Collaboration beetween Biennalist and Ultracontemporay

  

Art Format

www.emergencyrooms.org/formats.html

 

en.wikipedia.org/wiki/Thierry_Geoffroy

  

Documenta From Wikipedia,

 

The Fridericianum during documenta (13)

documenta is an exhibition of contemporary art which takes place every five years in Kassel, Germany. It was founded by artist, teacher and curator Arnold Bode in 1955 as part of the Bundesgartenschau (Federal Horticultural Show) which took place in Kassel at that time.[1] It was an attempt to bring Germany up to speed with modern art, both banishing and repressing the cultural darkness of Nazism.[2] This first documenta featured many artists who are generally considered to have had a significant influence on modern art (such as Picasso and Kandinsky). The more recent documentas feature art from all continents; nonetheless most of it is site-specific.

 

Every documenta is limited to 100 days of exhibition, which is why it is often referred to as the "museum of 100 days".[3] Documenta is not a selling exhibition. It rarely coincides with the three other major art world events: the Venice Biennale, Art Basel and Skulptur Projekte Münster, but in 2017, all four were open simultaneously.

  

Etymology of documenta

The name of the exhibition is an invented word. The term is supposed to demonstrate the intention of every exhibition (in particular of the first documenta in 1955) to be a documentation of modern art which was not available for the German public during the Nazi era. Rumour spread from those close to Arnold Bode that it was relevant for the coinage of the term that the Latin word documentum could be separated into docere (Latin for teach) and mens (Latin for intellect) and therefore thought it to be a good word to describe the intention and the demand of the documenta.[4]

 

Each edition of documenta has commissioned its own visual identity, most of which have conformed to the typographic style of solely using lowercase letters, which originated at the Bauhaus.[5]

 

History

 

Stadtverwaldung by Joseph Beuys, oaktree in front of the museum Fridericianum, documenta 7

Art professor and designer Arnold Bode from Kassel was the initiator of the first documenta. Originally planned as a secondary event to accompany the Bundesgartenschau, this attracted more than 130,000 visitors in 1955. The exhibition centred less on "contemporary art“, that is art made after 1945: instead, Bode wanted to show the public works which had been known as "Entartete Kunst" in Germany during the Nazi era: Fauvism, Expressionism, Cubism, Blauer Reiter, Futurism and Pittura Metafisica. Therefore, abstract art, in particular the abstract paintings of the 1920s and 1930s, was the focus of interest in this exhibition.

 

Over time, the focus shifted to contemporary art. At first, the show was limited to works from Europe, but soon covered works by artists from the Americas, Africa and Asia. 4. documenta, the first ever to turn a profit, featured a selection of Pop Art, Minimal Art, and Kinetic Art.[6] Adopting the theme of Questioning Reality – Pictorial Worlds Today, the 1972 documenta radically redefined what could be considered art by featuring minimal and conceptual art, marking a turning point in the public acceptance of those styles.[7] Also, it devoted a large section to the work of Adolf Wolfli, the great Swiss outsider, then unknown. Joseph Beuys performed repeatedly under the auspices of his utopian Organization for Direct Democracy.[8] Additionally, the 1987 documenta show signaled another important shift with the elevation of design to the realm of art – showing an openness to postmodern design.[9] Certain key political dates for wide-reaching social and cultural upheavals, such as 1945, 1968 or 1976/77, became chronological markers of documenta X (1997), along which art's political, social, cultural and aesthetic exploratory functions were traced.[10] Documenta11 was organized around themes like migration, urbanization and the post-colonial experience,[11] with documentary photography, film and video as well as works from far-flung locales holding the spotlight.[7] In 2012, documenta (13) was described as "[a]rdently feminist, global and multimedia in approach and including works by dead artists and selected bits of ancient art".[12]

 

Criticism

documenta typically gives its artists at least two years to conceive and produce their projects, so the works are often elaborate and intellectually complex.[13] However, the participants are often not publicised before the very opening of the exhibition. At documenta (13), the official list of artists was not released until the day the show opened.[14] Even though curators have often claimed to have gone outside the art market in their selection, participants have always included established artists. In the documenta (13), for example, art critic Jerry Saltz identified more than a third of the artists represented by the renowned Marian Goodman Gallery in the show.[14]

 

Directors

The first four documentas, organized by Arnold Bode, established the exhibition's international credentials. Since the fifth documenta (1972), a new artistic director has been named for each documenta exhibition by a committee of experts. Documenta 8 was put together in two years instead of the usual five. The original directors, Edy de Wilde and Harald Szeemann, were unable to get along and stepped down. They were replaced by Manfred Schneckenburger, Edward F. Fry, Wulf Herzogenrath, Armin Zweite, and Vittorio Fagone.[15] Coosje van Bruggen helped select artists for documenta 7, the 1982 edition. documenta IX's team of curators consisted of Jan Hoet, Piero Luigi Tazzi, Denys Zacharopoulos, and Bart de Baere.[16] For documenta X Catherine David was chosen as the first woman and the first non-German speaker to hold the post. It is also the first and unique time that its website Documenta x was conceived by a curator (swiss curator Simon Lamunière) as a part of the exhibition. The first non-European director was Okwui Enwezor for Documenta11.[17]

  

TitleDateDirectorExhibitorsExhibitsVisitors

documenta16 July – 18 September 1955Arnold Bode148670130,000

II. documenta11 July – 11 October 1959Arnold Bode, Werner Haftmann3381770134,000

documenta III27 June – 5 October 1964Arnold Bode, Werner Haftmann3611450200,000

4. documenta27 June – 6 October 196824-strong documenta council1511000220,000

documenta 530 June – 8 October 1972Harald Szeemann218820228,621

documenta 624 June – 2 October 1977Manfred Schneckenburger6222700343,410

documenta 719 June – 28 September 1982Rudi Fuchs1821000378,691

documenta 812 June – 20 September 1987Manfred Schneckenburger150600474,417

documenta IX12 June – 20 September 1992Jan Hoet1891000603,456

documenta X21 June – 28 September 1997Catherine David120700628,776

documenta118 June – 15 September 2002Okwui Enwezor118450650,924

documenta 1216 June – 23 September 2007Roger M. Buergel/Ruth Noack[19]114over 500754,301

documenta (13)9 June – 16 September 2012Carolyn Christov-Bakargiev187[20]904,992[21]

documenta 148 April – 16 July 2017 in Athens, Greece;

10 June – 17 September 2017 in KasselAdam Szymczykmore than 1601500339.000 in Athens

891.500 in Kassel

documenta fifteen18 June 2022 – 25 September 2022 in Kasselruangrupa[22]

2012's edition was organized around a central node, the trans-Atlantic melding of two distinct individuals who first encountered each other in the "money-soaked deserts of the United Arab Emirates". As an organizing principle it is simultaneously a commentary on the romantic potentials of globalization and also a critique of how digital platforms can complicate or interrogate the nature of such relationships. Curatorial agents refer to the concept as possessing a "fricative potential for productive awkwardness," wherein a twosome is formed for the purposes of future exploration.[23]

 

Venues

documenta is held in different venues in Kassel. Since 1955, the fixed venue has been the Fridericianum. The documenta-Halle was built in 1992 for documenta IX and now houses some of the exhibitions. Other venues used for documenta have included the Karlsaue park, Schloss Wilhelmshöhe, the Neue Galerie, the Ottoneum, and the Kulturzentrum Schlachthof. Though Okwui Enezor notably tried to subvert the euro-centric approach documenta had taken, he instigated a series of five platforms before the Documenta11 in Vienna, Berlin, New Delhi, St Lucia, and Lagos, in an attempt to take documenta into a new post-colonial, borderless space, from which experimental cultures could emerge. documenta 12 occupied five locations, including the Fridericianum, the Wilhelmshöhe castle park and the specially constructed "Aue-Pavillon", or meadow pavilion, designed by French firm Lacaton et Vassal.[24] At documenta (13) (2012), about a fifth of the works were unveiled in places like Kabul, Afghanistan, and Banff, Canada.[13]

 

There are also a number of works that are usually presented outside, most notably in Friedrichsplatz, in front of the Fridericianum, and the Karlsaue park. To handle the number of artworks at documenta IX, five connected temporary "trailers" in glass and corrugated metal were built in the Karlsaue.[25] For documenta (13), French architects Anne Lacaton and Jean-Philippe Vassal constructed the temporary "Aue-Pavillon" in the park.

