to crops. The Sanskrit word mūṣaka (mouse) is derived from the root mūṣ (stealing, robbing). It was essential to subdue the rat as a destructive pest, a type of vighna (impediment) that needed to be overcome. According to this theory, showing Ganesha as master of the rat demonstrates his function as Vigneshvara (Lord of Obstacles) and gives evidence of his possible role as a folk grāma-devatā (village deity) who later rose to greater prominence. Martin-Dubost notes a view that the rat is a symbol suggesting that Ganesha, like the rat, penetrates even the most secret places.

 

ASSOCIATIONS

 

OBSTACLES

Ganesha is Vighneshvara or Vighnaraja or Vighnaharta (Marathi), the Lord of Obstacles, both of a material and spiritual order. He is popularly worshipped as a remover of obstacles, though traditionally he also places obstacles in the path of those who need to be checked. Paul Courtright says that "his task in the divine scheme of things, his dharma, is to place and remove obstacles. It is his particular territory, the reason for his creation."

 

Krishan notes that some of Ganesha's names reflect shadings of multiple roles that have evolved over time. Dhavalikar ascribes the quick ascension of Ganesha in the Hindu pantheon, and the emergence of the Ganapatyas, to this shift in emphasis from vighnakartā (obstacle-creator) to vighnahartā (obstacle-averter). However, both functions continue to be vital to his character.

 

BUDDHI (KNOWLEDGE)

Ganesha is considered to be the Lord of letters and learning. In Sanskrit, the word buddhi is a feminine noun that is variously translated as intelligence, wisdom, or intellect. The concept of buddhi is closely associated with the personality of Ganesha, especially in the Puranic period, when many stories stress his cleverness and love of intelligence. One of Ganesha's names in the Ganesha Purana and the Ganesha Sahasranama is Buddhipriya. This name also appears in a list of 21 names at the end of the Ganesha Sahasranama that Ganesha says are especially important. The word priya can mean "fond of", and in a marital context it can mean "lover" or "husband", so the name may mean either "Fond of Intelligence" or "Buddhi's Husband".

 

AUM

Ganesha is identified with the Hindu mantra Aum, also spelled Om. The term oṃkārasvarūpa (Aum is his form), when identified with Ganesha, refers to the notion that he personifies the primal sound. The Ganapati Atharvashirsa attests to this association. Chinmayananda translates the relevant passage as follows:

 

(O Lord Ganapati!) You are (the Trinity) Brahma, Vishnu, and Mahesa. You are Indra. You are fire [Agni] and air [Vāyu]. You are the sun [Sūrya] and the moon [Chandrama]. You are Brahman. You are (the three worlds) Bhuloka [earth], Antariksha-loka [space], and Swargaloka [heaven]. You are Om. (That is to say, You are all this).

 

Some devotees see similarities between the shape of Ganesha's body in iconography and the shape of Aum in the Devanāgarī and Tamil scripts.

 

FIRST CHAKRA

According to Kundalini yoga, Ganesha resides in the first chakra, called Muladhara (mūlādhāra). Mula means "original, main"; adhara means "base, foundation". The muladhara chakra is the principle on which the manifestation or outward expansion of primordial Divine Force rests. This association is also attested to in the Ganapati Atharvashirsa. Courtright translates this passage as follows: "[O Ganesha,] You continually dwell in the sacral plexus at the base of the spine [mūlādhāra cakra]." Thus, Ganesha has a permanent abode in every being at the Muladhara. Ganesha holds, supports and guides all other chakras, thereby "governing the forces that propel the wheel of life".

 

FAMILY AND CONSORTS

Though Ganesha is popularly held to be the son of Shiva and Parvati, the Puranic myths give different versions about his birth. In some he was created by Parvati, in another he was created by Shiva and Parvati, in another he appeared mysteriously and was discovered by Shiva and Parvati or he was born from the elephant headed goddess Malini after she drank Parvati's bath water that had been thrown in the river.

 

The family includes his brother the war god Kartikeya, who is also called Subramanya, Skanda, Murugan and other names. Regional differences dictate the order of their births. In northern India, Skanda is generally said to be the elder, while in the south, Ganesha is considered the first born. In northern India, Skanda was an important martial deity from about 500 BCE to about 600 CE, when worship of him declined significantly in northern India. As Skanda fell, Ganesha rose. Several stories tell of sibling rivalry between the brothers and may reflect sectarian tensions.

 

Ganesha's marital status, the subject of considerable scholarly review, varies widely in mythological stories. One pattern of myths identifies Ganesha as an unmarried brahmacari. This view is common in southern India and parts of northern India. Another pattern associates him with the concepts of Buddhi (intellect), Siddhi (spiritual power), and Riddhi (prosperity); these qualities are sometimes personified as goddesses, said to be Ganesha's wives. He also may be shown with a single consort or a nameless servant (Sanskrit: daşi). Another pattern connects Ganesha with the goddess of culture and the arts, Sarasvati or Śarda (particularly in Maharashtra). He is also associated with the goddess of luck and prosperity, Lakshmi. Another pattern, mainly prevalent in the Bengal region, links Ganesha with the banana tree, Kala Bo.

 

The Shiva Purana says that Ganesha had begotten two sons: Kşema (prosperity) and Lābha (profit). In northern Indian variants of this story, the sons are often said to be Śubha (auspiciouness) and Lābha. The 1975 Hindi film Jai Santoshi Maa shows Ganesha married to Riddhi and Siddhi and having a daughter named Santoshi Ma, the goddess of satisfaction. This story has no Puranic basis, but Anita Raina Thapan and Lawrence Cohen cite Santoshi Ma's cult as evidence of Ganesha's continuing evolution as a popular deity.

 

WOSHIP AND FESTIVALS

Ganesha is worshipped on many religious and secular occasions; especially at the beginning of ventures such as buying a vehicle or starting a business. K.N. Somayaji says, "there can hardly be a [Hindu] home [in India] which does not house an idol of Ganapati. [..] Ganapati, being the most popular deity in India, is worshipped by almost all castes and in all parts of the country". Devotees believe that if Ganesha is propitiated, he grants success, prosperity and protection against adversity.

 

Ganesha is a non-sectarian deity, and Hindus of all denominations invoke him at the beginning of prayers, important undertakings, and religious ceremonies. Dancers and musicians, particularly in southern India, begin performances of arts such as the Bharatnatyam dance with a prayer to Ganesha. Mantras such as Om Shri Gaṇeshāya Namah (Om, salutation to the Illustrious Ganesha) are often used. One of the most famous mantras associated with Ganesha is Om Gaṃ Ganapataye Namah (Om, Gaṃ, Salutation to the Lord of Hosts).

 

Devotees offer Ganesha sweets such as modaka and small sweet balls (laddus). He is often shown carrying a bowl of sweets, called a modakapātra. Because of his identification with the color red, he is often worshipped with red sandalwood paste (raktacandana) or red flowers. Dūrvā grass (Cynodon dactylon) and other materials are also used in his worship.

 

Festivals associated with Ganesh are Ganesh Chaturthi or Vināyaka chaturthī in the śuklapakṣa (the fourth day of the waxing moon) in the month of bhādrapada (August/September) and the Gaṇeśa jayanti (Gaṇeśa's birthday) celebrated on the cathurthī of the śuklapakṣa (fourth day of the waxing moon) in the month of māgha (January/February)."

 

GANESH CHATURTI

An annual festival honours Ganesha for ten days, starting on Ganesha Chaturthi, which typically falls in late August or early September. The festival begins with people bringing in clay idols of Ganesha, symbolising Ganesha's visit. The festival culminates on the day of Ananta Chaturdashi, when idols (murtis) of Ganesha are immersed in the most convenient body of water. Some families have a tradition of immersion on the 2nd, 3rd, 5th, or 7th day. In 1893, Lokmanya Tilak transformed this annual Ganesha festival from private family celebrations into a grand public event. He did so "to bridge the gap between the Brahmins and the non-Brahmins and find an appropriate context in which to build a new grassroots unity between them" in his nationalistic strivings against the British in Maharashtra. Because of Ganesha's wide appeal as "the god for Everyman", Tilak chose him as a rallying point for Indian protest against British rule. Tilak was the first to install large public images of Ganesha in pavilions, and he established the practice of submerging all the public images on the tenth day. Today, Hindus across India celebrate the Ganapati festival with great fervour, though it is most popular in the state of Maharashtra. The festival also assumes huge proportions in Mumbai, Pune, and in the surrounding belt of Ashtavinayaka temples.

 

TEMPLES

In Hindu temples, Ganesha is depicted in various ways: as an acolyte or subordinate deity (pãrśva-devatã); as a deity related to the principal deity (parivāra-devatã); or as the principal deity of the temple (pradhāna), treated similarly as the highest gods of the Hindu pantheon. As the god of transitions, he is placed at the doorway of many Hindu temples to keep out the unworthy, which is analogous to his role as Parvati’s doorkeeper. In addition, several shrines are dedicated to Ganesha himself, of which the Ashtavinayak (lit. "eight Ganesha (shrines)") in Maharashtra are particularly well known. Located within a 100-kilometer radius of the city of Pune, each of these eight shrines celebrates a particular form of Ganapati, complete with its own lore and legend. The eight shrines are: Morgaon, Siddhatek, Pali, Mahad, Theur, Lenyadri, Ozar and Ranjangaon.

 

There are many other important Ganesha temples at the following locations: Wai in Maharashtra; Ujjain in Madhya Pradesh; Jodhpur, Nagaur and Raipur (Pali) in Rajasthan; Baidyanath in Bihar; Baroda, Dholaka, and Valsad in Gujarat and Dhundiraj Temple in Varanasi, Uttar Pradesh. Prominent Ganesha temples in southern India include the following: Kanipakam in Chittoor; the Jambukeśvara Temple at Tiruchirapalli; at Rameshvaram and Suchindram in Tamil Nadu; at Malliyur, Kottarakara, Pazhavangadi, Kasargod in Kerala, Hampi, and Idagunji in Karnataka; and Bhadrachalam in Andhra Pradesh.

 

T. A. Gopinatha notes, "Every village however small has its own image of Vighneśvara (Vigneshvara) with or without a temple to house it in. At entrances of villages and forts, below pīpaḹa (Sacred fig) trees [...], in a niche [...] in temples of Viṣṇu (Vishnu) as well as Śiva (Shiva) and also in separate shrines specially constructed in Śiva temples [...]; the figure of Vighneśvara is invariably seen." Ganesha temples have also been built outside of India, including southeast Asia, Nepal (including the four Vinayaka shrines in the Kathmandu valley), and in several western countries.

 

RISE TO PROMINENCE

 

FIRST APEARANCE

Ganesha appeared in his classic form as a clearly recognizable deity with well-defined iconographic attributes in the early 4th to 5th centuries. Shanti Lal Nagar says that the earliest known iconic image of Ganesha is in the niche of the Shiva temple at Bhumra, which has been dated to the Gupta period. His independent cult appeared by about the 10th century. Narain summarizes the controversy between devotees and academics regarding the development of Ganesha as follows:

 

What is inscrutable is the somewhat dramatic appearance of Gaņeśa on the historical scene. His antecedents are not clear. His wide acceptance and popularity, which transcend sectarian and territorial limits, are indeed amazing. On the one hand there is the pious belief of the orthodox devotees in Gaņeśa's Vedic origins and in the Purāṇic explanations contained in the confusing, but nonetheless interesting, mythology. On the other hand there are doubts about the existence of the idea and the icon of this deity" before the fourth to fifth century A.D. ... [I]n my opinion, indeed there is no convincing evidence of the existence of this divinity prior to the fifth century.

 

POSSIBLE INFLUENCES

Courtright reviews various speculative theories about the early history of Ganesha, including supposed tribal traditions and animal cults, and dismisses all of them in this way:

 

In the post 600 BC period there is evidence of people and places named after the animal. The motif appears on coins and sculptures.

 

Thapan's book on the development of Ganesha devotes a chapter to speculations about the role elephants had in early India but concludes that, "although by the second century CE the elephant-headed yakṣa form exists it cannot be presumed to represent Gaṇapati-Vināyaka. There is no evidence of a deity by this name having an elephant or elephant-headed form at this early stage. Gaṇapati-Vināyaka had yet to make his debut."

 

One theory of the origin of Ganesha is that he gradually came to prominence in connection with the four Vinayakas (Vināyakas). In Hindu mythology, the Vināyakas were a group of four troublesome demons who created obstacles and difficulties but who were easily propitiated. The name Vināyaka is a common name for Ganesha both in the Purāṇas and in Buddhist Tantras. Krishan is one of the academics who accepts this view, stating flatly of Ganesha, "He is a non-vedic god. His origin is to be traced to the four Vināyakas, evil spirits, of the Mānavagŗhyasūtra (7th–4th century BCE) who cause various types of evil and suffering". Depictions of elephant-headed human figures, which some identify with Ganesha, appear in Indian art and coinage as early as the 2nd century. According to Ellawala, the elephant-headed Ganesha as lord of the Ganas was known to the people of Sri Lanka in the early pre-Christian era.

 

A metal plate depiction of Ganesha had been discovered in 1993, in Iran, it dated back to 1,200 BCE. Another one was discovered much before, in Lorestan Province of Iran.