  

Rahmenbau (1977) by Haus Rucker und Co.

A few of the works exhibited at various documentas remained as purchases in Kassel museums. They include 7000 Eichen by Joseph Beuys; Rahmenbau (1977) by Haus-Rucker-Co; Laserscape Kassel (1977) by Horst H. Baumann; Traumschiff Tante Olga (1977) by Anatol Herzfeld; Vertikaler Erdkilometer by Walter De Maria; Spitzhacke (1982) by Claes Oldenburg; Man walking to the sky (1992) by Jonathan Borofsky; and Fremde by Thomas Schütte (one part of the sculptures are installed on Rotes Palais at Friedrichsplatz, the other on the roof of the Concert Hall in Lübeck).

 

documenta archive

The extensive volume of material that is regularly generated on the occasion of this exhibition prompted Arnold Bode to create an archive in 1961. The heart of the archive’s collection comes from the files and materials of the documenta organization. A continually expanding video and image archive is also part of the collection as are the independently organized bequests of Arnold Bode and artist Harry Kramer.

 

Management

Visitors

In 1992, on the occasion of documenta IX, for the first time in the history of the documenta, more than half a million people traveled to Kassel.[26] The 2002 edition of documenta attracted 650,000 visitors, more than triple Kassel's population.[27] In 2007, documenta 12 drew 754,000 paying visitors, with more than one-third of the visitors coming from abroad and guests from neighboring Netherlands, France, Belgium and Austria among the most numerous.[28] In 2012, documenta (13) had 904,992 visitors.[21]

 

References

Adrian Searle (June 11, 2012), "Documenta 13: Mysteries in the mountain of mud", The Guardian.

Roberta Smith (June 14, 2012), Art Show as Unruly Organism The New York Times.

Arnold Bode coined this phrase for the first time in the prologue of the first volume of the catalogue: documenta III. Internationale Ausstellung; Catalogue: Volume 1: Painting and Sculpture; Volume 2: Sketches; Volume 3: Industrial Design, Print; Kassel/Köln 1964; p. XIX

Kimpel, Harald: documenta, Mythos und Wirklichkeit. Köln 1997, ISBN 3-7701-4182-2

Alice Rawsthorn (June 3, 2012), A Symbol Is Born The New York Times.

The documenta IV Exhibition in Kassel (1968) German History in Documents and Images (GHDI).

Helen Chang (June 22, 2007), "Catching the Next Wave In Art at Documenta", The Wall Street Journal.

Roberta Smith (September 7, 2007), "Documenta 5" The New York Times.

Gimeno-Martinez, Javier; Verlinden, Jasmijn (2010). "From Museum of Decorative Arts to Design Museum: The Case of the Design museum Gent". Design and Culture. 2 (3).

dX 1997 Archived 2013-06-14 at the Wayback Machine, documenta XII.

Stephan Valentin (June 12, 2007), An art show in Kassel, Germany, rivals Venice Biennale The New York Times.

Roberta Smith (June 14, 2012), Art Show as Unruly Organism The New York Times.

Kelly Crow (June 8, 2012), A Party, Every Five Years, for 750,000 Guests The Wall Street Journal.

Jerry Saltz (June 15, 2012), Jerry Saltz: "Eleven Things That Struck, Irked, or Awed Me at Documenta 13" New York Magazine.

Michael Brenson (June 15, 1987), "Documenta 8, Exhibition In West Germany", The New York Times.

Michael Kimmelman (July 5, 1992) "At Documenta, It's Survival Of the Loudest", The New York Times.

Jackie Wullschlager (May 19, 2012) Vertiginous doubt Financial Times.

Julia Halperin, Gareth Harris (July 18, 2014) How much are curators really paid? Archived July 20, 2014, at the Wayback Machine The Art Newspaper.

Holland Cotter (22 June 2007). "Asking Serious Questions in a Very Quiet Voice". The New York Times. Retrieved 2014-08-29.

Ulrike Knöfel (8 June 2012). "What the 13th Documenta Wants You to See". Der Spiegel.

"904,992 people visit documenta (13) in Kassel". documenta und Museum Fridericianum Veranstaltungs-GmbH. 16 September 2012. Archived from the original on 25 February 2014. Retrieved 8 August 2013.

Russeth, Andrew (2019-02-22). "Ruangrupa Artist Collective Picked to Curate Documenta 15". ARTnews.com. Retrieved 2020-01-05.

"In Germany, Disguising Documentary As Art". The Huffington Post. Retrieved 2015-09-28.

Stephan Valentin (June 12, 2007), An art show in Kassel, Germany, rivals Venice Biennale International Herald Tribune.

Roberta Smith (June 22, 1992), A Small Show Within an Enormous One The New York Times.

d9 1992 Archived 2014-02-22 at the Wayback Machine, documenta XII.

Adrian Searle (June 19, 2007), 100 days of ineptitude The Guardian.

Catherine Hickley (September 24, 2007), "Documenta Contemporary Art Show Draws Record 754,000 to Kassel", Bloomberg.

Carly Berwick (May 17, 2007), "Documenta 'Mystery' Artists Are Revealed; Buzz Strategy Fizzles", Bloomberg.

Rachel Donado (April 5, 2017), German Art Exhibition Documenta Expands Into Athens, The New York Times.

Catherine Hickley (November 27, 2017), Documenta manager to leave post after budget overruns The Art Newspaper.

Further reading

Hickley, Catherine (2021-06-18). "This Show Sets the Direction of Art. Its Past Mirrored a Changing World". The New York Times.

Nancy Marmer, "Documenta 8: The Social Dimension?" Art in America, vol. 75, September 1987, pp. 128–138, 197–199.

 

other biennales :

Venice Biennial , Documenta Havana Biennial,Istanbul Biennial ( Istanbuli),Biennale de Lyon ,Dak'Art Berlin Biennial,Mercosul Visual Arts Biennial ,Bienal do Mercosul Porto Alegre.,Berlin Biennial ,Echigo-Tsumari Triennial .Yokohama Triennial Aichi Triennale,manifesta ,Copenhagen Biennale,Aichi Triennale

Yokohama Triennial,Echigo-Tsumari Triennial.Sharjah Biennial ,Biennale of Sydney, Liverpool , São Paulo Biennial ; Athens Biennale , Bienal do Mercosul ,Göteborg International Biennial for Contemporary Art

 

www.emergencyrooms.org

www.emergencyrooms.org

  

www.colonel.dk/

 

lumbung

Short concept by ruangrupa for documenta 15

"We want to create a globally oriented, cooperative, interdisciplinary art and culture platform that will remain effective beyond the 100 days of documenta fifteen. Our curatorial approach aims at a different kind of collaborative model of resource use—economically, but also in terms of ideas, knowledge, programs, and innovation."

  

ruangrupa’s central curatorial approach for documenta fifteen is based on the principles of collectivity, resource building, and equal sharing. They aim to appeal not just to an art audience but to a variety of communities, and to promote local commitment and participation. Their approach is based on an international network of local, community-based organizations from the art and other cultural contexts and can be outlined by the Indonesian term lumbung. lumbung, directly translatable as “rice barn,” is a collective pot or accumulation system used in rural areas of Indonesia, where crops produced by a community are stored as a future shared common resource and distributed according to jointly determind criteria. Using lumbung as a model, documenta fifteen is a collective resource pot, operating under the logics of the commons. It is an agglomeration of ideas, stories, (wo)manpower, time, and other shareable resources. At the center of lumbung is the imagination and the building of these collective, shared resources into new models of sustainable ideas and cultural practices. This will be fostered by residencies, assemblies, public activities, and the development of tools.