 

First Ganesha's terracotta images are from 1st century CE found in Ter, Pal, Verrapuram and Chandraketugarh. These figures are small, with elephant head, two arms, and chubby physique. The earliest Ganesha icons in stone were carved in Mathura during Kushan times (2nd-3rd centuries CE).

 

VEDIC AND EPIC LITERATURE

The title "Leader of the group" (Sanskrit: gaṇapati) occurs twice in the Rig Veda, but in neither case does it refer to the modern Ganesha. The term appears in RV 2.23.1 as a title for Brahmanaspati, according to commentators. While this verse doubtless refers to Brahmanaspati, it was later adopted for worship of Ganesha and is still used today. In rejecting any claim that this passage is evidence of Ganesha in the Rig Veda, Ludo Rocher says that it "clearly refers to Bṛhaspati—who is the deity of the hymn—and Bṛhaspati only". Equally clearly, the second passage (RV 10.112.9) refers to Indra, who is given the epithet 'gaṇapati', translated "Lord of the companies (of the Maruts)." However, Rocher notes that the more recent Ganapatya literature often quotes the Rigvedic verses to give Vedic respectability to Ganesha .

 

Two verses in texts belonging to Black Yajurveda, Maitrāyaṇīya Saṃhitā (2.9.1) and Taittirīya Āraṇyaka (10.1), appeal to a deity as "the tusked one" (Dantiḥ), "elephant-faced" (Hastimukha), and "with a curved trunk" (Vakratuņḍa). These names are suggestive of Ganesha, and the 14th century commentator Sayana explicitly establishes this identification. The description of Dantin, possessing a twisted trunk (vakratuṇḍa) and holding a corn-sheaf, a sugar cane, and a club, is so characteristic of the Puranic Ganapati that Heras says "we cannot resist to accept his full identification with this Vedic Dantin". However, Krishan considers these hymns to be post-Vedic additions. Thapan reports that these passages are "generally considered to have been interpolated". Dhavalikar says, "the references to the elephant-headed deity in the Maitrāyaṇī Saṃhitā have been proven to be very late interpolations, and thus are not very helpful for determining the early formation of the deity".

 

Ganesha does not appear in Indian epic literature that is dated to the Vedic period. A late interpolation to the epic poem Mahabharata says that the sage Vyasa (Vyāsa) asked Ganesha to serve as his scribe to transcribe the poem as he dictated it to him. Ganesha agreed but only on condition that Vyasa recite the poem uninterrupted, that is, without pausing. The sage agreed, but found that to get any rest he needed to recite very complex passages so Ganesha would have to ask for clarifications. The story is not accepted as part of the original text by the editors of the critical edition of the Mahabharata, in which the twenty-line story is relegated to a footnote in an appendix. The story of Ganesha acting as the scribe occurs in 37 of the 59 manuscripts consulted during preparation of the critical edition. Ganesha's association with mental agility and learning is one reason he is shown as scribe for Vyāsa's dictation of the Mahabharata in this interpolation. Richard L. Brown dates the story to the 8th century, and Moriz Winternitz concludes that it was known as early as c. 900, but it was not added to the Mahabharata some 150 years later. Winternitz also notes that a distinctive feature in South Indian manuscripts of the Mahabharata is their omission of this Ganesha legend. The term vināyaka is found in some recensions of the Śāntiparva and Anuśāsanaparva that are regarded as interpolations. A reference to Vighnakartṛīṇām ("Creator of Obstacles") in Vanaparva is also believed to be an interpolation and does not appear in the critical edition.

 

PURANIC PERIOD

Stories about Ganesha often occur in the Puranic corpus. Brown notes while the Puranas "defy precise chronological ordering", the more detailed narratives of Ganesha's life are in the late texts, c. 600–1300. Yuvraj Krishan says that the Puranic myths about the birth of Ganesha and how he acquired an elephant's head are in the later Puranas, which were composed from c. 600 onwards. He elaborates on the matter to say that references to Ganesha in the earlier Puranas, such as the Vayu and Brahmanda Puranas, are later interpolations made during the 7th to 10th centuries.

 

In his survey of Ganesha's rise to prominence in Sanskrit literature, Ludo Rocher notes that:

 

Above all, one cannot help being struck by the fact that the numerous stories surrounding Gaṇeśa concentrate on an unexpectedly limited number of incidents. These incidents are mainly three: his birth and parenthood, his elephant head, and his single tusk. Other incidents are touched on in the texts, but to a far lesser extent.

 

Ganesha's rise to prominence was codified in the 9th century, when he was formally included as one of the five primary deities of Smartism. The 9th-century philosopher Adi Shankara popularized the "worship of the five forms" (Panchayatana puja) system among orthodox Brahmins of the Smarta tradition. This worship practice invokes the five deities Ganesha, Vishnu, Shiva, Devi, and Surya. Adi Shankara instituted the tradition primarily to unite the principal deities of these five major sects on an equal status. This formalized the role of Ganesha as a complementary deity.

 

SCRIPTURES

Once Ganesha was accepted as one of the five principal deities of Brahmanism, some Brahmins (brāhmaṇas) chose to worship Ganesha as their principal deity. They developed the Ganapatya tradition, as seen in the Ganesha Purana and the Mudgala Purana.

 

The date of composition for the Ganesha Purana and the Mudgala Purana - and their dating relative to one another - has sparked academic debate. Both works were developed over time and contain age-layered strata. Anita Thapan reviews comments about dating and provides her own judgement. "It seems likely that the core of the Ganesha Purana appeared around the twelfth and thirteenth centuries", she says, "but was later interpolated." Lawrence W. Preston considers the most reasonable date for the Ganesha Purana to be between 1100 and 1400, which coincides with the apparent age of the sacred sites mentioned by the text.

 

R.C. Hazra suggests that the Mudgala Purana is older than the Ganesha Purana, which he dates between 1100 and 1400. However, Phyllis Granoff finds problems with this relative dating and concludes that the Mudgala Purana was the last of the philosophical texts concerned with Ganesha. She bases her reasoning on the fact that, among other internal evidence, the Mudgala Purana specifically mentions the Ganesha Purana as one of the four Puranas (the Brahma, the Brahmanda, the Ganesha, and the Mudgala Puranas) which deal at length with Ganesha. While the kernel of the text must be old, it was interpolated until the 17th and 18th centuries as the worship of Ganapati became more important in certain regions. Another highly regarded scripture, the Ganapati Atharvashirsa, was probably composed during the 16th or 17th centuries.

 

BEYOND INDIA AND HINDUISM

Commercial and cultural contacts extended India's influence in western and southeast Asia. Ganesha is one of a number of Hindu deities who reached foreign lands as a result.

 

Ganesha was particularly worshipped by traders and merchants, who went out of India for commercial ventures. From approximately the 10th century onwards, new networks of exchange developed including the formation of trade guilds and a resurgence of money circulation. During this time, Ganesha became the principal deity associated with traders. The earliest inscription invoking Ganesha before any other deity is associated with the merchant community.

 

Hindus migrated to Maritime Southeast Asia and took their culture, including Ganesha, with them. Statues of Ganesha are found throughout the region, often beside Shiva sanctuaries. The forms of Ganesha found in Hindu art of Java, Bali, and Borneo show specific regional influences. The spread of Hindu culture to southeast Asia established Ganesha in modified forms in Burma, Cambodia, and Thailand. In Indochina, Hinduism and Buddhism were practiced side by side, and mutual influences can be seen in the iconography of Ganesha in the region. In Thailand, Cambodia, and among the Hindu classes of the Chams in Vietnam, Ganesha was mainly thought of as a remover of obstacles. Today in Buddhist Thailand, Ganesha is regarded as a remover of obstacles, the god of success.

 

Before the arrival of Islam, Afghanistan had close cultural ties with India, and the adoration of both Hindu and Buddhist deities was practiced. Examples of sculptures from the 5th to the 7th centuries have survived, suggesting that the worship of Ganesha was then in vogue in the region.

 

Ganesha appears in Mahayana Buddhism, not only in the form of the Buddhist god Vināyaka, but also as a Hindu demon form with the same name. His image appears in Buddhist sculptures during the late Gupta period. As the Buddhist god Vināyaka, he is often shown dancing. This form, called Nṛtta Ganapati, was popular in northern India, later adopted in Nepal, and then in Tibet. In Nepal, the Hindu form of Ganesha, known as Heramba, is popular; he has five heads and rides a lion. Tibetan representations of Ganesha show ambivalent views of him. A Tibetan rendering of Ganapati is tshogs bdag. In one Tibetan form, he is shown being trodden under foot by Mahākāla, (Shiva) a popular Tibetan deity. Other depictions show him as the Destroyer of Obstacles, and sometimes dancing. Ganesha appears in China and Japan in forms that show distinct regional character. In northern China, the earliest known stone statue of Ganesha carries an inscription dated to 531. In Japan, where Ganesha is known as Kangiten, the Ganesha cult was first mentioned in 806.

 

The canonical literature of Jainism does not mention the worship of Ganesha. However, Ganesha is worshipped by most Jains, for whom he appears to have taken over certain functions of Kubera. Jain connections with the trading community support the idea that Jainism took up Ganesha worship as a result of commercial connections. The earliest known Jain Ganesha statue dates to about the 9th century. A 15th-century Jain text lists procedures for the installation of Ganapati images. Images of Ganesha appear in the Jain temples of Rajasthan and Gujarat.

 

WIKIPEDIA

Admiral Jim Ellis welcomed me into his Tiburon home with the calm presence of someone who has spent a lifetime navigating complexity. His wife, Elisabeth Pate-Cornell, was there too, her sharp intellect and quiet grace filling the room alongside his steady demeanor. Together, they form a partnership where conversations flow easily between national security, risk analysis, and the kind of everyday warmth that speaks to a life well balanced.

 

The house itself was modest in its reflection of their achievements. There were reminders, of course — a model ship resting on a shelf, a few framed photographs hinting at decades of service and scholarship — but nothing that spoke loudly of titles or accolades. It felt more like the home of two people who had long since understood that true accomplishment doesn’t need to be displayed.

 

Admiral Ellis has held responsibilities that most of us can scarcely imagine. As Commander of U.S. Strategic Command, he was entrusted with decisions that touched the edges of global stability. Yet in person, there is no trace of the theatrical. His authority feels earned and effortless, the result of years spent making impossible choices with clarity and composure.

 

Elisabeth Pate-Cornell is equally formidable. A renowned Stanford professor and pioneer in engineering risk analysis, she has dedicated her career to understanding how complex systems fail and how to keep them from doing so. Watching them together, it became clear that theirs is a meeting of equals. They share a deep fluency in the language of risk, responsibility, and leadership, each bringing a different lens to the same fundamental questions about uncertainty and decision-making.

 

Both remain active at Stanford, mentoring, advising, and lending their experience to shape future leaders. Retirement, in their world, is simply a shift in focus rather than a slowing down.

 

Photographing Admiral Ellis that day was less about capturing a man defined by military command and more about revealing the quiet strength that remains when uniforms are put away. It was about the bond he shares with Elisabeth, the life they’ve built around intellect, service, and a steady commitment to guiding others through complexity. In their presence, you are reminded that true leadership often speaks softly, grounded in experience, reflection, and a shared sense of duty that endures long after the official roles have changed.

*** I've decided to update my characters bio pages. Stay tuned for updates.

 

Name: Crimson Cloak (The Cloak)

  

Secret Identity: Gage Garnet, One time reporter and writer, he has almost fully devoted his time to crime fighting in recent years nearly forsaking his true identity.

  

Age: late 30s.

  

Skills/Powers:

  

* Super human stamina

  

* Advanced strength from constant conditioning and exercise

  

* Advanced intellect, intelligence, and deductive reasoning skills

  

* Knowledge of various forms of martial arts and fighting styles

  

* No known “super powers”

  

Weapons:

***All of the Cloak’s weapons are provided by his friend and inventor William Watts, the owner of WattTech Industries and fellow superhero Captain Electron.

  

The Crimson Cloak wears a suit of flexible body armor. His red cape and cowl are both bullet proof and flame proof. He wears a set of goggles that help to magnify his night vision, aiding him in low light environments. His preferred weapon of choice is a high tech staff that detaches at the center to create two smaller batons for close quarter combat. The tip of each baton is slightly electrified to aid The Cloak in dispatching his foes in a non-lethal manner. The Cloak also has an optional "gun" that he can use to launch various non-lethal projectiles at his enemies.

  

The Cloak utilizes a variety of modified WattTech vehicles to get to the scene of a crime fast. The Crimson Cycle, Crimson Cruiser, and the C.R.U.I.S.Er. www.flickr.com/photos/10211834@N07/26971335111/in/datepos...

  

Background/Origin Story:

  

Gage Garnet has always been a man obsessed with doing what is right, no matter the costs to himself or to others. During his youth, he was obsessed with comics and yearned to be like those men on the colorful pages. He and his brother Jack would spend hours dressing up like superheroes imagining that they were saving the world. As Gage matured, he showed more of an interest in writing and moved to the big city to pursue his interests. While working for The City Tribune, Gage covered a series of stories involving the rise of real heroes in the city. Men and women who put on costumes to fight crime, it was like his dream come true and here he was on the front lines documenting their rise to power.