 

Interdisciplinarity is key in this process. It is where art meets activism, management, and networking to gather support, understand environments, and identify local resources. These elements then create actions and spaces, intertwine social relations and transactions; they slowly grow and organically find a public form. This is a strategy “to live in and with society.” It imagines the relations an art institution has with its community by being an active constituent of it. Strategies are then developed based on proximity and shared desires.

 

The main principles of the process are:

• Providing space to gather and explore ideas

• Collective decision making

• Non-centralization

• Playing between formalities and informalities

• Practicing assembly and meeting points

• Architectural awareness

• Being spatially active to promote conversation

• A melting pot for and from everyone’s thoughts, energies, and ideas

  

#documentakassel

#documenta

#documenta15

#artformat

#formatart

#rundebate

#thierrygeoffroy

#Colonel

#CriticalRun

#venicebiennale

#documentafifteen

#formatart

#documentacritic

#biennalist

#ultracontemporary art

#protestart

 

  

There is a quiet kind of courage in a man who smiles in the face of formality—who, in the most august corridors of science, chooses to wear a tie adorned with bright yellow smiley faces for his official portrait. That man is Bruce Alberts, a molecular biologist of towering intellect, irreverent humor, and deep humanity.

 

I met Bruce at his home perched high above San Francisco—reached by a steep climb that feels metaphorical once you step inside. The house is filled with Asian art and artifacts, collected not by Bruce, but by his wife, Betty Neary Alberts. A lifelong devotee of Asian art, Betty has shaped their home into something between a sanctuary and a living museum. Each object seems to hum with memory and meaning—testaments not just to culture, but to a shared life of curiosity and care.

 

Bruce greets you not with ceremony, but with ease. His posture is relaxed, his tone conspiratorial, as if you’ve just sat down beside him in a lab coffee room rather than at the former nerve center of the National Academy of Sciences. He chuckles as he tells the story of that infamous NAS portrait—the one with the smiley tie. “Some of the members were horrified,” he tells me with a grin. “Said it was unbecoming.” But he never considered changing it. “I loved that tie,” he says. So do I.

 

That small act—wearing joy on your chest in the heart of institutional seriousness—says something profound about Bruce Alberts. Here is a man who has spent his life decoding the exquisite machinery of cells, the polymerases and helicases and the elegant ballet of DNA replication. Yet he never forgot that science is a deeply human endeavor. It is done by people, for people, in all our fallibility and hope.

 

Alberts is best known as a co-author of Molecular Biology of the Cell, the textbook that launched a million biology majors. First published in 1983, it has become a rite of passage for students entering the molecular world. But beyond the technical achievement, it was Alberts’ belief in the democratization of knowledge that shaped its tone—rigorous, yes, but also readable, even playful in its way.

 

His scientific legacy is vast. As a researcher at UCSF, he pioneered our understanding of protein complexes that carry out DNA replication. But it is perhaps as a scientific statesman that Alberts made his most lasting impact. As President of the National Academy of Sciences from 1993 to 2005, he championed science education reform, emphasizing inquiry-based learning over rote memorization. He believed that every child deserved the opportunity to experience the thrill of discovery, not just the weight of facts.

 

He served as editor-in-chief of Science magazine, advised presidents, and traveled the world as a diplomatic ambassador for science. Through it all, he carried with him a conviction that science must be open, collaborative, and anchored in integrity. When he spoke about the culture of science, it was not to lament its imperfections, but to urge its continuous evolution. He pushed for transparency, for reproducibility, for humility in the face of complexity.

 

Yet for all his accolades—National Medal of Science, 18 honorary degrees, the leadership of the world’s most prestigious scientific body—what lingers most after spending time with Bruce is not awe, but warmth. He is quick to laugh, unafraid to poke fun at himself, and effortlessly generous with his time. There is a deep kindness behind his eyes, the kind that can’t be faked.

 

As we sat in the room surrounded by Betty’s lovingly curated Japanese screens and Chinese scrolls, I couldn’t help but see a kind of symmetry in his life. The cell, after all, is a collaboration of countless parts. So too is a life well lived. Bruce Alberts has orchestrated a life of meaning—not just through molecules and mechanisms, but through the people he’s lifted, the institutions he’s reshaped, and the joy he’s insisted on carrying with him.

 

Even, and perhaps especially, when it’s printed on a tie.

Meritxell Checa.

Strange beauty. Passion. Intellect. Loneliness. Adrenalin.

The Postcard

 

A postally unused postcard published by the Bodleian Library and printed at the Oxford University Press.

 

Percy Bysshe Shelley

 

Percy Bysshe Shelley, who was born on the 4th. August 1792, was one of the major English Romantic poets.

 

A radical in his poetry as well as in his political and social views, Shelley did not achieve fame during his lifetime, but recognition of his achievements in poetry grew steadily following his death, and he became an important influence on subsequent generations of poets, including Robert Browning, Algernon Charles Swinburne, Thomas Hardy, and W. B. Yeats.

 

American literary critic Harold Bloom describes Shelley as:

 

"A superb craftsman, a lyric poet without

rival, and surely one of the most advanced

sceptical intellects ever to write a poem."

 

Shelly's reputation fluctuated during the 20th. century, but in recent decades he has achieved increasing critical acclaim for the sweeping momentum of his poetic imagery, his mastery of genres and verse forms, and the complex interplay of sceptical, idealist, and materialist ideas in his work.

 

Among his best-known works are "Ozymandias" (1818), "Ode to the West Wind" (1819), "To a Skylark" (1820), the philosophical essay "The Necessity of Atheism" written alongside his friend T. J. Hogg (1811), and the political ballad "The Mask of Anarchy" (1819).

 

Shelley's other major works include the verse drama The Cenci (1819) and long poems such as Alastor, or The Spirit of Solitude (1815), Julian and Maddalo (1819), Adonais (1821), Prometheus Unbound (1820) - widely considered his masterpiece - Hellas (1822), and his final, unfinished work, The Triumph of Life (1822).

 

Shelley also wrote prose fiction and a quantity of essays on political, social, and philosophical issues.

 

Much of his poetry and prose was not published in his lifetime, or only published in expurgated form, due to the risk of prosecution for political and religious libel.

 

From the 1820's, his poems and political and ethical writings became popular in Owenist, Chartist, and radical political circles, and later drew admirers as diverse as Karl Marx, Mahatma Gandhi, and George Bernard Shaw.

 

Shelley's life was marked by family crises, ill health, and a backlash against his atheism, political views and defiance of social conventions. He went into permanent self-exile in Italy in 1818, and over the next four years produced what Leader and O'Neill call:

 

"Some of the finest poetry

of the Romantic period".

 

His second wife, Mary Shelley, was the author of Frankenstein.

 

Shelley died in a boating accident in 1822 at the age of 29.

 

Percy Bysshe Shelley - The Early Years

 

Shelley was born at Field Place, Warnham, West Sussex. He was the eldest son of Sir Timothy Shelley (1753–1844), a Whig Member of Parliament for Horsham from 1790 to 1792 and for Shoreham between 1806 and 1812, and his wife, Elizabeth Pilfold (1763–1846), the daughter of a successful butcher.

 

Percy had four younger sisters and one much younger brother. Shelley's early childhood was sheltered and mostly happy. He was particularly close to his sisters and his mother, who encouraged him to hunt, fish and ride.

 

At the age of six, he was sent to a day school run by the vicar of Warnham church, where he displayed an impressive memory and gift for languages.

 

In 1802 he entered the Syon House Academy in Brentford. Shelley was bullied and unhappy at the school, and sometimes responded with violent rage. He also began suffering from the nightmares, hallucinations and sleep walking that were periodically to afflict him throughout his life.