  

Tragically, in the midst of Gage’s rise to success as a reporter, his family home is robbed and his parents are tragically murdered by the robbers. His younger brother Jack manages to escape the violence and will grow up to join the NBPD.

 

Feeling helpless and responsible for the murder, Gage crafts his own costume and trains with the help of Gothic. He soon adopts his alter ego The Crimson Cloak, and decides to track down those responsible for the murder.

  

It isn’t long before Gage is covering the stories of his own exploits, articles that soon reach the attention of a fledgling group of masked heroes known as the League of Heroes. The Cloak is invited to join the League. For the next few years, Gage fights crime along side the virtuous members of the League of Heroes. Keeping the city safe.

  

As the League of Heroes grows stronger and more powerful, Cobalt Cyclone, Silver Sentry, and Viridia all decide that it would be best to remove their masks publicly to gain the trust of the citizens and to remove any doubt that could be cast upon them by a growing crowd of skeptics. The Crimson Cloak disagrees with this measure, as he does not want his career in vigilantism to hurt his brother’s reputation at his new job on the police force. The Cloak declares that he will step down from the team and leave his career as a superhero behind. Gothic, a fellow teammate and also a detractor of this measure, does not wish to have his identity revealed though he will make an even more public statement of protest.

  

The day arrives for the big reveal, the heroes are all assembled on the steps of City Hall, Cobalt Cyclone steps up to the microphone and addresses the crowd… and BOOM! A bomb explodes from underneath the podium killing the Cobalt Cyclone, severely injuring Silver Sentry, and sending the crowd into a panic. The Crimson Cloak swings into action, and begins investigating the crime. By following the clues he soon comes to the conclusion that The Skull, the most powerful crime boss in the city was behind the plot. Though he is in for an even bigger surprise when he discovers that The Skull is in fact his former friend and teammate Gothic.

  

In the wake of the bombing, the League of Heroes falls apart. Public support for masked heroes hits an all time low. The Crimson Cloak decides that he will be all that stands between the evil that plagues the city and the justice that he feels the citizens deserve. Becoming darker and more detached, The Crimson Cloak becomes obsessed with his self-imposed duty even at the expense of losing his own identity in the process.

Photographed from our running bus.

  

My first experience about YNP

 

We entered Yellowstone NP through the eastern entrance using U.S. Route 14. It had been a moderate snow fall in the end of the first week of October, 2017. From few kilometers before reaching Yellowstone Lake, remnants of devastating wild fire were being evident. It was a shocking sight for me at the beginning and could not perceive how fire had devastated hundreds of acres of alpine forests in the valleys and atop the hills. But when I had a closer look to the floor of the forests, I was amazed by the facts how nature maintains its ecological balance! Numerous tiny siblings are growing besides the burnt and decaying logs. The future forests of the park are coming alive.

   

The park seemed to me the world’s finest natural laboratory and archive to study and understand all the faculties of human intellect.

   

The qualities of the photographs are not satisfactory, because they were taken so fast through the glass windows of our running bus. But I didn’t want to miss such life time opportunities. The overall beauties were essentially more important than technicalities, as I always believe.

 

Our luck didn’t favor anyway in this park trip, when our tour guide had declared a forecast for heavy snowfall next day since morning. He therefore decided to visit as many spots as possible in a single day, and not to wait for day-2. I hurried through the trails taking as many snaps as possible.

 

The next day heavy snowfall started since 9 am, and our guide cancelled the day-2 trip. Thanks God…we covered somehow all the spots on the first day.

 

I hope, you may like my Yellowstone series…

   

A quick overview of YNP

 

Yellowstone National Park is an American national park located in Wyoming, Montana, and Idaho. Approximately 96 percent of the land area of Yellowstone National Park is located within the state of Wyoming. The Park spans an area of 8,983 km2 comprising lakes, canyons, rivers and mountain ranges. The park is known for its wildlife and its many geothermal features. It has many types of ecosystems, but the subalpine forest is the most abundant. It is part of the South Central Rockies forests eco-region.

   

It was established by the U.S. Congress and signed into law by President Ulysses S. Grant on March 1, 1872. Yellowstone was the first national park in the U.S. and is also widely held to be the first national park in the world. Native Americans have lived in the Yellowstone region for at least 11,000 years. Aside from visits by mountain -men during the early to mid-19th century, organized exploration did not begin until the late 1860s.

 

The park contains the headwaters of the Yellowstone River, from which it takes its historical name. Although it is commonly believed that the river was named for the yellow rocks seen in the ‘Grand Canyon of the Yellowstone’, the Native American name source is unclear.

     

Yellowstone Lake is one of the largest high-elevation lakes in North America and is centered over the Yellowstone Caldera, the largest supervolcano on the continent. The caldera is considered as an active volcano. It has erupted with tremendous force several times in the last two million year. The Yellowstone Caldera is the largest volcanic system in North America. It has been termed a "supervolcano" because the caldera was formed by exceptionally large explosive eruptions. The magma chamber that lies under Yellowstone is estimated to be a single connected chamber, about 60 km long, 29 km wide, and 5 to 12 km deep. Yellowstone Lake is up to 400 feet deep and has 180 km of shoreline.The lake is at an elevation of 7,733 feet above sea levels. Half of the world's geysers and hydrothermal features are there in Yellowstone, fueled by this ongoing volcanism. Lava and rocks from volcanic eruptions cover most of the land area of Yellowstone. The park is the centerpiece of the Greater Yellowstone Ecosystem, the largest remaining nearly-intact ecosystem in the Earth's northern temperate zone. In 1978, Yellowstone was named a UNESCO World Heritage Site.

 

In May 2001, the U.S. Geological Survey, Yellowstone National Park, and the University of Utah created the Yellowstone Volcano Observatory (YVO), a partnership for long-term monitoring of the geological processes of the Yellowstone Plateau volcanic field, for disseminating information concerning the potential hazards of this geologically active region.

   

Hundreds of species of mammals, birds, fish, and reptiles have been documented, including several that are either endangered or threatened. The vast forests and grasslands also include unique species of plants. Yellowstone Park is the largest and most famous mega fauna location in the contiguous United States. Grizzly bears, wolves, and free-ranging herds of bison and elk live in this park. The Yellowstone Park bison herd is the oldest and largest public bison herd in the United States.

   

Forest fires occur in the park each year. In the largest forest fires of 1988, nearly one third of the park was burnt.

   

Yellowstone has numerous recreational opportunities, including hiking, camping, boating, fishing and sightseeing. Paved roads provide close access to the major geothermal areas as well as some of the lakes and waterfalls. During the winter, visitors often access the park by way of guided tours that use either snow coaches or snowmobiles.

     

Fire in Yellowstone NP:

 

Causes of wildfire in Yellowstone NP

Wildfire has had a role in the dynamics of Yellowstone’s ecosystems for thousands of years. Although many fires were caused by human activities, most ignitions were natural. The term "natural ignition" usually refers to a lightning strike. Afternoon thunderstorms occur frequently in the northern Rocky Mountains but release little precipitation, a condition known as ‘dry lightning’. In a typical season there are thousands of lightning strikes in Yellowstone. Lightning strikes are powerful enough to rip strips of bark off of a tree in a shower of sparks and blow the pieces up to 100 feet away. However, most lightning strikes do not result in a wildfire because fuels are not in a combustible state.

   

The great fire incidence of 1988

 

The Yellowstone fires of 1988 collectively formed the largest wildfire in the recorded history of Yellowstone National Park in the United States. Starting as many smaller individual fires, the flames quickly spread out of control due to drought conditions and increasing winds, combining into one large conflagration which burned for several months. The fires almost destroyed two major visitor destinations and, on September 8, 1988, the entire park closed to all non-emergency personnel for the first time in its history. Only the arrival of cool and moist weather in the late autumn brought the fires to an end. A total of 793,880 acres, or 36 percent of the park was affected by the wildfires.

   

Fire incidence, 2016

 

As of September 21, 2016, 22 fires (human and lightning-caused) have burned more than 62,000 acres in Yellowstone National Park, making it the highest number of acres burned since the historic 1988 fire.

   

Heritage and Research Center

 

The Heritage and Research Center is located at Gardiner, Montana, near the north entrance to the park. The center is home to the Yellowstone National Park's museum collection, archives, research library, historian, archeology lab, and herbarium. The Yellowstone National Park Archives maintain collections of historical records of Yellowstone and the National Park Service. The collection includes the administrative records of Yellowstone, as well as resource management records, records from major projects, and donated manuscripts and personal papers. The archives are affiliated with the National Archives and Records Administration.

  

Geothermal features of Yellowstone NP- A brief note:

 

There are four geothermal features found in the park – Hot springs, Geysers, Fumaroles , and Mud volcanoes/pots.

 

What is a Hot spring?

Hot spring, also called thermal spring, spring with water at temperatures substantially higher than the air temperature of the surrounding region. Most hot springs discharge groundwater that is heated by shallow intrusions of magma (molten rock) in volcanic areas.

Some thermal springs, however, are not related to volcanic activity. In general, the temperature of rocks within the earth increases with depth. The rate of temperature increase with depth is known as the geothermal gradient. In such cases, the water is heated by convective circulation: groundwater percolating downward reaches depths of a kilometre or more where the temperature of rocks is high because of the normal temperature gradient of the Earth’s crust—about 30 °C / kilometer in the first 10 km. The water from hot springs in non-volcanic areas is heated in this manner.

But in active volcanic zones such as Yellowstone National Park, water may be heated by coming into contact with magma (molten rock). The high temperature gradient near magma may cause water to be heated enough that it boils or becomes superheated. If the water becomes so hot that it builds steam pressure and erupts in a jet above the surface of the Earth, it is called a geyser.

[ Warm springs are sometimes the result of hot and cold springs mixing. They may occur within a volcanic area or outside of one. One example of a non-volcanic warm spring is Warm Springs, Georgia (frequented for its therapeutic effects by paraplegic U.S. President Franklin D. Roosevelt, who built the Little White House there) ].

List of hot springs:

[ en.wikipedia.org/wiki/List_of_hot_springs ]

  

The science of colors of a hot spring:

[ ttps://www.britannica.com/science/hot-spring]

Many of the colours in hot springs are caused by thermophilic (heat-loving) microorganisms, which include certain types of bacteria, such as cyanobacteria, and species of archaea and algae. Many thermophilic organisms grow in huge colonies called mats that form the colourful scums and slimes on the sides of hot springs. The microorganisms that grow in hot springs derive their energy from various chemicals and metals; potential energy sources include molecular hydrogen, dissolved sulfides, methane, iron, ammonia, and arsenic. In addition to geochemistry, the temperature and pH of hot springs play a central role in determining which organisms inhabit them.

Examples of thermophilic microorganisms found in hot springs include bacteria in the genera Sulfolobus, which can grow at temperatures of up to 90 °C (194 °F), Hydrogenobacter, which grow optimally at temperatures of 85 °C (185 °F), and Thermocrinis, which grow optimally at temperatures of 80 °C (176 °F). Thermophilic algae in hot springs are most abundant at temperatures of 55 °C (131 °F) or below.

 

What is a Geyser?

A geyser is formed when water collecting below the surface is heated by a magma source. When the water boils, it rises to the surface. If the water has an unobstructed path, it will pool on the surface in the form of a steaming hot springs. If the passage of the water is imposed upon, the pressure will increase. When the pressure becomes too great, the water converts into to steam. Steam takes up 1,500 times the volume of water, and at this point, the pressure becomes so intense that the steam and surrounding water droplets shoot out of the ground in geyser form, erupting until the pressure has abated and the process starts all over again.

 

What is a fumarole?

It’s a vent in the Earth’s surface from which steam and volcanic gases are emitted. The major source of the water vapour emitted by fumaroles is groundwater heated by bodies of magma lying relatively close to the surface. Carbon dioxide, sulfur dioxide, and hydrogen sulfide are usually emitted directly from the magma. Fumaroles are often present on active volcanoes during periods of relative quiet between eruptions.

Fumaroles are closely related to hot springs and geysers. In areas where the water table rises near the surface, fumaroles can become hot springs. A fumarole rich in sulfur gases is called a solfatara; a fumarole rich in carbon dioxide is called a mofette. If the hot water of a spring only reaches the surface in the form of steam, it is called a fumarole. [ www.britannica.com/science/fumarole ]

  

What is a mud volcano/ mud pot/ paint pot?-

Usually mud volcanoes are created by hot-spring activity where large amounts of gas and small amounts of water react chemically with the surrounding rocks and form a boiling mud.

Geo-chemistry of mud volcano: Hydrogen sulfide gas rising from magma chamber, as in Yellowstone’s, causes the rotten-egg smell. Microorganisms, or thermophiles, use this gas as a source of energy, and then help turn the gas into sulfuric acid. The acid then breaks down the rocks and soil into mud. Many of the colors seen are vast communities of thermophiles, but some of the yellow is pure sulfur. When iron mixes with sulfur to form iron sulfide, gray and black swirls sometimes appear in the mud (From description of the display board in the park).

If the water of a hot spring is mixed with mud and clay, it is called a mud pot. Variations are the porridge pot (a basin of boiling mud that erodes chunks of the surrounding rock) and the paint pot (a basin of boiling mud that is tinted yellow, green, or blue by minerals from the surrounding rocks).

There are other mud volcanoes, entirely of a nonigneous origin, occur only in oil-field regions that are relatively young and have soft, unconsolidated formations.

 

Sources: [ www.britannica.com/science/mud-volcano ], and display boards of the YNP.

   

A Quick Overview Map of Yellowstone

 

(www.yellowstonepark.com/park/overview-map-yellowstone)

 

Free Yellowstone Trip Planner:

 

( www.yellowstonepark.com/travel-guides/yellowstone-trip-pl...)

 

8 Best Yellowstone Geyser Basins and Map

 

( www.yellowstonepark.com/things-to-do/yellowstone-geyser-b... )

 

National Park Maps

 

( www.yellowstonepark.com/park/national-park-maps )

 

Interactive map of ALL Yellowstone thermal features at the Yellowstone Research Coordination Network

 

( www.rcn.montana.edu )

 

Alter Ego: Mr. Magnetism

Name: Dr. Dash Isla

Allegiance: Villain

Powers: None

Weapons:

* A highly developed magnetic suit which allows the wearer manipulation over metal.

* He uses a custom designed styrofoam magnet cut out to give the impression it is that which grants him his powers. So when his enemy destroys it he has the element of surprise that he still has these powers.

*Malleable metal cape that he uses to deflect heavy bullefire.

Key Weakness: Any form of weaponry that isn't a metal material which may be used against him.

 

Origin:

Dr. Isla was a highly skilled physicist that used his intellect to develop a suit alongside his partner "Stein Isaac" which allowed them to manipulate metal for experimental purposes. But he was shocked to discover that Stein lifted the suit and tried to sell it off to their competitors due to him being in a bad financial state, Isla was furious with his partner for doing this and tracked him down. The two had a heated argument over the situation and Dash pushed Stein in a moment of rage, Isla took a bad fall and died upon impact due to a head injury. Dash had a moment of grief at the actions he had down to revisit in his partners death but he wasn't going to have it be for nothing, he stole the took the suit back and wore it to destroy the competitor company that offered Stein money believing it was their fault. Dash attempted to use the suits magnetic powers to bring down the building but he was intercepted by the hero "Red Star" which intercepted him. The two battled heavily and caused a lot of collateral damage which resulted in Dash's defeat and imprisonment.

 

For years Dash stewed in his anger at Red Star over how he stopped his revenge and found no retribution when he got news of his death, he was angry at the fact he died by someone else's hands and not his own. So once he was freed he was relived to find out that his children became heroes just like their father and was following in his footsteps. He seen this as a way of killing Red Star and managed to get his hand son his old suit once again, this time he was going to get back at Red Star by killing, The Kingston's.

 

Searching for Words

  

HKD

  

Instead of Words

 

www.youtube.com/watch?v=wlDWXv-cIh8

  

Bei dem Typ A5 steht vor allen Dingen der Kopf und die Vernunft im Vordergrund.

Alle Berufe in denen der theoretische und geistige Asepkt eine große Rolle spielt sind für den A5er attraktiv. Wir finden ihn als Mathematiker, Philosophen, Planer, Strategen oder Vordenker.

 

Using nature for nature, that is, using the natural world (light) to satisfy the intellect, curiosity and wonder.

Photographer: Fred H. Politinsky

Subject: Nature in the abstract

 

View all of my photographs at www.flicker.com/photos/jackpot999.

 

Art distills sensations and embodies it with enhanced meaning in memorable form---or else it is not art.

---Jacques Barzun, The House of Intellect (1959), 6

 

All artists are childish partly because we are basically immature. Partly because only children can retain the kind of optimism that produces art.

---"Herblock: The Black & the White"

Infusing substance

Vital spirits

Organic processes

 

Scroll down!

 

Montblanc Elizabeth I Patron of Arts 2010 fountain pen.

1/4 You Tube vid: youtu.be/DWN22eyQ64A

 

Montblanc Elizabeth I writing instrument seriously tempted my pocket book but MAC preferred another holiday trip to a warm climate.

 

Limited Edition 4810 and Limited Edition 888

 

Montblanc's Patron of Art Edition has annually honoured a legendary benefactor of the arts and culture since this special writing instrument line was originally conceived in 1992. This year’s edition is dedicated to an all time great cultural force - Elizabeth I. Regarded the most successful monarch to ever ascend an English throne, under Elizabeth's astute and skillful rule, England "came of age" and, witnessing groundbreaking achievements, was transformed from a "remote backwater" to a globally dominant imperial power. Great battles were won. The New World - or the "Americas" - was discovered and the English Renaissance reached its zenith because of Elizabeth's artistic patronage.

 

Patron of Art Edition Elizabeth I - Limited Edition 888

 

Patron of Art Edition Elizabeth I - Limited Edition 4810

 

The "best educated woman of her generation..." Elizabeth was "passionately" interested in the arts and her "luminous" court stimulated some of the greatest artistic achievements of all time. William Shakespeare and Christopher Marlowe flourished during her reign as did the poet Edmund Spenser, the painter Nicholas Hillyard and the English composers William Byrd, John Dowland and Thomas Tallis.

 

Elizabeth I was also a gifted writer and the 2010 Montblanc Patron of Art Edition is therefore composed of two writing instruments conceived with sumptuously striking and clever adornments celebrating her intellect and inimitable regal flair. Patron of Art Edition Elizabeth I, limited to 4810 pieces and limited to 888 pieces, will debut in April 2010 and May 2010, respectively. And, as their presentation has always been associated with the Montblanc de la Culture Arts Patronage Award - which annually celebrates contemporary arts and cultural patrons - the Patron of Art Edition continues a story linking a historical figure with future talent.

 

Elizabeth I - A Legend in her Own Lifetime

 

Centuries after her death, Elizabeth I (1533 - 1603), is still considered as one of England's "most popular and influential rulers". She was born at Greenwich Palace on 7 September 1533 to Anne Boleyn, the second wife of Henry VIII, although her arrival was greeted with "surprise and displeasure", by the Court. The "failure" to produce a son for King Henry jeopardized Queen Anne’s life due to her husband's obsession with conceiving a male heir. Charged with adultery, she was beheaded in May 1536.

 

A retinue of governesses raised the young princess Elizabeth and though she was shunned by her father, Catherine Parr, the "remarkable" sixth and last wife of Henry VIII, oversaw the education which groomed the future queen for greatness and the Patron of Art Edition Elizabeth I will celebrate their special bond. Under the Cambridge scholar Roger Ascham, Elizabeth studied the classics, read history and theology and became fluent in six languages - Greek, Latin, French, Italian, Spanish and German. Her love of music and, skill as a musician, developed from the 60 instrumentalists who resided at Hatfield House, her childhood residence. From age 11, she composed prayers and poems and, when jailed for suspected treason against Mary I, her cousin in 1554, she etched onto a glass prison window a two-line verse with a diamond.

 

Upon ascending the throne on 15 January 1559, Elizabeth's writing focussed on government matters. She wrote powerful speeches, such as that which she delivered at Tilbury in Essex where English troops had gathered to prepare for Spanish invasion in 1588. Brandishing a silver breastplate over a flowing white velvet gown she arrived on horseback demonstrating the "courage and leadership the English expected" of a monarch - but had never been displayed by a female - and declared to the troops: “I have the body but of a weak and feeble woman but I have the heart and stomach of a king and of a King of England, too".

 

Nine days later, the defeat of the Spanish Armada proved England's "finest hour". Elizabeth's popularity reached a level no "English woman had enjoyed as a public figure" and she attained supreme power comparable to a "biblical and mythological figure". Her grand mode of dress overawed her subjects while the flourishing of her Renaissance court stimulated new literary, artistic and musical achievements. "Theatres thrived", and, as Shakespeare elevated the English language to its highest level of development, England’s literacy rate soared. Elizabeth attended the debut of Shakespeare's romantic comedy A Midsummer Night's Dream. Numerous works were dedicated to her including poet Edmund Spenser's masterpiece The Fairie Queen. Composers William Byrd, John Dowland and Thomas Tallis also toiled at her court.

 

The discoveries of adventurers Sir Francis Drake, who circumnavigated the world in 1580, Walter Raleigh's exploration of eastern Venezuela in 1594 and Humphrey Gilbert’s conquering of Newfoundland for the English throne in 1583, spearheaded a new age expansion by the end of Elizabeth's reign. Upon her passing on 24 March 1604, the pioneering monarch, it is said, "departed this life mildly like a lamb, easily like a ripe apple from the tree".

 

The Limited Edition Celebrating the Elizabethan Age

 

Patron of Art Edition Elizabeth I 4810

 

The design and adornments of the Patron of Art Edition Elizabeth I 4810 reflects the life, reign and heraldic regalia of Elizabeth I. Hand engraved on the 18 K gold nib is a bejewelled gold crown which she brandished ascending the throne in 1559. Lacquer barrel and cap signify the spots which appear on an ermine cape, part of the traditional coronation attire which Elizabeth also flaunted. While an ivory coloured Montblanc emblem tops the cap, the clip descends from gold plated Tudor Rose. This "double rose" motif became England’s floral emblem after Henry VII, Elizabeth's grandfather, commandeered it as the symbol of the Tudor Dynasty upon taking the crown from Richard IIII in 1485. The green cabochon embellishing the gold-plated cross upon the clip also reflects the bejewelled cross upon Elizabeth's crown.

 

Encircling the gold plate band adorning the cap - as well as the cone - is an elegant interlaced pattern inspired by the pretty needlework sleeve Elizabeth conceived for a prayer book she created especially for her stepmother, Catherine Parr, as a New Year's gift in 1544. Entitled The Mirror of the Sinful Soul, it was Lady Elizabeth's own English translation of the French verse originally composed by Queen Margaret of Navarre. A friend of Anne Boleyn, the French Queen gave the original manuscript to her and the religious poem was also a favourite of Catherine Parr’s. Today, Elizabeth I’s handmade book is owned by the University of Oxford's Bodleian Library. Etched by gold plated cap ring is "Video et Taceo" - or "I see and I keep silent". This maxim of Elizabeth I signified her moderate political views and cautious approach to foreign affairs.

 

Patron of Art Edition Elizabeth I Limited Edition 888

 

This 750 solid gold fountain pen features a barrel and cap in precious lacquer. Hand engraved on its 18 K gold nib is a bejewelled gold crown in which Elizabeth I ascended the throne in 1559. Topping the cap is the Montblanc emblem rendered in shimmering mother-of-pearl. The clip descends from a solid gold Tudor Rose while its embellishment - a princess cut green garnet - reflects the bejewelled crown. The intricate interlaced motif, derived from the needlework cover of The Mirror of the Sinful Soul, beautifies the solid gold cap and barrel. Elizabeth I's "Video et Taceo" maxim is embossed upon the cap ring.

 

Montblanc de la Culture Arts Patronage Award

 

Celebrating Past and Present

 

The Montblanc de la Culture Arts Patronage Award is presented in 11 countries and represents an exemplary bond forged between past and present and, since its inception in 1992, this merit has been directly linked with the Patron of the Art Edition. The prize, therefore, combines a tribute to an historic patron of the arts while acknowledging a contemporary one. By recognizing the importance of private patronage, the award conveys to the public its crucial role in fostering the arts and culture.

 

Each recipient of the Montblanc de la Culture Arts Patronage Award is chosen by an international jury of artists and receives financial support of € 15.000 in each country for a cultural project of their own choice. Montblanc also presents the honoree and the jury members with the precious Patron of Art Edition. Sought after by collectors around the world, Montblanc's Patron of Art Edition are writing instruments that will last a lifetime. And like every Montblanc writing instrument, these exceptionally handcrafted fountain pens have been created with the highest demand of craftsmanship that has made Montblanc the benchmark for writing culture.

 

Prized by connoisseurs and avid collectors, the Montblanc Patron of the Art Edition is a commemorative keepsake meant to be passed down through generations. Manufacturing tools, specially developed for the making of every Montblanc Limited Edition, are destroyed at the end of each production run. As a consequence, these intricately handcrafted pens are collector’s items. Limited Editions produced between 1992 and 2000, for example, have sold at auction for sums greatly exceeding their original retail price, ranging from (US) $ 2,200 to (US) $35,000. And nine years after its 1992 debut, Montblanc Patron of the Art Lorenzo de Medici sold at Christie’s in New York for more than six times its initial cost of (US) $1,292.00, ultimately fetching (US) $8,225.00.

 

Mei Boa-Jiu, China:

 

en.m.wikipedia.org/wiki/Mei_Baojiu

 

www.flickr.com/photos/gregsu/14914200150/in/photolist-uiq...