 

Shelley developed an interest in science which supplemented his voracious reading of tales of mystery, romance and the supernatural. During his holidays at Field Place, his sisters were often terrified by being subjected to his experiments with gunpowder, acids and electricity. Back at school he blew up a fence with gunpowder.

 

In 1804, Shelley entered Eton College, a period which he later recalled with loathing. He was subjected to particularly severe mob bullying which the perpetrators called "Shelley-baits".

 

A number of biographers and contemporaries have attributed the bullying to Shelley's aloofness, nonconformity and refusal to take part in fagging. His peculiarities and violent rages earned him the nickname "Mad Shelley".

 

His interest in the occult and science continued, and contemporaries describe him giving an electric shock to a master, blowing up a tree stump with gunpowder and attempting to raise spirits with occult rituals.

 

In his senior years, Shelley came under the influence of a part-time teacher, Dr James Lind, who encouraged his interest in the occult, and introduced him to liberal and radical authors.

 

Shelley also developed an interest in Plato and idealist philosophy which he pursued in later years through self-study. According to Richard Holmes, Shelley, by his leaving year, had gained a reputation as a classical scholar and a tolerated eccentric.

 

In his last term at Eton, his first novel Zastrozzi appeared and he had established a following among his fellow students. Prior to enrolling at University College, Oxford in October 1810, Shelley completed Original Poetry by Victor and Cazire (written with his sister Elizabeth), the verse melodrama The Wandering Jew and the Gothic novel St. Irvine; or, The Rosicrucian: A Romance (published 1811).

 

At Oxford Shelley attended few lectures, instead spending long hours reading and conducting scientific experiments in the laboratory he set up in his room. He met a fellow student, Thomas Jefferson Hogg, who became his closest friend.

 

Shelley became increasingly politicised under Hogg's influence, developing strong radical and anti-Christian views. Such views were dangerous in the reactionary political climate prevailing during Britain's war with Napoleonic France, and Shelley's father warned him against Hogg's influence.

 

In the winter of 1810–1811, Shelley published a series of anonymous political poems and tracts: Posthumous Fragments of Margaret Nicholson, The Necessity of Atheism (written in collaboration with Hogg) and A Poetical Essay on the Existing State of Things.

 

Shelley mailed The Necessity of Atheism to all the bishops and heads of colleges at Oxford, and he was called to appear before the college's fellows, including the Dean, George Rowley. His refusal to answer questions put by college authorities regarding whether or not he authored the pamphlet resulted in his expulsion from Oxford on the 25th. March 1811, along with Hogg.

 

Hearing of his son's expulsion, Shelley's father threatened to cut all contact with Shelley unless he agreed to return home and study under tutors appointed by him. Shelley's refusal to do so led to a falling-out with his father.

 

Shelley's Marriage to Harriet Westbrook

 

In late December 1810, Shelley had met Harriet Westbrook, a pupil at the same boarding school as Shelley's sisters. They corresponded frequently that winter, and also after Shelley had been expelled from Oxford.

 

Shelley expounded his radical ideas on politics, religion and marriage to Harriet, and they gradually convinced each other that she was oppressed by her father and at school.

 

Shelley's infatuation with Harriet developed in the months following his expulsion, when he was under severe emotional strain due to the conflict with his family, his bitterness over the breakdown of his romance with his cousin Harriet Grove, and his unfounded belief that he might be suffering from a fatal illness.

 

At the same time, Harriet Westbrook's elder sister Eliza, to whom Harriet was very close, encouraged the young girl's romance with Shelley. Shelley's correspondence with Harriet intensified in July, while he was holidaying in Wales, and in response to her urgent pleas for his protection, he returned to London in early August.

 

Putting aside his philosophical objections to matrimony, he left with the sixteen-year-old Harriet for Edinburgh on the 25th. August 1811, and they were married there on the 28th.

 

Hearing of the elopement, Harriet's father, John Westbrook, and Shelley's father cut off the allowances of the bride and groom. Shelley's father believed that his son had married beneath him, as Harriet's father had earned his fortune in trade, and was the owner of a tavern and coffee house.

 

Surviving on borrowed money, Shelley and Harriet stayed in Edinburgh for a month, with Hogg living under the same roof. The trio left for York in October, and Shelley went on to Sussex to settle matters with his father, leaving Harriet behind with Hogg.

 

Shelley returned from his unsuccessful excursion to find that Harriet's sister Eliza had moved in with Harriet and Hogg. Harriet confessed that Hogg had tried to seduce her while Shelley had been away. Accordingly Shelley, Harriet and Eliza soon left for Keswick in the Lake District, leaving Hogg in York.

 

At this time Shelley was involved in an intense platonic relationship with Elizabeth Hitchener, a 28-year-old unmarried schoolteacher of advanced views, with whom he had been corresponding. Hitchener, whom Shelley called the "sister of my soul" and "my second self", became his confidante and intellectual companion as he developed his views on politics, religion, ethics and personal relationships.

 

Shelley proposed that Elizabeth join him, Harriet and Eliza in a communal household where all property would be shared.

 

The Shelleys and Eliza spent December and January in Keswick where Shelley visited Robert Southey whose poetry he admired. Southey was taken with Shelley, even though there was a wide gulf between them politically, and predicted great things for him as a poet.

 

Southey also informed Shelley that William Godwin, author of Political Justice, which had greatly influenced him in his youth, and which Shelley also admired, was still alive. Shelley wrote to Godwin, offering himself as his devoted disciple. Godwin, who had modified many of his earlier radical views, advised Shelley to reconcile with his father, become a scholar before he published anything else, and give up his avowed plans for political agitation in Ireland.

 

Meanwhile, Shelley had met his father's patron, Charles Howard, 11th. Duke of Norfolk, who helped secure the reinstatement of Shelley's allowance.

 

With Harriet's allowance also restored, Shelley now had the funds for his Irish venture. Their departure for Ireland was precipitated by increasing hostility towards the Shelley household from their landlord and neighbours who were alarmed by Shelley's scientific experiments, pistol shooting and radical political views.

 

As tension mounted, Shelley claimed he had been attacked in his home by ruffians, an event which might have been real, or a delusional episode triggered by stress. This was the first of a series of episodes in subsequent years where Shelley claimed to have been attacked by strangers during periods of personal crisis.

 

Early in 1812, Shelley wrote, published and personally distributed in Dublin three political tracts: An Address, to the Irish People; Proposals for an Association of Philanthropists; and Declaration of Rights. He also delivered a speech at a meeting of O'Connell's Catholic Committee in which he called for Catholic emancipation, repeal of the Acts of Union and an end to the oppression of the Irish poor. Reports of Shelley's subversive activities were sent to the Home Secretary.

 

Returning from Ireland, the Shelley household travelled to Wales, then Devon, where they again came under government surveillance for distributing subversive literature. Elizabeth Hitchener joined the household in Devon, but several months later had a falling out with the Shelleys and left.

 

The Shelley household settled in Tremadog, Wales in September 1812, where Shelley worked on Queen Mab, a utopian allegory with extensive notes preaching atheism, free love, republicanism and vegetarianism. The poem was published the following year in a private edition of 250 copies, although few were initially distributed, because of the risk of prosecution for seditious and religious libel.

 

In February 1813, Shelley claimed he was attacked in his home at night. The incident might have been real, a hallucination brought on by stress, or a hoax staged by Shelley in order to escape government surveillance, creditors and his entanglements in local politics. The Shelleys and Eliza fled to Ireland, then London.

 

Back in England, Shelley's debts mounted as he tried unsuccessfully to reach a financial settlement with his father. On the 23rd. June 1813, Harriet gave birth to a girl, Eliza Ianthe Shelley, but in the following months the relationship between Shelley and his wife deteriorated.

 

Shelley resented the influence that Harriet's sister had over her, while Harriet was alienated by Shelley's close friendship with an attractive widow, Harriet Boinville, and her daughter Cornelia Turner.

 

Following Ianthe's birth, the Shelleys moved frequently across London, Wales, the Lake District, Scotland and Berkshire to escape creditors and to search for a home.

 

In March 1814, Shelley remarried Harriet in London to settle any doubts about the legality of their Edinburgh wedding and to secure the rights of their child. Nevertheless, the Shelleys lived apart for most of the following months, and Shelley reflected bitterly on:

 

"My rash & heartless union with Harriet".

 

Shelley's Elopement with Mary Godwin

 

In May 1814, Shelley began visiting his mentor William Godwin almost daily, and soon fell in love with Mary, the sixteen-year-old daughter of Godwin and the late feminist author Mary Wollstonecraft.

 

Shelley and Mary declared their love for each other during a visit to her mother's grave in the churchyard of St. Pancras Old Church on the 26th. June 1814. When Shelley told William Godwin that he intended to leave Harriet and live with Godwin's daughter, his mentor banished him from the house, and forbade Mary from seeing him.

 

Shelley and Mary however eloped to Europe on the 28th. July 1814, taking Mary's step-sister Claire Clairmont with them. Before leaving, Shelley had secured a loan of £3,000, but had left most of the funds at the disposal of Godwin and Harriet, who was now pregnant. The financial arrangement with Godwin led to rumours that he had sold his daughters to Shelley.

 

Shelley, Mary Godwin and Claire made their way across war-ravaged France where Shelley wrote to Harriet, asking her to meet them in Switzerland with the money he had left for her.

 

However, hearing nothing from Harriet in Switzerland, and being unable to secure sufficient funds or suitable accommodation, the three travelled to Germany and Holland before returning to England on the 13th. September 1814.

 

Shelley spent the next few months trying to raise loans and avoid bailiffs. Mary was pregnant, lonely, depressed and ill. Her mood was not improved when she heard that, on the 30th. November 1814, Harriet had given birth to Charles Bysshe Shelley, heir to the Shelley fortune and baronetcy.

 

This was followed, in early January 1815, by news that Shelley's grandfather, Sir Bysshe, had died leaving an estate worth £220,000. The settlement of the estate, and a financial settlement between Shelley and his father (now Sir Timothy), however, was not concluded until April the following year.

 

In February 1815, Mary gave premature birth to a baby girl who died ten days later, deepening her depression. In the following weeks, Mary became close to Hogg who temporarily moved into the household.

 

Shelley was almost certainly having a sexual relationship with Claire at this time, and it is possible that Mary, with Shelley's encouragement, was also having a sexual relationship with Hogg. In May Claire left the household, at Mary's insistence, to reside in Lynmouth.

 

In August 1815 Shelley and Mary moved to Bishopsgate where Shelley worked on Alastor, a long poem in blank verse based on the myth of Narcissus and Echo. Alastor was published in an edition of 250 in early 1816 to poor sales and largely unfavourable reviews from the conservative press.

 

On the 24th. January 1816, Mary gave birth to William Shelley. Percy was delighted to have another son, but was suffering from the strain of prolonged financial negotiations with his father, Harriet and William Godwin. Shelley showed signs of delusional behaviour, and was contemplating an escape to the continent.

 

Lord Byron

 

Claire initiated a sexual relationship with Lord Byron in April 1816, just before his self-exile on the continent, and then arranged for Byron to meet Shelley, Mary and her in Geneva.

 

Shelley admired Byron's poetry, and had sent him Queen Mab and other poems. Shelley's party arrived in Geneva in May and rented a house close to Villa Diodati, on the shores of Lake Geneva, where Byron was staying. There Shelley, Byron and the others engaged in discussions about literature, science and "various philosophical doctrines".

 

One night, while Byron was reciting Coleridge's Christabel, Shelley suffered a severe panic attack with hallucinations. The previous night Mary had had a more productive vision or nightmare which inspired her novel Frankenstein.

 

Shelley and Byron then took a boating tour around Lake Geneva, which inspired Shelley to write his "Hymn to Intellectual Beauty", his first substantial poem since Alastor.

 

A tour of Chamonix in the French Alps inspired "Mont Blanc", which has been described as an atheistic response to Coleridge's "Hymn before Sunrise in the Vale of Chamoni". During this tour, Shelley often signed guest books with a declaration that he was an atheist. These declarations were seen by other British tourists, including Southey, which hardened attitudes against Shelley back home.

 

Relations between Byron and Shelley's party became strained when Byron was told that Claire was pregnant with his child. Shelley, Mary, and Claire left Switzerland in late August, with arrangements for the expected baby still unclear, although Shelley made provision for Claire and the baby in his will.

 

In January 1817 Claire gave birth to a daughter by Byron who she named Alba, but later renamed Allegra in accordance with Byron's wishes.

 

Shelley's Marriage to Mary Godwin

 

Shelley and Mary returned to England in September 1816, and in early October they heard that Mary's half-sister Fanny Imlay had killed herself. Mary believed that Fanny had been in love with Shelley, and Shelley himself suffered depression and guilt over her death, writing:

 

"Friend had I known thy secret grief

Should we have parted so."

 

Further tragedy followed in December 1816 when Shelley's estranged wife Harriet drowned herself in the Serpentine in Hyde Park. Harriet, pregnant and living alone at the time, believed that she had been abandoned by her new lover. In her suicide letter she asked Shelley to take custody of their son Charles but to leave their daughter in her sister Eliza's care.

 

Shelley married Mary Godwin on the 30 December 1816, despite his philosophical objections to the institution. The marriage was intended to help secure Shelley's custody of his children by Harriet and to placate Godwin who had refused to see Shelley and Mary because of their previous adulterous relationship.

 

After a prolonged legal battle, the Court of Chancery eventually awarded custody of Shelley and Harriet's children to foster parents, on the grounds that Shelley had abandoned his first wife for Mary without cause, and was an atheist.

 

In March 1817 the Shelleys moved to the village of Marlow, Buckinghamshire, where Shelley's friend Thomas Love Peacock lived. The Shelley household included Claire and her baby Allegra, both of whose presence was resented by Mary. Shelley's generosity with money and increasing debts also led to financial and marital stress, as did Godwin's frequent requests for financial help.

 

On the 2nd. September 1817 Mary gave birth to a daughter, Clara Everina Shelley. Soon after, Shelley left for London with Claire, which increased Mary's resentment towards her step-sister. Shelley was arrested for two days in London over money he owed, and attorneys visited Mary in Marlowe over Shelley's debts.

 

Shelley was part of the literary and political circle that surrounded Leigh Hunt, and during this period he met William Hazlitt and John Keats. Shelley's major work during this time was Laon and Cythna, a long narrative poem featuring incest and attacks on religion.

 

It was hastily withdrawn after publication due to fears of prosecution for religious libel, and was re-edited and reissued as The Revolt of Islam in January 1818. Shelley also published two political tracts under a pseudonym: A Proposal for putting Reform to the Vote throughout the Kingdom (March 1817) and An Address to the People on the Death of Princess Charlotte (November 1817).

 

In December he wrote "Ozymandias", which is considered to be one of his finest sonnets, as part of a competition with friend and fellow poet Horace Smith.

 

Shelley in Italy

 

On the 12th. March 1818 the Shelleys and Claire left England:

 

"To escape its tyranny civil and religious".

 

A doctor had also recommended that Shelley go to Italy for his chronic lung complaint, and Shelley had arranged to take Claire's daughter, Allegra, to her father Byron who was now in Venice.

 

After travelling some months through France and Italy, Shelley left Mary and baby Clara at Bagni di Lucca (in today's Tuscany) while he travelled with Claire to Venice to see Byron and make arrangements for visiting Allegra.

 

Byron invited the Shelleys to stay at his summer residence at Este, and Shelley urged Mary to meet him there. Clara became seriously ill on the journey, and died on the 24th. September 1818 in Venice.

 

Following Clara's death, Mary fell into a long period of depression and emotional estrangement from Shelley.