 

Mei Baojiu (Chinese: 梅葆玖; pinyin: Méi Bǎojiǔ) (29 March 1934 – 25 April 2016)[1] was a contemporary Peking opera artist, also a performer of the Dan role type in Peking Opera and Kunqu opera, the leader of Mei Lanfang Peking Opera troupe in Beijing Peking Opera Theatre. Mei's father Mei Lanfang was one of the most famous Peking opera performers. Mei Baojiu was the ninth and youngest child of Mei Lanfang. For this reason, he was called Baojiu, since in Chinese, jiu means nine.[2] Mei Baojiu was the master of the second generation of Méi School descendant, he was also Mei Lanfang's only child who is now a performer of the Dan role of the Peking Opera.[3]

 

Mei Baojiu: 梅葆玖

Born: 29 March 1934. Shanghai, China

Died: 25 April 2016 (aged 82) Beijing, China

Occupation: Peking opera artist

Parents: Mei Lanfang (father), Fu Zhifang (mother)

From childhood, Mei had learned Peking Opera from many artists. Mei Baojiu's first opera teacher was Wang Youqing (王幼卿), the nephew of Wang Yaoqing (王瑶卿), who had been the teacher of Mei Lanfang. Tao Yuzhi (陶玉芝) was his teacher of martial arts, while Zhu Chuanming (朱传茗), the famous performer of the Dan role type in Kunqu opera, taught him Kunqu. After that Mei learned the Dan role from Zhu Qinxin (朱琴心). Mei's regular performances of traditional opera include The Hegemon-King Bids His Concubine Farewell, Guifei Intoxicated (貴妃醉酒), Lady General Mu Takes Command (穆桂英挂帅), The story of Yang Guifei (太真外传), Luo Shen (洛神), Xi Shi (西施), etc. Mei has made significant contributions to cultural exchanges and promoting Peking Opera culture. Meanwhile, he also trains more than twenty students, such as Li Shengsu (李胜素), Dong Yuanyuan (董圆圆), Zhang Jing (张晶), Zhang Xinyue (张馨月), Hu Wenge (胡文阁) (the only male student),[4] Tian Hui (田慧), Wei Haimin.[5]

 

Biography:

 

Mei Baojiu as a child

In the spring of 1934, Mei Baojiu was born at No. 87 Sinan Road, Shanghai.[2] Because of his comely appearance and delicate voice, his father decided to send Baojiu to learn Peking opera and hoped that Baojiu could make contributions to Méi School. Baojiu himself also showed great interest as well as gifts in Peking opera in his early life. In 1942, Mei Lanfang and his wife Fu Zhifang (福芝芳) invited Wang Youqing (王幼卿), the disciple of famous Dan role performer - Wang Yaoqing (王瑶卿), from Beijing to teach Baojiu as his first qingyi teacher while requesting Zhu Chuanming (朱传茗), one of the most prestigious performers of the Dan role type to teach Baojiu Kunqu Opera. When Mei Lanfang was free from work, he also gave directions to his son himself.[6]

 

When Baojiu was ten years old, he played Xue Yi (薛倚) in San Niang teaches the child (三娘教子) as his first performance in Shanghai. At the age of twelve, together with his sister Mei Baoyue (梅葆玥), Baojiu acted in Yang Silang Visits His Mother (四郎探母). Being a Qingyi (青衣) performer, he started giving performances of the Legend of the White Snake, The Story Of Su San (玉堂春) and some other traditional plays for charity since the age of 13. He also performed in Wu Jiapo Hill (武家坡) with Baoyue (梅葆玥) at the same time. When Baojiu was 16, he took part in the national tour of the Mei Lanfang Troupe, and toured the country with the troupe. Usually, Baojiu performed for the first three days, and Mei Lanfang performed plays in the rest, sometimes they also performed cooperatively, such as in Legend of the White Snake. Baojiu played the part of Xiao Qing the green snake, while his father played Bai Suzhen the white snake.[6]

 

Mei Lanfang used to make suggestions to Baojiu in order to make the performance of Baojiu perfect when Baojiu was young. Once, after watching the play The Story Of Sue San (玉堂春), in which Baojiu performed, he came to Baojiu and suggested that Baojiu change the way of acting the spoken parts. He mentioned that it was the most exciting time when the heroine, Sue San, got the Senior judge. For this reason, Baojiu should speak infectiously, he should speak faster and faster to create tension.[7]

 

Baojiu also got a chance to share the stage with some prestigious senior performers, such as Xiao Changhua (萧长华), Jiang Miaoxiang (姜妙香) and Yu Zhenfei (俞振飞).[8]

 

Due to the guidance of the actors from the earlier generation, Mei Baojiu's acting greatly improved and hemade a great effort to promote Méi School as well.[9]

 

In 1961, after Mei Lanfang died, Baojiu took over the position of the leader of Mei Lanfang Peking Opera troupe. During this time, he acted in some other well known plays, such as The mulan (木兰从军), Return of the Phoenix (凤还巢) and Lian Jinfeng (廉锦枫). However, after 1964, almost all performance of traditional plays was forbidden, according to central government regulations. For this reason, Baojiu was forced to do recording and stage lighting related work.[10]

 

Fourteen years later, in 1978, Baojiu returned to the Mei Lanfang Peking Opera troupe and came back to stage. He reformed the troupe and rearranged many traditional plays like Yuzhoufeng the Sword(宇宙锋), The story of Yang Guifei (太真外传), Luo Shen (洛神), Xi Shi (西施) as well as Royal pavilion (御碑亭) at the same time.[11]

 

From 1981 to 1984, together with his sister Mei Baoyue and descendants of other schools, he participated in the performance of a series memorial activities to commemorate his father. Making the eight-hour long play lasts for only three hours, he also rearranged The story of Yang Guifei in the late 1980s.[12]

 

In 1993, led by Baojiu, the Mei Lanfang Peking Opera troupe visited Taiwan and gave elaborately prepared performances to the public. He has made significant contributions to cultural exchanges and promoting Peking Opera culture.[13]

 

Baojiu cultivates more than twenty students, such as Li Shengsu, Dong Yuanyuan (董圆圆), Zhang Jing (张晶), Zhang Xinyue (张馨月), Hu Wenge (the only male student), Tian Hui (田慧), Wei Haimin (魏海敏). In the last twenty years, he mainly focused on training these students.

 

As a member of the National Committee of the Chinese People's Political Consultative Conference (CPPCC), Mei Baojiu put forward a proposal on introducing Peking Opera into elementary schools in 2009.[14]

 

In March 2012, at the Chinese People's Political Consultative Conference, Mei put forward a proposal on introducing the form of animation into Peking Opera in order to make more teenagers be interested in Peking Opera.[15]

 

On 26 March 2012, Mei received his Ph.D. from J. F. Oberlin University in Japan.[16]

 

On 31 March 2016, Mei was hospitalized because of bronchospasm. He died on 25 April 2016, at the age of 82.[17]

 

Famous plays:

 

Like his father, Mei Baojiu acts Dan role in the following classic Peking opera plays. The Hegemon-King Bids His Concubine Farewell tells the sad love story of Xiang Yu and his favourite concubine Consort Yu when he is surrounded by Liu Bang’s forces. Mei plays the role of Consort Yu. Shang Changrong (the 3rd son of Shang Xiaoyun) once played the role of Xiang Yu as Mei's partner.

 

Guifei Intoxicated, also named Bai Hua Ting (百花亭), is about Yang Guifei. In this play she drinks down her sorrow because she is irritated by Emperor Xuanzong of Tang breaking his promise. Based on Mei Lanfang’s original work, Mei Baojiu adapted this play for The Great Concubine of Tang (大唐贵妃), a contemporary Beijing opera with historical motif in 2002. Mu Guiying Takes Command, a classic Yu opera was adapted by Mei Lanfang in 1959, and he acted the leading role the same year in celebration of the 10th anniversary of PRC.

 

Cooperating with famous Yu opera master Ma Jinfeng (马金凤), Mei Baojiu performed this play in the Shuang xia guo style (双下锅), which means different forms of opera performed in one play.[3]

 

Family:

 

Mei Baojiu's mother, Fu Zhifang (福芝芳), the second wife of Mei Lanfang, bore 9 children, but only 4 of them survived.

 

Mei Baojiu is the youngest child in his family. His eldest brother, Mei Baochen (梅葆琛) (1925-2008), was a senior engineer in Beijing's Academy of Architecture (北京建筑设计院). His elder brother, Mei Shaowu (梅绍武) (1928-2005), was a researcher of the Chinese academy of social sciences institute of the United States (中国社会科学院美国研究所) and the president of Mei Lanfang Culture-art Seminar (中国梅兰芳文化艺术研究会). His elder sister Mei Baoyue (梅葆玥) (1930-2000) was a performer of the Laosheng role type in Peking Opera, and performed together with Mei Baojiu sometimes. Mei Baojiu is the only heir to the Meipai Qingyi (梅派青衣).[3][18]

 

Mei Baojiu's wife is named Lin Liyuan (林丽媛), she is the consultant of Mei Lanfang Troupe. They have no children.[19]

 

References:

 

^ Mei Shaowu (梅绍武), Mei Weidong (梅卫东), Biography of Mei Lanfang (梅兰芳自述) :Appendix - studies (附录：年谱简表)

^ a b Wu Ying (吴迎), From Mei Lanfang to Mei Baojiu (从梅兰芳到梅葆玖) Page 50

^ a b c "梅氏家族 (May Family)". Archived from the original on 19 January 2012. Retrieved 7 May 2012.

^ "胡文阁被梅葆玖"看"得紧紧的(组图) (Mei Baojiu keeps a close watch on Hu Wenge (photo))". 9 January 2012. Retrieved 7 May 2012.

^ "梅葆玖简介 (About Mei Baojiu)". July 2009. Retrieved 7 May 2012.

^ a b Li Zhongming (李仲明), The Family of Mei Lanfang (梅兰芳家族) Page93

^ Li Zhongming (李仲明), The Family of Mei Lanfang (梅兰芳家族) Page 96

^ "梅兰芳的剧照 Mei Lanfang snapshot". Archived from the original on 17 April 2012. Retrieved 7 May 2012.

^ Li Zhongming (李仲明), The Family of Mei Lanfang (梅兰芳家族) Page92 - 93

^ Li Zhongming (李仲明), The Family of Mei Lanfang (梅兰芳家族) Page110

^ Li Zhongming (李仲明), The Family of Mei Lanfang (梅兰芳家族) Page112-113

^ Xu Beicheng (徐北城), Mei Lanfang and the 20th century (梅兰芳与二十世纪) :chapter 10. the Dance of Mei (第十章：梅之舞)

^ Li Zhongming (李仲明), The Family of Mei Lanfang (梅兰芳家族) Page113-121

^ "Mei Baojiu". 11 March 2009. Retrieved 7 May 2012.

^ "Mei Baojiu". 7 March 2012. Retrieved 29 May 2012.

^ "Mei Baojiu". 29 March 2012. Retrieved 29 May 2012.

^ "京剧大师梅葆玖去世享年82岁 世间从此再无"梅先生"". people.cn. 25 April 2016. Retrieved 31 January 2019.

^ Li Zhongming (李仲明), The Family of Mei Lanfang (梅兰芳家族) Page84 - 90

^ "About Mei Baojiu". 29 March 2012. Archived from the original on 5 December 2012. Retrieved 29 May 2012.

 

Martine Franck, France:

en.m.wikipedia.org/wiki/Martine_Franck

 

Martine Franck (2 April 1938 – 16 August 2012) was a British-Belgian documentary and portrait photographer. She was a member of Magnum Photos for over 32 years. Franck was the second wife of Henri Cartier-Bresson and co-founder and president of the Henri Cartier-Bresson Foundation.

 

Martine Franck

Photo of Martine Franck.jpg

Franck in 1972, by Henri-Cartier Bresson

Born: 2 April 1938 Antwerp, Belgium

Died: 16 August 2012 (aged 74) Paris, France

Occupation

Documentary and portrait photographer

Spouse(s): Henri Cartier-Bresson (m. 1970; died 2004)

Children: 1

 

Contents:

 

Early life:

 

Franck was born in Antwerp[1] to the Belgian banker Louis Franck and his British wife, Evelyn.[2] After her birth the family moved almost immediately to London.[2] A year later, her father joined the British army, and the rest of the family were evacuated to the United States, spending the remainder of the Second World War on Long Island and in Arizona.[3]

 

Franck's father was an amateur art collector who often took his daughter to galleries and museums. Franck was in boarding school from the age of six onwards, and her mother sent her a postcard every day, frequently of paintings. Ms. Franck, attended Heathfield School, an all-girls boarding school close to Ascot in England, and studied the history of art from the age of 14. "I had a wonderful teacher who really galvanized me," she says. "In those days she took us on outings to London, which was the big excitement of the year for me."[4]

 

Career:

 

Franck studied art history at the University of Madrid and at the Ecole du Louvre in Paris. After struggling through her thesis (on French sculptor Henri Gaudier-Brzeska and the influence of cubism on sculpture), she said she realized she had no particular talent for writing, and turned to photography instead.[5]

 

In 1963, Franck's photography career started following trips to the Far East, having taken pictures with her cousin’s Leica camera. Returning to France in 1964, now possessing a camera of her own, Franck became an assistant to photographers Eliot Elisofon and Gjon Mili at Time-Life. By 1969 she was a busy freelance photographer for magazines such as Vogue, Life and Sports Illustrated, and the official photographer of the Théâtre du Soleil (a position she held for 48 years).[6] From 1970 to 1971 she worked in Paris at the Agence Vu photo agency, and in 1972 she co-founded the Viva agency.[2]

 

In 1980, Franck joined the Magnum Photos cooperative agency as a "nominee", and in 1983 she became a full member. She was one of a very small number of women to be accepted into the agency.

 

In 1983, she completed a project for the now-defunct French Ministry of Women's Rights and in 1985 she began collaborating with the non-profit International Federation of Little Brothers of the Poor. In 1993, she first traveled to the Irish island of Tory where she documented the tiny Gaelic community living there. She also traveled to Tibet and Nepal, and with the help of Marilyn Silverstone photographed the education system of the Tibetan Tulkus monks. In 2003 and 2004 she returned to Paris to document the work of theater director Robert Wilson who was staging La Fontaine's fables at the Comédie Française.[7]

 

Nine books of Franck's photographs have been published, and in 2005 Franck was made a chevalier of the French Légion d'Honneur.[8]

 

Franck continued working even after she was diagnosed with bone cancer in 2010. Her last exhibition was in October 2011 at the Maison Européenne de la Photographie. The exhibit consisted of 62 portraits of artists "coming from somewhere else” collected from 1965 through 2010. This same year, there were collections of portraits shown at New York's Howard Greenberg Gallery and at the Claude Bernard Gallery, Paris.[9]

 

Work:

 

Franck was well known for her documentary-style photographs of important cultural figures such as the painter Marc Chagall, philosopher Michel Foucault and poet Seamus Heaney, and of remote or marginalized communities such as Tibetan Buddhist monks, elderly French people, and isolated Gaelic speakers. Michael Pritchard, the Director-General of the Royal Photographic Society, observed: "Martine was able to work with her subjects and bring out their emotions and record their expressions on film, helping the viewer understand what she had seen in person. Her images were always empathetic with her subject." In 1976, Frank took one of her most iconic photos of bathers beside a pool in Le Brusc, Provence. By her account, she saw them from a distance and rushed to photograph the moment, all the while changing the roll of film in her camera. She quickly closed the lens just at the right moment, when happened to be most intense.[9]

 

She cited as influences the portraits of British photographer Julia Margaret Cameron, the work of American photojournalist Dorothea Lange and American documentary photographer Margaret Bourke-White.[8] In 2010, she told The New York Times that photography "suits my curiosity about people and human situations." [10]

 

She worked outside the studio, using a 35 mm Leica camera, and preferring black and white film.[2] The British Royal Photographic Society has described her work as "firmly rooted in the tradition of French humanist documentary photography."[11]

 

Personal life:

 

Franck was often described as elegant, dignified and shy.[12][13][14]

 

In 1966, she met Henri Cartier-Bresson, thirty years her senior, when she was photographing Paris fashion shows for The New York Times. In 2010, she told interviewer Charlie Rose "his opening line was, ‘Martine, I want to come and see your contact sheets.’" They married in 1970, had one child, a daughter named Mélanie, and remained together until his death in 2004.[2]

 

Throughout her career Franck, who was sometimes described as a feminist, was uncomfortable being in the shadow of her famous husband and wanted to be recognized for her own work. In 1970, the Institute of Contemporary Arts in London planned to stage Franck's first solo exhibition: when she saw that the invitations included her husband's name and said he would be present at the launch, she cancelled the show. Franck once said that she put her husband's career ahead of her own. In 2003 Franck and her daughter launched the Henri Cartier-Bresson Foundation to promote Cartier-Bresson's photojournalism, and in 2004 Franck became its president.[8]

 

Franck was diagnosed with leukemia in 2010, and died in Paris in 2012 at 74 years old.[2]

 

Publications:

 

Martine Franck: Dun jour, l'autre. France: Seuil, 1998. ISBN 978-2-02-034771-6

Tibetan Tulkus, images of continuity. London: Anna Maria Rossi & Fabio Rossi Publications, 2000. ISBN 978-0-9520992-8-4

Tory Island Images. Wolfhound Press, 2000. ISBN 978-0-86327-561-6

Martine Franck Photographe, Musée de la Vie romantique, Paris-Musées/Adam Biro, 2002. ISBN 978-2-87660-346-2

Fables de la Fontaine (production by Robert Wilson), Actes Sud. Paris, 2004

Martine Franck: One Day to the Next. Aperture, 2005. ISBN 978-0-89381-845-6

Martine Franck. Louis Baring. London: Phaidon, 2007. ISBN 978-0-7148-4781-8

Martine Franck: Photo Poche. France: Actes Sud, 2007. ISBN 978-2-7427-6725-0

Women/Femmes, Steidl, 2010. ISBN 978-3-86930-149-5

Venus d'ailleurs, Actes Sud, 2011

ExhibitionsEdit

 

La vie et la mort, Rencontres d'Arles, Arles, France, 1980[citation needed]

Martine Franck Photographe, Musée de la Vie romantique, Paris, 2004[citation needed]

Les Rencontres, Rencontres d'Arles, Arles, France, 2004[citation needed]

ReferencesEdit

 

^ Phaidon Editors (2019). Great women artists. Phaidon Press. p. 141. ISBN 0714878774.

^ a b c d e f Leslie Kaufman (22 August 2012). "Martine Franck, Documentary Photographer, Dies at 74". New York Times. Retrieved 25 August 2012.

^ Tori (21 August 2012). "'Magnum has lost a point of reference, a lighthouse, and one of our most influential and beloved members – Martine Franck". Film's Not Dead. Archived from the original on 26 August 2012. Retrieved 25 August 2012.

^ Grey, Tobias (21 October 2011). "Martine Franck's Curious Lens". ProQuest 899273270.

^ Bussell, Mark (8 June 2010). "Martine Franck's Pictures Within Pictures". New York Times. Retrieved 25 August 2012.

^ Wallace, Vaughan (20 August 2012). "Martine Franck: 1938 – 2012". Life magazine. Retrieved 25 August 2012.

^ Magnumphotos

^ a b c Hopkinson, Amanda (19 August 2012). "Martine Franck obituary". Guardian. Retrieved 25 August 2012.

^ a b Childs, Martin (29 August 2012). "The Independent". The Independent. Independent Print Ltd.

^ Bussell, Mark (8 June 2010). "Martine Franck's Pictures Within Pictures". The New York Times. Retrieved 19 September 2016.

^ Laurent, Olivier (17 August 2012). "Magnum Photos member and photographer Martine Franck has died". British Journal of Photography. Archived from the original on 19 August 2012. Retrieved 25 August 2012.

^ Gill, A.A. (2008). Previous convictions: assignments from here and there (1st Simon & Schuster trade pbk. ed.). New York: Simon & Schuster Paperbacks. p. 90. ISBN 978-1416572497.

^ Walker, David (17 August 2012). "Photographer Martine Franck dies". Photo District News. Retrieved 25 August 2012.

^ "Wife of Henri Cartier-Bresson, Martine Franck, dies at 74". Art Media Agency. 20 August 2012. Retrieved 25 August 2012.

External linksEdit

 

Henri Cartier-Bresson Foundation

New York Times "Martine Franck's Pictures Within Pictures"

Martine Franck 1991 catalogue of Taipei Fine Art Museum, with the pencil painting of Henri Cartier-Bresson.

 

Dr. rer. pol. Arend Oetker, Germany:

 

de.m.wikipedia.org/wiki/Arend_Oetker

 

Arend Oetker was born on March 30, 1939 in Bielefeld, North Rhine-Westphalia, Germany and studied business administration and political science in Hamburg, Berlin and Cologne as well as Marketing at Harvard Business School. He received his doctorate in 1966 from the University of Cologne.

 

Dr. Arend Oetker, Managing Partner of Dr. Arend Oetker Holding, is Honorary Chairman of the Board and majority shareholder of the food company Hero AG, Deputy Chairman and major shareholder of KWS Saat AG and chairman of the board of Cognos AG.

 

Furthermore, Dr. Arend Oetker is actively involved as president of the German Council on Foreign Relations (Deutsche Gesellschaft für Auswärtige Politik e. V.), board member of the Confederation of German Employers‘ Associations (Bundesvereinigung der Deutschen Arbeitgeberverbände e. V.) and honorary member of the Federation of German Industries (Bundesverband der Deutschen Industrie e. V.). He has received a number of accolades in the field of visual arts and music.

 

Dr. Arend Oetker is married and has five children.

 

Dr. William Mong Man Wai, Hong Kong:

 

en.m.wikipedia.org/wiki/William_Mong

 

William Mong Man-wai GBS (Chinese: 蒙民偉, 7 November 1927 – 20 July 2010) was the chairman of the Shun Hing Group, the distributor of Matsushita products (National, Panasonic, Technics) in Hong Kong.

 

He attended La Salle College in Hong Kong. Mong Man-wai died from cancer on 20 July 2010, aged 82. Many buildings in Hong Kong universities are named after him.[1]

 

Award received:

 

Gold Bauhinia Star

honorary doctor of the University of Hong Kong

honorary doctor of the Tsinghua University (2007)

honorary doctor of the Chinese University of Hong Kong.

 

Giulio Mogol, Italy:

 

Giulio Rapetti (born 17 August 1936), in art Mogol (Italian pronunciation: [moˈɡɔl]), is an Italian music lyricist. He is best known for his collaborations with Lucio Battisti, Gianni Bella, Adriano Celentano and Mango.

 

Career:

 

Mogol was born in Milan. His father, Mariano Rapetti, was an important director of the Ricordi record label, and had been in his own time a successful lyricist of the 1950s. Young Giulio, who was likewise employed by Ricordi as a public relations expert, began his own career as a lyricist against his father's wishes.

 

His first successes were "Il cielo in una stanza", set to music by Gino Paoli and sung by Mina; "Al di là", a piece that won the 1961 Sanremo Festival, performed by Luciano Tajoli and Betty Curtis; "Una lacrima sul viso", which was a huge hit for Bobby Solo in 1964. Another famous song from 1961 was "Uno dei tanti" (English: "One among many") which was rewritten by Jerry Leiber and Mike Stoller in 1963 for Ben E. King and released under the title "I (Who Have Nothing)".

 

In addition to writing new lyrics in Italian for a great many singers, Mogol also took it upon himself, in years in which familiarity with the English language in Italy was still sparse, to translate many hits from overseas, especially film soundtracks, but also works of Bob Dylan and David Bowie.

 

In 1965, he met Lucio Battisti, a young guitarist and composer from the Latium region of central Italy. Mogol's lyrics contributed to Battisti's initial success as an author, in megahits such as "29 settembre", and led him to undertake the role of producer as well, as happened with the song "Sognando la California", which Mogol himself had translated from the signature number of The Mamas & the Papas, "California Dreamin'", and with "Senza luce" ("Without light"), an Italian rendering of "A Whiter Shade of Pale" by Procol Harum.

 

In 1966, Mogol, overcoming resistance from his record label, convinced Battisti to perform his own songs. The lyricist's intuition would have one of the most rewarding outcomes of the history of Italian music, as Battisti, after a halting start, would explode as a singer, becoming one of the most successful artists in the panorama of Italian music. In the same year, Mogol left the Ricordi label to create his own with Battisti, called Numero Uno, which brought together many celebrated Italian singer-songwriters. The pair wrote songs as well for Bruno Lauzi and Patty Pravo. Their greatest chart success came from the songs written for Mina in 1969–1970.

 

In 1980, Mogol broke the artistic relationship with Battisti, and successfully continued his independent career as a lyricist with the noted singer-songwriter Riccardo Cocciante, with whom he wrote the texts for some successful albums, first in the series being "Cervo a Primavera".

 

Mogol (2007)

Lately, he began his collaboration with Mango, co-writing successful songs like "Oro", "Nella mia città", "Come Monna Lisa" and "Mediterraneo".

 

Mogol has formed a stable partnership with Adriano Celentano; his songs for Celentano are scored by the Sicilian singer-songwriter Gianni Bella. This collaboration has produced the delicate song "L'arcobaleno", included in the CD Io non so parlar d'amore, which is considered dedicated to Battisti, who had recently died. Mogol has also collaborated with singer-songwriter Jack Rubinacci.

 

Mari Natsuki, Japan:

 

en.m.wikipedia.org/wiki/Mari_Natsuki

 

Junko Nakajima (中島 淳子, Nakajima Junko, born 2 May 1952), more commonly known by her stage name Mari Natsuki (夏木 マリ, Natsuki Mari), is a Japanese singer, dancer and actress.[1] Born in Tokyo, she started work as a singer from a young age. In 2007, Natsuki announced her engagement to percussionist Nobu Saitō, with their marriage taking place in Spring 2008.

 

Mari Natsuki

MJK 08427 Mari Natsuki (Berlinale 2018).jpg

Mari Natsuki (2018)

Born: Mari Natsuki. 夏木 マリ. 2 May 1952 (age 67) Tokyo, Japan

Nationality: Japanese

Other names: Junko Nakajima

Occupation: Singer, dancer, actress

Natsuki has participated in musical theatre, including that of Yukio Ninagawa. She provided the voice of Yubaba in Spirited Away, played the young witch's mother in the Japanese TV remake of Bewitched and has twice been nominated for a Japanese Academy Award. Natsuki played the character Big Mama in the Japanese version of Metal Gear Solid 4: Guns of the Patriots[2] and has also acted in television dramas, such as the 2005 series Nobuta o Produce, playing the Vice Principal, Katharine.