 

The Shelleys moved to Naples on the 1st. December 1818, where they stayed for three months. During this period Shelley was ill, depressed and almost suicidal: a state of mind reflected in his poem "Stanzas written in Dejection – December 1818, Near Naples".

 

While in Naples, Shelley registered the birth and baptism of a baby girl, Elena Adelaide Shelley (born on the 27th. December 1818), naming himself as the father and falsely naming Mary as the mother.

 

The parentage of Elena has never been conclusively established. Biographers have variously speculated that she was adopted by Shelley to console Mary for the loss of Clara, that she was Shelley's child to Claire, that she was his child to his servant Elise Foggi, or that she was the child of a "mysterious lady" who had followed Shelley to the continent.

 

Shelley registered the birth and baptism on the 27th. February 1819, and the household left Naples for Rome the following day, leaving Elena with carers. Elena died in a poor suburb of Naples on the 9th. June 1820.

 

In Rome, Shelley was in poor health, probably suffering from nephritis and tuberculosis which later was in remission. Nevertheless, he made significant progress on three major works: Julian and Maddalo, Prometheus Unbound, and The Cenci.

 

Julian and Maddalo is an autobiographical poem which explores the relationship between Shelley and Byron, and analyses Shelley's personal crises of 1818 and 1819. The poem was completed in the summer of 1819, but was not published in Shelley's lifetime.

 

Prometheus Unbound is a long dramatic poem inspired by Aeschylus's retelling of the Prometheus myth. It was completed in late 1819 and published in 1820.

 

The Cenci is a verse drama of rape, murder and incest based on the story of the Renaissance Count Cenci of Rome and his daughter Beatrice. Shelley completed the play in September, and the first edition was published that year. It was to become one of his most popular works, and the only one to have two authorised editions during his lifetime.

 

Shelley's three-year-old son William died in June, probably of malaria. The new tragedy caused a further decline in Shelley's health, and deepened Mary's depression. On the 4th. August she wrote:

 

"We have now lived five years together;

and if all the events of the five years

were blotted out, I might be happy".

 

The Shelleys were now living in Livorno where, in September, Shelley heard of the Peterloo Massacre of peaceful protesters in Manchester. Within two weeks he had completed one of his most famous political poems, The Mask of Anarchy, and despatched it to Leigh Hunt for publication. Hunt, however, decided not to publish it for fear of prosecution for seditious libel. The poem was only officially published in 1832.

 

The Shelleys moved to Florence in October, where Shelley read a scathing review of the Revolt of Islam (and its earlier version Laon and Cythna) in the conservative Quarterly Review. Shelley was angered by the personal attack on him in the article which he erroneously believed had been written by Southey. His bitterness over the review lasted for the rest of his life.

 

On the 12th. November, Mary gave birth to a boy, Percy Florence Shelley. Around the time of Percy's birth, the Shelleys met Sophia Stacey, who was a ward of one of Shelley's uncles, and who was staying at the same pension as the Shelleys.

 

Sophia, a talented harpist and singer, formed a friendship with Shelley while Mary was preoccupied with her newborn son. Shelley wrote at least five love poems and fragments for Sophia including "Song Written for an Indian Air".

 

The Shelleys moved to Pisa in January 1820, ostensibly to consult a doctor who had been recommended to them. There they became friends with the Irish republican Margaret Mason (Lady Margaret Mountcashell) and her common-law husband George William Tighe. Mrs Mason became the inspiration for Shelley's poem "The Sensitive Plant", and Shelley's discussions with Mason and Tighe influenced his political thought and his critical interest in the population theories of Thomas Malthus.

 

In March Shelley wrote to friends that Mary was depressed, suicidal and hostile towards him. Shelley was also beset by financial worries, as creditors from England pressed him for payment and he was obliged to make secret payments in connection with his "Neapolitan charge" Elena.

 

Meanwhile, Shelley was writing A Philosophical View of Reform, a political essay which he had begun in Rome. The unfinished essay, which remained unpublished in Shelley's lifetime, has been called:

 

"One of the most advanced and

sophisticated documents of political

philosophy in the nineteenth century".

 

Another crisis erupted in June when Shelley claimed that he had been assaulted in the Pisan post office by a man accusing him of foul crimes. Shelley's biographer James Bieri suggests that this incident was possibly a delusional episode brought on by extreme stress, as Shelley was being blackmailed by a former servant, Paolo Foggi, over baby Elena.

 

It is likely that the blackmail was connected with a story spread by another former servant, Elise Foggi, that Shelley had fathered a child to Claire in Naples and had sent it to a foundling home. Shelley, Claire and Mary denied this story, and Elise later recanted.

 

In July, hearing that John Keats was seriously ill in England, Shelley wrote to the poet inviting him to stay with him at Pisa. Keats replied with hopes of seeing him, but instead, arrangements were made for Keats to travel to Rome.

 

In early July 1820, Shelley heard that baby Elena had died on 9 June. In the months following the post office incident and Elena's death, relations between Mary and Claire deteriorated, and Claire spent most of the next two years living separately from the Shelleys, mainly in Florence.

 

That December Shelley met Teresa (Emilia) Viviani, who was the 19-year-old daughter of the Governor of Pisa and who was living in a convent awaiting a suitable marriage. Shelley visited her several times over the next few months, and they started a passionate correspondence which dwindled after her marriage the following September. Emilia was the inspiration for Shelley's major poem Epipsychidion.

 

In March 1821 Shelley completed "A Defence of Poetry", a response to Peacock's article "The Four Ages of Poetry". Shelley's essay, with its famous conclusion "Poets are the unacknowledged legislators of the world", remained unpublished in his lifetime.

 

Following the death of Keats in 1821, Shelley wrote Adonais, which is considered to be one of the major pastoral elegies. The poem was published in Pisa in July 1821, but sold few copies.

 

Shelley went alone to Ravenna in early August to see Byron, making a detour to Livorno for a rendezvous with Claire. Shelley stayed with Byron for two weeks and invited the older poet to spend the winter in Pisa. After Shelley heard Byron read his newly completed fifth canto of Don Juan he wrote to Mary:

 

"I despair of rivalling Byron."

 

In November Byron moved into Villa Lanfranchi in Pisa, just across the river from the Shelleys. Byron became the centre of the "Pisan circle" which was to include Shelley, Thomas Medwin, Edward Williams and Edward Trelawny.

 

In the early months of 1822, Shelley became increasingly close to Jane Williams, who was living with her partner Edward Williams in the same building as the Shelleys.

 

Shelley wrote a number of love poems for Jane, including "The Serpent is Shut out of Paradise" and "With a Guitar, to Jane". Shelley's obvious affection for Jane was to cause increasing tension between Shelley, Edward Williams and Mary.

 

Claire arrived in Pisa in April at Shelley's invitation, and soon after they heard that her daughter Allegra had died of typhus in Ravenna. The Shelleys and Claire then moved to Villa Magni, near Lerici on the shores of the Gulf of La Spezia.

 

Shelley acted as mediator between Claire and Byron over arrangements for the burial of their daughter, and the added strain led to Shelley having a series of hallucinations.

 

Mary almost died from a miscarriage on the 16th, June, her life only being saved by Shelley's effective first aid. Two days later Shelley wrote to a friend that there was no sympathy between Mary and him, and if the past and future could be obliterated he would be content in his boat with Jane and her guitar.

 

That same day he also wrote to Trelawny asking for prussic acid. The following week, Shelley woke the household with his screaming over a nightmare or hallucination in which he saw Edward and Jane Williams as walking corpses, and himself strangling Mary.

 

During this time, Shelley was writing his final major poem, the unfinished The Triumph of Life, which Harold Bloom has called:

 

"The most despairing poem he wrote".

 

The Death of Shelley

 

On the 1st. July 1822, Shelley and Edward Williams sailed in Shelley's new boat the Don Juan to Livorno where Shelley met Leigh Hunt and Byron in order to make arrangements for a new journal, The Liberal.