 

Contents:

 

Film:

 

Otoko wa Tsurai yo series:

Tora-san, My Uncle (1989)

Tora-san Takes a Vacation (1990)

Tora-san Confesses (1991)

Tora-San Makes Excuses (1992)

Tora-san to the Rescue (1995)

Tora-san, Wish You Were Here (2019)

Onimasa (1982)

Legend of the Eight Samurai (1983)

Kita no Hotaru (1984)

Jittemai (1986)

Death Powder (1986)

Otoko wa Tsurai yo: Boku no Ojisan (1989)

The Hunted (1995)

Samurai Fiction (1998)

Spirited Away (2001)

Shōjo (2001)

Ping Pong (2002)

Okusama wa Majo (2004)

Sugar and Spice (2006)

Sakuran (2007)

Girl In The Sunny Place (2013)

Isle of Dogs (2018)

Ikiru Machi (2018)

Vision (2018)

Dai Kome Sōdō (2021), Taki

 

Television: Yoshitsune (2005), Carnation (2011), Montage (2016), Meet Me After School (2018)

Video Games: Metal Gear Solid 4: Guns of the Patriots (Big Mama) (2008), Uncharted 3: Drake's Deception (Katherine Marlowe) (2011)

Japanese dub:

Live-action: Feud (Joan Crawford (Jessica Lange)), The West Wing (C.J. Cregg (Allison Janney))

Animation: Moana (Tala)

References:

 

^ Mills, Ted. "Apple Music Preview. About Mari Natsuki". music.apple.com. Retrieved 9 November 2019.

^ Metal Gear Solid 4: Guns Of The Patriots: MGS4 Voice Cast Announced Archived 30 September 2007 at the Wayback Machine.

 

Changjae Shin, South Korea:

 

en.m.wikipedia.org/wiki/Shin_Chang-jae

 

Shin Chang-jae (born 1953/54) is a Korean billionaire businessman, Chairman and CEO of Kyobo Life Insurance Company.

 

Shin Chang-jae

Born: 1953/1954 (age 65–66)[1]

Nationality: Korean

Alma mater: Seoul National University

Occupation: Chairman and CEO, Kyobo Life Insurance Company

Net worth: $2.3 billion (June 2015)[1]

Spouse(s): married

Children: 2 sons

 

Early life:

 

He is the son of Shin Yong-ho, who founded Kyobo Life Insurance Company in 1958.[1] he has a doctorate from Seoul National University.[1]

 

Career: Kyobo Life Insurance Building, Seoul

He trained as an obstetrician and worked as a professor at the Seoul National University medical school.[1]

 

He has been Chairman and CEO of Kyobo Life Insurance Company since 2000.[1] In June 2015, Forbes estimated his net worth at US$2.3 billion.[1]

 

Personal life: He is married with two sons and lives in Seoul, South Korea.[1]

 

References: ^ a b c d e f g h "Shin Chang-Jae". Forbes. Retrieved 9 June 2015.

 

Patrick Charpenel, Mexico;

 

Patrick Charpenel will be the new executive director of El Museo del Barrio in New York.

 

Charpenel is a Mexico City–based curator who has worked extensively in Mexico as well as internationally. He organized a Gabriel Orozco retrospective at the Museo del Palacio de Bellas Artes in Mexico City in 2006 and an exhibition of work by Franz West at the Museo Tamayo Arte Contemporáneo in 2009. He also oversaw the Art Public section for the 2009 and 2010 editions of Art Basel Miami Beach.

 

Charpenel served as the executive director of Museo Jumex, the private museum in Mexico City of ART news Top 200 collector Eugenio López Alonso. (Charpenel resigned from his post in 2015 amid the controversy over the cancellation of a Hermann Nitsch show.) Charpenel is also a writer and a collector of “a heterogeneous group of works” that focuses on such interests as “the structure of the global economy and the extension of artistic experience into the social sphere.”

 

Patrick Charpenel is an art historian and collector currently working as an independent curator in Mexico City. He holds a graduate degree in philosophy. Charpenel has curated numerous exhibitions including Franz West, Tamayo Museum, Mexico City, Mexico (2006); Sólo los personajes cambian, Museum of Contemporary Art, Monterrey, Mexico (2004); Inter.play, Moore Space, Miami, Florida (2003); Edén, Jumex Collection, Mexico City, Mexico (2003); and ACNÉ, Museum of Modern Art, Mexico City, Mexico (1995). He has numerous critical texts published in catalogues and magazines.

 

2018 Bienvenidos a El Museo del Barrio!

We are excited to announce the appointment of our new Executive Director, Patrick Charpenel. El Museo del Barrio is thrilled to have Charpenel join the institution’s leadership and we look forward to seeing what he will bring to the legacy of this museum.

 

YouTube: youtu.be/l1Amlj49bt8

 

Laura Garcia-Lorca de los Rios, Spain:

 

Gloria Giner de los Ríos García (28 March 1886 – 6 February 1970) was a Spanish teacher at the Escuela Normal Superior de Maestras and the Institución Libre de Enseñanza. The author of innovative manuals dedicated to the teaching of history and geography,[1] she, together with Leonor Serrano Pablo [es], developed the educational "recipe" that they called "enthusiastic observation". They also worked to change the androcentric canon of geographical studies to include women.[2]

 

Gloria Giner de los Ríos García

 

Born: 28 March 1886 Madrid, Spain

Died: 6 February 1970 (aged 83) Madrid, Spain

Resting place: Civil Cemetery of Madrid [es]

Occupation: Teacher

Spouse(s): Fernando de los Ríos

Children: Laura de los Ríos Giner [es]

Parents: Hermenegildo Giner de los Ríos [es] (father), Laura García Hoppe [es] (mother)

She lived in exile during the Francoist Spain era, forming part of the intellectual elite that carried out educational, philological, literary, legal, and cultural work. Her family had close connections to that of poet Federico García Lorca.

 

Biography:

 

Gloria Giner de los Ríos García was born in Madrid on 28 March 1886. The daughter of Laura García Hoppe [es] and Hermenegildo Giner de los Ríos [es], she spent her childhood and adolescence in Madrid, Alicante, and Barcelona, cities where her father held the Chair of Philosophy. After finishing high school in 1906 and teaching in 1908, she completed her training by attending classes at the Institución Libre de Enseñanza and taking courses in art, pedagogy, and philosophy.[3] In 1909, she was promoted to the Escuela de Estudios Superiores de Magisterio [es].[1]

 

Marriage, family, and social life:

 

On 1 July 1912, Giner married Fernando de los Ríos, who had obtained the Chair of Law at the University of Granada. It was in this city that the couple took up residence, and in which Gloria was a teacher at the Normal School, by right of consort at first, and later in her own position.[3] A year later, their daughter Laura de los Ríos Giner [es] was born. In Granada, the Ríos Giner family became friends with the García Lorca family, with Manuel de Falla, and with Berta Wilhelmi and her husband Eduardo Domínguez. Wilhelmi had been in contact with the Institución Libre de Enseñanza and had organized some community schools in Almuñécar.[4] With her collaboration, Giner organized the education of her daughter Laura and other children, including Isabel García Lorca [es], in order to separate them from Granada's private education system.[3]

 

Laura de los Ríos and Isabel García Lorca:

 

Federico García Lorca was one of the select circle of friends of the Ríos family. He dedicated the poem Romance sonámbulo to Fernando and Gloria,[5] and was the one who introduced their daughters, Laura de los Ríos and Isabel García Lorca. The friendship between the latter was very intense and lasting. They became sisters-in-law when Laura married Federico's younger brother Francisco [es]. In an interview, Isabel Garcia Lorca recalled:

 

Gloria Giner was an extraordinary being. Well, of character, I think there was a certain similarity in all of them, some high moral tension. People a little demanding with what others did and what they could do. They were like that down deep, including my mother.[6]

 

Laura, in another interview, told of her mother's life in Granada:

 

My mother attended her classes every day...in the afternoon she prepared her classes and helped my father. She translated from German, the language my father and a German teacher in Granada had taught her. She also translated from French, which she knew very well, from Greek and Latin...lovingly and intellectually my parents were a very well-matched marriage.[7]

 

Professional career:

 

In 1931, the Provisional Government of the Republic appointed her husband Minister of Justice, and in December, Minister of Public Instruction. Giner told her daughter, "I'm not going to give up my career and live as a minister."[8] Nonetheless she performed some ceremonial functions and accompanied her husband on trips through Spain.[3] In 1932 she was on leave as a teacher at the Normal School, but continued teaching at the Institución Libre de Enseñanza. In 1933, after her husband resigned from government office, she rejoined teaching by accepting a position in Zamora. For three courses she lived alone in a hotel room three days a week, returning to Madrid for the rest of the week.[8] In Zamora, as in Granada, society shunned her for being the wife of a socialist and not attending religious services.[7]

 

Exile:

 

At the end of September 1936, Fernando de los Ríos was appointed ambassador of Spain to the United States, a position he held until March 1939. Gloria Giner moved to Washington, D.C. with her daughter, her mother, and a nephew of her husband. Fernanda Urruti, Fernando's mother, would later join them. In Washington, Giner was invited to several meetings that Eleanor Roosevelt organized in the White House.[3] During the Civil War, Fernando de los Ríos was separated from his professorship at the University of Madrid. In 1939, the Franco government definitively separated him from his chair and dismissed him.

 

Fernando de los Ríos taught at The New School for Social Research in New York, an institution founded to welcome European intellectuals who emigrated for political reasons.[5] Giner was a professor at Columbia University.[3][9] The Ríos-Giner family lived in exile in the United States, which did not recognize Spanish Republican exiles and subjected those who wanted to enter to immigration laws. However, university students and artists were exempt from the rigid immigration quota, provided they were endorsed by US citizens or claimed by a university. Gloria was one of the exiled academics who passed through American universities and formed an intellectual elite.[10]

 

In 1942, her daughter Laura married Francisco García Lorca, younger brother of the poet Federico, in the Mead Chapel of Middlebury College, where both were professors at the Spanish School.[11] The couple had three daughters, and the family lived together in a New York apartment. In addition to preparing classes, writing poems, and working on the publication of her works, Giner took care of her three granddaughters, took them out for walks and, if necessary, took them on the bus and subway in New York.

 

In 1949, Fernando de los Ríos died. Over 50 personalities of politics and culture attended the funeral. José de los Ríos – the younger brother of Fernando and Francisco García Lorca – presided over the dual family. Fernando's wife, mother, and daughter stayed at the house during the funeral, in accordance with Spanish custom at the time.

 

Return to Spain:

 

Gloria Giner returned to Spain with her daughter's family in 1965. She died in Madrid on 6 February 1970.[12] She was buried in the Civil Cemetery of Madrid [es], and her husband's remains were reinterred there alongside hers on 28 June 1980.[13]

 

Teaching methods:

 

Gloria Giner and her great friend Leonor Serrano Pablo [es] worked together on the teaching of geography in order to connect with students.[14] Giner defended the formative capacity of the plastic arts "as a real basis for the teaching of history in the first years of the formation of the culture of the child". Her 1935 book Cien lecturas históricas became a prominent text for educational reformers inspired by the work of Rafael Altamira.[1]

 

With Altamira and Maria Montessori as references, they developed didactic methods that, in Serrano's words, revolved around "enthusiastic observation". This consisted of teaching geography in dialogue with the students, strengthening their physical and emotional relationship with the environment. Another component of enthusiastic observation was emotional. Impositions of rote memorization were eliminated. In Giner's words, "the soul was educated and the spirit strengthened".

 

Serrano and Giner also advocated for the meaningful inclusion of women in the androcentric canon of studies on geography. The Dictionary of the Royal Spanish Academy had, in 1803, included the meaning of the word hombre (man) to refer to all mankind. Taking the term as inclusive of women, they understood that it forced men to relate to nature as women did. Serrano considered that rendering the androcentric references in geography meaningless would foster a "new creative, loving, anti-destructive, and anti-war humanity".[2] In the opinion of professor Ana I. Simón Alegre, this teaching, in the language of the 21st century, could be called the development of environmental education or the first manifestations of ecofeminism.[15]

 

Giner's last book, Por tierras de España (1962), also incorporated audio-lingual teaching methods.[9]

 

Works:

 

Historia de la pedagogía (1910)

Weimer, Hermann 1872-1942 (translation)

Geografía Primer grado. Aspectos de la naturaleza y vida del hombre en la tierra (1919)

Geografía: Primer grado (1919), with Federico Ribas (1890–1952)

Geografía general. El cielo, la Tierra y el hombre (1935)

Cien lecturas históricas (1935)

Lecturas geográficas. Espectáculos de la naturaleza, paisajes, ciudades y hombres (1936)

Romances de los ríos de España (1943)

Manual de historia de la civilización española (1951)

Cumbres de la civilización española: Interpretación del espíritu español individualizado en diecinueve figuras representativas (1955)

El paisaje de Hispanoamérica a través de su literatura: (antología) (1958)

Introducción a la historia de la civilización española (1959)

Por tierras de España (1962), with Luke Nolfi, ISBN 9780030800238

 

References:

 

^ a b c Duarte-Piña, Olga (2015). La enseñanza de la historia en la educación secundaria [Teaching of History in Secondary Education] (Thesis) (in Spanish). University of Seville. pp. 105–108. Retrieved 15 July 2019 – via Dialnet.

^ a b Simón Alegre, Ana I.; Sanz Álvarez, Arancha (January–June 2010). "Prácticas y teorías de descubrir paisajes: Viajeras y cultivadoras del estudio de la geografía en España, desde finales del siglo XIX hasta el primer tercio del XX" [Practices and Theories of Discovering Landscapes: Travelers and Cultivators of the Study of Geography in Spain, from the End of the 19th Century to the First Third of the 20th]. Arenal. Revista de historia de las mujeres (in Spanish). 17 (1): 55–79. ISSN 1134-6396. Retrieved 15 July 2019 – via Dialnet.