 

After the meeting, on the 8th. July, Shelley, Williams and their boat boy sailed out of Livorno for Lerici. A few hours later, the Don Juan and its inexperienced crew were lost in a storm. The vessel, an open boat, had been custom-built in Genoa for Shelley.

 

Mary Shelley declared in her "Note on Poems of 1822" that the design had a defect, and that the boat was never seaworthy. In fact, however, the Don Juan was overmasted; the sinking was due to a severe storm and poor seamanship of the three men on board.

 

Shelley's badly decomposed body washed ashore at Viareggio ten days later, and was identified by Trelawny from the clothing and a copy of Keats's Lamia in a jacket pocket. On the 16th. August, his body was cremated on a beach near Viareggio, and the ashes were buried in the Protestant Cemetery of Rome.

 

When news of Shelley's death reached England, the Tory London newspaper The Courier printed:

 

"Shelley, the writer of some infidel poetry,

has been drowned; now he knows whether

there is God or no."

 

Shelley's ashes were reburied in a different plot at the cemetery in 1823. His grave bears the Latin inscription Cor Cordium (Heart of Hearts), and a few lines of "Ariel's Song" from Shakespeare's The Tempest:

 

'Nothing of him that doth fade

But doth suffer a sea change

Into something rich and strange'.

 

When Shelley's body was cremated on the beach, his presumed heart resisted burning, and was retrieved by Trelawny. The heart was possibly calcified from an earlier tubercular infection, or was perhaps his liver.

 

Trelawny gave the scorched organ to Hunt, who preserved it in spirits of wine and refused to hand it over to Mary. He finally relented, and the heart was eventually buried either at St Peter's Church, Bournemouth or in Christchurch Priory. Hunt also retrieved a piece of Shelley's jawbone which, in 1913, was given to the Shelley-Keats Memorial in Rome.

 

Shelley's Political, Religious and Ethical views

 

-- Politics

 

Shelley was a political radical who was influenced by thinkers such as Rousseau, Paine, Godwin, Wollstonecraft, and Leigh Hunt. He advocated Catholic Emancipation, republicanism, parliamentary reform, the extension of the franchise, freedom of speech and peaceful assembly, an end to aristocratic and clerical privilege, and a more equal distribution of income and wealth.

 

The views he expressed in his published works were often more moderate than those he advocated privately, because of the risk of prosecution for seditious libel and his desire not to alienate more moderate friends and political allies. Nevertheless, his political writings and activism brought him to the attention of the Home Office, and he came under government surveillance at various periods.

 

Shelley's most influential political work in the years immediately following his death was the poem Queen Mab, which included extensive notes on political themes. The work went through 14 official and pirated editions by 1845, and became popular in Owenist and Chartist circles. His longest political essay, A Philosophical View of Reform, was written in 1820, but not published until 1920.

 

-- Nonviolence

 

Shelley's advocacy of nonviolent resistance was largely based on his reflections on the French Revolution and the rise of Napoleon, and his belief that violent protest would increase the prospect of a military despotism.

 

Although Shelley sympathised with supporters of Irish independence, he did not support violent rebellion. In his early pamphlet An Address, to the Irish People (1812) he wrote:

 

"I do not wish to see things changed now,

because it cannot be done without violence,

and we may assure ourselves that none of

us are fit for any change, however good, if

we condescend to employ force in a cause

we think right."

 

In his later essay A Philosophical View of Reform, Shelley did concede that there were political circumstances in which force might be justified:

 

"The last resort of resistance is undoubtably [sic] insurrection. The right of insurrection is derived

from the employment of armed force to counteract

the will of the nation."

 

Shelley supported the 1820 armed rebellion against absolute monarchy in Spain, and the 1821 armed Greek uprising against Ottoman rule.

 

Shelley's poem "The Mask of Anarchy" (written in 1819, but first published in 1832) has been called:

 

"Perhaps the first modern statement of

the principle of nonviolent resistance".

 

Gandhi was familiar with the poem, and it is possible that Shelley had an indirect influence on Gandhi through Henry David Thoreau's Civil Disobedience.

 

-- Religion

 

Shelley was an avowed atheist, who was influenced by the materialist arguments in Holbach's Le Système de la Nature. His atheism was an important element of his political radicalism, as he saw organised religion as inextricably linked to social oppression.

 

The overt and implied atheism in many of his works raised a serious risk of prosecution for religious libel. His early pamphlet The Necessity of Atheism was withdrawn from sale soon after publication following a complaint from a priest. His poem Queen Mab, which includes sustained attacks on the priesthood, Christianity and religion in general, was twice prosecuted by the Society for the Suppression of Vice in 1821. A number of his other works were edited before publication to reduce the risk of prosecution.

 

-- Free Love

 

Shelley's advocacy of free love drew heavily on the work of Mary Wollstonecraft and the early work of William Godwin. In his notes to Queen Mab, he wrote:

 

"A system could not well have been

devised more studiously hostile to

human happiness than marriage."

 

He argued that:

 

"The children of unhappy marriages

are nursed in a systematic school of

ill-humour, violence and falsehood".

 

Shelley believed that the ideal of chastity outside marriage was "a monkish and evangelical superstition" which led to the hypocrisy of prostitution and promiscuity.

 

Shelley believed that "sexual connection" should be free among those who loved each other, and last only as long as their mutual love. Love should also be free, and not subject to obedience, jealousy and fear.

 

He denied that free love would lead to promiscuity and the disruption of stable human relationships, arguing that relationships based on love would generally be of long duration and marked by generosity and self-devotion.

 

When Shelley's friend T. J. Hogg made an unwanted sexual advance to Shelley's first wife Harriet, Shelley forgave him of his "horrible error" and assured him that he was not jealous. It is very likely that Shelley encouraged Hogg and Shelley's second wife Mary to have a sexual relationship.

 

-- Vegetarianism

 

Shelley converted to a vegetable diet in early March 1812 and sustained it, with occasional lapses, for the remainder of his life. Shelley's vegetarianism was influenced by ancient authors such as Hesiod, Pythagoras, Socrates, Plato, Ovid and Plutarch, but more directly by John Frank Newton, author of The Return to Nature, or, A Defence of the Vegetable Regimen (1811).

 

Shelley wrote two essays on vegetarianism: A Vindication of Natural Diet (1813) and "On the Vegetable System of Diet" (written circa 1813–1815, but first published in 1929).

 

William Owen Jones argues that Shelley's advocacy of vegetarianism was strikingly modern, emphasising its health benefits, the alleviation of animal suffering, the inefficient use of agricultural land involved in animal husbandry, and the economic inequality resulting from the commercialisation of animal food production. Shelley's life and works inspired the founding of the Vegetarian Society in England (1847) and directly influenced the vegetarianism of George Bernard Shaw and perhaps Gandhi.

 

Reception and Influence of Shelley's Work

 

Shelley's work was not widely read in his lifetime outside a small circle of friends, poets and critics. Most of his poetry, drama and fiction was published in editions of only 250 copies which generally sold poorly. Only The Cenci went to an authorised second edition while Shelley was alive – in contrast, Byron's The Corsair (1814) sold out its first edition of 10,000 copies in one day.

 

The initial reception of Shelley's work in mainstream periodicals (with the exception of the liberal Examiner) was generally unfavourable. Reviewers often launched personal attacks on Shelley's private life and political, social and religious views, even when conceding that his poetry contained beautiful imagery and poetic expression.

 

There was also criticism of Shelley's intelligibility and style, Hazlitt describing it as:

 

"A passionate dream, a straining

after impossibilities, a record of fond

conjectures, a confused embodying

of vague abstraction".

 

Shelley's poetry soon however gained a wider audience in radical and reformist circles. Queen Mab became popular with Owenists and Chartists, and Revolt of Islam influenced poets sympathetic to the workers' movement such as Thomas Hood, Thomas Cooper and William Morris.