^ a b c d e f Ruiz-Manjón, Octavio (2007). "Gloria Giner de los Ríos: noticia biográfica de una madrileña" [Gloria Giner de los Ríos: Biographical Report of a Woman from Madrid]. Cuadernos de historia contemporánea (in Spanish) (Extra 1): 265–272. ISSN 0214-400X. Retrieved 15 July 2019 – via Dialnet.

^ Ruiz-Manjón, Octavio (31 May 2007). "Fernando de los Ríos. Un intelectual en el PSOE". El Cultural (in Spanish). Archived from the original on 10 March 2016. Retrieved 15 July 2019.

^ a b "Ríos Urruti, Fernando de los (1879–1949)" (in Spanish). Charles III University of Madrid. Retrieved 15 July 2019.

^ Méndez, José. "Isabel García Lorca". Revista Residencia (in Spanish). Retrieved 15 July 2019.

^ a b Rodrigo, Antonia (1 May 1982). "Laura de los Ríos". Revista Triunfo (in Spanish). No. 19. p. 64. Retrieved 15 July 2019.

^ a b "La niña que tocaba con Falla" [The Girl Who Played With Falla]. Granada Hoy (in Spanish). 8 March 2009. Retrieved 15 July 2019.

^ a b "Local Pair Co-Author Spanish Text". Democrat and Chronicle. 26 December 1962. p. 15. Retrieved 15 July 2019 – via Newspapers.com.

^ García Cueto, Pedro (30 April 2015). "Dos visiones del exilio cultural español: Vicente Llorens y Jordi Gracia" [Two Visions of Spanish Cultural Exile: Vicente Llorens and Jordi Gracia]. Fronterad (in Spanish). Archived from the original on 25 July 2018. Retrieved 15 July 2019.

^ Seseña, Natacha (26 December 1981). "Laura de los Ríos, un duelo de labores y esperanzas" [Laura de los Ríos, a Duel of Labors and Hopes]. El País (in Spanish). Retrieved 15 July 2019.

^ "Doña Gloria Giner de los Ríos". El Tiempo (in Spanish). 13 February 1970. p. 4. Retrieved 15 July 2019 – via Google News.

^ "Los restos de Fernando de los Ríos recibieron sepultura en el cementerio civil de Madrid" [The Remains of Fernando de los Ríos Buried in the Civil Cemetery of Madrid]. El País (in Spanish). 29 June 1980. Retrieved 15 July 2019.

^ Ortells Roca, Miquel; Artero Broch, Inmaculada (1 December 2013). "¿Para qué sirven las inspectoras? Leonor Serrano: La pedagogía y/contra el poder" [What are Inspectors For? Leonor Serrano: Pedagogy and/Against Power]. Quaderns (in Spanish) (76). Retrieved 15 July 2019.

^ Simón Alegre, Ana I. (1 March 2013). "Los inicios del ecofeminismo en España" [The Beginnings of Ecofeminism in Spain]. El Ecologista (in Spanish) (76). Retrieved 15 July 2019.

Further readingEdit

 

Fuentes, Víctor (2010). "'Manhattan transfers' personales al trasluz del exilio republicano en Nueva York". In Faber, Sebastiaan (ed.). Contra el olvido: el exilio español en Estados Unidos (in Spanish). Instituto Franklin de Estudios Norteamericanos. pp. 223–241. ISBN 9788481388701.

Zulueta, Carmen (2001). "Los domingos de don Fernando" [Sundays with Don Fernando]. Fundamentos de antropología (in Spanish) (10–11): 130–137.

 

Candida Gertler & Yana Peel, United Kingdom:

 

Candida Gertler (born 1966/1967) OBE is a British/German art collector, philanthropist, and former journalist.[2]

 

Candida Gertler

Born: 1966/1967 (age 52–53)[1]. Frankfurt am Main, Germany

Nationality: British, German

Occupation: Art collector

Net worth: £150 million (2009)

Spouse(s): Zak Gertler

Children: 2

 

Early life:

 

She was born in Frankfurt am Main, Germany, to Romanian Jewish immigrant parents.[1] [3] She studied journalism and law.[1]

 

Career:

 

In 2003 Gertler and Yana Peel founded the Outset Contemporary Art Fund.[4]

In June 2015, she was given an OBE "for services to Contemporary Visual Arts and Arts Philanthropy".[5]

She is a member of the Tate International Council.[6]

 

Personal life:

 

She is married to Zak Gertler.[7] They are Jewish, and have two children.[8]

 

He has been called "one of London's leading property developers".[7] In 2009, Zak Gertler and family had an estimated net worth of £150 million, down from £250 million in 2008.[9] "The Gertlers developed offices in Germany, moving into the London market in the 1990s."[9]

 

References:

 

^ a b c "The Tate's Secret Weapon: Outset". Art Market Monitor. 25 August 2009. Retrieved 12 April 2019.

^ "A missionary for art". Arterritory.com - Baltic, Russian and Scandinaviawn Art Territory. Retrieved 12 April 2019.

^ ""Artfully Dressed: Women in the Art World", Volume IV: Collectors & Patrons". Issuu. Retrieved 12 April 2019.

^ www.arterritory.com/en/art_market/collections/6202-a_miss...

^ "Candida GERTLER". www.thegazette.co.uk. Retrieved 12 April 2019.

^ "Interview with Candida Gertler, OBE". Artkurio Consultancy. Retrieved 12 April 2019.

^ a b "The London Magazine". www.thelondonmagazine.co.uk. Retrieved 12 April 2019.

^ parkeastsynagogue.org/wp-content/uploads/2019/02/Annoucem...

^ a b "Zak Gertler and family". The Sunday Times. 26 April 2009. Retrieved 12 April 2019.

 

Yana Peel (born June 1974) is a Canadian executive, businesswoman, children's author and philanthropist.[2] She was CEO of the Serpentine Galleries from 2016 to 2019, and was previously a board member.[3][4]

 

Yana Peel:

 

Born: Yana Mirkin[1]. June 1974 (age 45). Leningrad, USSR (now Russia)

Nationality: Canadian

Alma mater: McGill University, London School of Economics

Predecessor: Julia Peyton-Jones

Spouse(s): Stephen Peel (m. 1999)

Children: 2

Peel is a co-founder of the Outset Contemporary Art Fund (with Candida Gertler), and Intelligence Squared Asia, and was CEO of Intelligence Squared Group from 2013 to 2016.[5]

 

Peel has several advisory positions including the Tate International Council, V-A-C Foundation, and the NSPCC therapeutic board.[6][7] She has been an advisor to the British Fashion Council, Asia Art Archive, Lincoln Center, Para Site and the Victoria and Albert Museum, where she founded the design fund.[6][8][9][7]

 

Early life:

 

Yana Peel was born in June 1974[10] in Leningrad (now St. Petersburg), Russia. Her family emigrated to Canada via Austria in 1978.[3] She grew up in Toronto, Ontario.[11]

 

Peel studied Russian studies at McGill University during the 1990s. [12][3][1] In 1996,[13] while being a student she co-organised a fashion show for charity.[1][6][14] After that, Peel undertook a post-graduate degree in economics at the London School of Economics.[3][11] Peel was a member of the 2011 class of the World Economic Forum's Young Global Leaders programme.[15]

 

Career:

 

Goldman Sachs:

 

Peel started her career in the equities division of Goldman Sachs in 1997 in London, and became an executive director before leaving in 2003.[16][6][3][2]

 

Outset Contemporary Art Fund:

 

Peel co-founded the charity Outset Contemporary Art Fund in 2003 with Candida Gertler.[17][6][11] Peel and Gertler generated a model whereby artists could be presented to potential donors in order to raise funds to purchase their work, or to fund new commissions with a view to donating them to public institutions.[6] The Fund purchased over 100 pieces for the Tate Modern, and commissioned work by artists including Francis Alys, Yael Bartana, Candice Breitz and Steve McQueen.[6][16]

 

Intelligence Squared:

 

In 2009, Peel co-founded Intelligence Squared Asia with Amelie Von Wedel, a not-for-profit platform for hosting live debates in Hong Kong.[18][17][19] In 2012 Peel became CEO of Intelligence Squared Group,[18][20] bringing the live events business out of its financial difficulties.[6] Peel has hosted interviews including: Olafur Eliasson and Shirin Neshat at Davos,[21] Ai Wei Wei at the Cambridge Union.[22]

 

Serpentine Galleries:

 

In April 2016, Peel was appointed to the role of CEO of the Serpentine Galleries.[23][3] Peel said it was her "mission to create a safe space for unsafe ideas",[2] and to promote a "socially conscious Serpentine".[11] She indicated that she wanted to give artists a greater say in the development of the Serpentine Galleries, in order to give "artists a voice in the biggest global conversations".[11] Peel worked in tandem with the artistic director, Hans Ulrich Obrist.[6]

 

Peel furthered the Serpentine Galleries' technological ambitions, introducing digital engagement initiatives including Serpentine Mobile Tours[24] and the translation of the exhibition Zaha Hadid: Early Paintings and Drawings into Virtual Reality.[25][26] Peel stated that she was "committed to maintaining and open-source spirit"[27] at the Serpentine Galleries, and that it was her ambition "to inspire the widest audiences with the urgency of art and architecture".[2] The Financial Times noted that Peel "has been able to lure companies such as Google and Bloomberg as partners to help meet the Serpentine's annual £9.5m target".[24]

 

Peel and Obrist selected both the first African architect to work on a pavilion,[28] and the youngest architect to do so.[29] In 2018, she broadened the global reach of the Serpentine Pavilion programme by announcing the launch of a pavilion in Beijing designed by Sichuan practice, Jiakun Architects.[30]

 

Together with Lord Richard Rogers and Sir David Adjaye, Peel and Obrist selected Burkina Faso architect Diébédo Francis Kéré to design the 2017 pavilion.[31] The pavilion was awarded the Civic Trust Award in 2018.[32]

 

The Serpentine selected Mexican architect Frida Escobedo to design the 2018 pavilion. She will be the youngest architect to have participated in the Pavilion programme since it began in 2000.[29]

 

She stepped down as CEO in June 2019 as a consequence of the attention paid to her co-ownership of NSO Group, an Israeli cyberweapons company whose software has allegedly been used by authoritarian regimes to spy on dissidents.[4]

 

Philanthropy:

 

Peel co-chaired Para Site, a not-for-profit contemporary art space in Hong Kong, from 2010 to 2015.[33] She has been involved with the project since 2009.[17]

 

Peel founded the Victoria and Albert Museum's design fund in 2011.[9] The fund supported the acquisition of contemporary design objects.[9]

 

Peel is a member of NSPCC's therapeutic board.[7] Inspired by her children, in 2008 Peel produced a series of toddler-friendly art books published by Templar, including: Art For Baby, Color For Baby and Faces For Baby.[34] These books feature works by artists ranging from Damien Hirst to Keith Haring. Proceeds from the sales of the books go towards the NSPCC.[35]

 

Personal life:

 

In 1999, Peel married Stephen Peel,[36] a private equity financier.[37] They have two children and live in Bayswater, London.[37][38]

 

Awards and honours:

 

Montblanc Award for Arts Patronage 2011[39]

Debrett's 500 List: Art[40]

Evening Standard Progress 1000 2017[41]

ArtLyst Power 100[42]

Harper's Bazaar Women Of The Year 2017[27]

Harper's Bazaar Working Wardrobe: Best dressed women 2018[43]

Henry Crown Fellow. Appointed by the Aspen Institute in 2018.[44]

 

References:

 

^ a b c "McGill Reporter - Volume 28 Number 11". reporter-archive.mcgill.ca. Retrieved 19 February 2018.

^ a b c d Bailey, Sarah. "In Conversation: Art and Fashion Are Both About Desire", Red, London, 1 November 2017. Retrieved on 19 February 2018.

^ a b c d e f McElvoy, Anne. "In The Hot Seat", Porter, London, 1 December 2016.

^ a b Greenfield, Patrick (18 June 2019). "Serpentine Galleries chief resigns in spyware firm row". The Guardian. ISSN 0261-3077. Retrieved 18 June 2019 – via www.theguardian.com.

^ Sloway, Diane. "Meet Yana Peel, the Audacious Canadian Who's Transforming London's Famed Serpentine Galleries", W Magazine, 29 November 2016. Retrieved on 19 February 2018.

^ a b c d e f g h i Bourne, Henry. "L’alchimista", La Repubblica, Rome, 8 May 2017. Retrieved on 19 February 2018.

^ a b c "Serpentine Galleries Announce Appointment of Outset’s Yana Peel As CEO", ArtLys

“When your intellect will completely pierce the veil of delusion, then you will become indifferent to what has been heard and what is to be heard [from the scriptures].”

(Bhagavad Gita)

 

This man was taking a break as he kept on emptying plaster bags from a truck which stopped in my street in Varanasi (Benaras).

The amazing light and the dust gave a theatrical touch to what became my subject for a short while.

He was tired and I could se sweat melting with plaster on his skin, his expression could be taken for the state of piercing the veil of delusion...

View On Black

 

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