 

However, Shelley's mainstream following did not develop until a generation after his death. Bieri argues that editions of Shelley's poems published in 1824 and 1839 were edited by Mary Shelley to highlight her late husband's lyrical gifts and downplay his radical ideas. Matthew Arnold famously described Shelley as a "beautiful and ineffectual angel".

 

Shelley was a major influence on a number of important poets in the following decades, including Robert Browning, Swinburne, Hardy and Yeats. Shelley-like characters frequently appeared in nineteenth-century literature, such as Scythrop in Peacock's Nightmare Abbey, Ladislaw in George Eliot's Middlemarch, and Angel Clare in Hardy's Tess of the d'Urbervilles.

 

Twentieth-century critics such as Eliot, Leavis, Allen Tate and Auden variously criticised Shelley's poetry for deficiencies in style, "repellent" ideas, and immaturity of intellect and sensibility.

 

However, Shelley's critical reputation rose from the 1960's as a new generation of critics highlighted Shelley's debt to Spenser and Milton, his mastery of genres and verse forms, and the complex interplay of sceptical, idealist and materialist ideas in his work.

 

American literary critic Harold Bloom describes him as:

 

"A superb craftsman, a lyric poet

without rival, and surely one of the

most advanced sceptical intellects

ever to write a poem".

 

According to Donald H. Reiman:

 

"Shelley belongs to the great tradition

of Western writers that includes Dante,

Shakespeare and Milton".

 

John Lauritsen and Charles E. Robinson have argued that Shelley's contribution to Mary Shelley's novel Frankenstein was extensive, and that he should be considered a collaborator or co-author.

 

However Professor Charlotte Gordon and others have disputed this contention. Fiona Sampson has said:

 

"In recent years Percy's corrections, visible

in the Frankenstein notebooks held at the

Bodleian Library in Oxford, have been

seized on as evidence that he must have

at least co-authored the novel. In fact, when

I examined the notebooks myself, I realised

that Percy did rather less than any line editor

working in publishing today."

 

Thoughts From Percy Shelley

 

"The soul's joy lies in doing."

 

"I have drunken deep of joy, And

I will taste no other wine tonight."

 

"A poet is a nightingale, who sits in

darkness and sings to cheer its own

solitude with sweet sounds."

 

"War is the statesman's game, the

priest's delight, the lawyer's jest,

the hired assassin's trade."

 

"Soul meets soul on lovers' lips."

 

"Fear not for the future,

weep not for the past."

 

"Our sincerest laughter with some

pain is fraught; Our sweetest songs

are those that tell of saddest thought."

 

"O, wind, if winter comes, can

can spring be far behind?"

Year of the Monkey

 

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

 

Horse

  

"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

Celastraceae (staff vine or bittersweet family) » Celastrus paniculatus

 

see-LAS-trus -- from the ancient Greek kelastros, the name of another tree

pan-ick-yoo-LAY-tus or pan-ick-yoo-LAH-tus -- referring to the flower clusters (panicles)

 

commonly known as: black-oil plant, celastrus, oriental bittersweet, intellect tree, staff tree • Bengali: kijri, malkangani • Gujarati: માલકંગના malkangana • Hindi: मालकंगनी malkangani • Kannada: ಭವಮ್ಗ bhavamga, ಜೊತಿಷ್ಮತಿ jotishmati, ಕರಿಗನ್ನೇ kariganne, ಕೊಉಗಿಲು kougilu • Konkani: माळकांगोणी malkangoni • Marathi: कांगुणी kanguni, माळकांगोणी malkangoni • Oriya: korsana, pengu • Sanskrit: अलवण alavan, ज्योतिषमति jyotishmati, कन्गु kangu • Tamil: குவரிகுண்டல் kuvarikuntal, மண்ணைக்கட்டி mannai-k-katti, வாலுளுவை valuluvai • Telugu: కాసరతీగె kasara-tige, మానెరు maneru • Urdu: کنگني مال malkanguni

 

Native to: India, China, Sri Lanka, south-east Asia

  

References: Flowers of India • Sahyadri Database • ENVIS - FRLHT • eFlora

Imām Husseīn ibn ‘Alī ibn Abī Ṭālib (a.s.) when he reminded Muawiya of [the use of] his intellect, said, ‘The intellect is only perfected through following the truth’ , to which Muawiya replied, ‘There is only one thing in your chests [i.e. you attribute everything to the truth].’

 

Imām Husseīn ibn ‘Alī ibn Abī Ṭālib (a.s.)

A`alam al-Din, p. 298; Mizan ul Hikmah, page No. 472

 

الإمامُ الحسينُ (عَلَيهِ الّسَلامُ) ـ لَمّا تَذاكَروا العَقلَ عِندَ مُعاوِيَةَ ـ: لا يَكمُلُ العَقلُ إلّا بِاتِّباعِ الحَقِّ ، فقالَ مُعاوِيَةُ: ما في صُدورِكُم إلّا شَيءٌ واحِدٌ.

An often overlooked bird.....some might think ugly, but, I think their face is full of character and intellect.

Hicks’s Peaceable Kingdom

Many people would recognize the work of Edward Hicks (1780-1849) in his Peaceable Kingdom paintings. But it would be a rare person who would know much more about his life and beliefs, which were totally connected with them. Some think of him as a colonial folk artist, untrained and self-taught, simple, sweet, or naive. That view is partially true, but also misleading. Although Hicks was self-taught, he developed sophisticated technical ability and had an educated and penetrating intellect.

 

His career started as a decorator of carriages and maker of signs. Some of the signs were patriotic, such as views of Washington crossing the Delaware with the moon penetrating storm clouds, like the cosmic eye of God, observing and approving of the events. Another was a wooden placard adorned with the face of Benjamin Franklin. The most curious sign to us might be the one of a joyful jumble of hats for a hatter named Jacob Christ, who surprisingly came from Nazareth, albeit Pennsylvania.

 

At first his fellow Quakers looked a bit askance at his profession, and because of this, at one time he gave It up to be a farmer. He was unsuccessful at farming, however, and returned to his brushes. It was honest work, so fellow members of his meeting eventually forgave him, especially since he was becoming a strong preacher, traveling among many meetings. He did agree with them about certain vanities in art and refused to paint portraits, which were too ego-centered.

 

He worked at the time when both the United States and modern American Quakerism were young. His spiritual beliefs came from Barclay and 18th-century quietism, which espoused simplicity, self-discipline, and contact with the Inner Light. FIias Hicks, his second cousin, was a central figure in a religious storm. Edward Hicks was a spokesman, in word and in image, for those who became known as the Hicksites. It broke his heart to see Quakers becoming worldly, with excessive material goods and inflated pride, and leaning towards the creation of a spiritual elite. He felt this corrosion also in the authoritarian control of elders, as mere men, and not as followers of the Inner Spirit of Christ. He had a genuine feeling for the Scriptures, along with hope for a continuing sense of insight open to all. Some of the divisions between urban and rural Quakers have been laid at the feet of visiting Quakers from England, justly or unjustly. In his travels, Hicks spoke much of this.

 

He also spoke of something else: his own education included ancient concepts of animal symbolism with its references to aspects of human personality. These symbols came into his paintings. The lion was quick-tempered and willful. The wolf was full of melancholy and reserved. The bear was sluggish and greedy. The leopard, buoyant. In his paintings, these were both animal qualities with potential violence as well as the aforementioned rage, egoism, greed, etc. personified.

 

His "signature" subject of the peaceable kingdom slowly evolved. His symbols of the animals were joined to a quotation of Isaiah's prophecy in the Bible (Isa. 11:6): The wolf shall also dwell with the lamb, and the leopard shall lie down with the kid; and the calf and the young lion and the fatling together; and a little child shall lead them.

 

The Peaceable Kingdom paintings portray a delicate balance of difficult and unresolved issues. The lion-ego poses the greatest threat. The wild animals are seemingly domesticated and brought into line with loving kindness. However, their expression of pop-eyed puzzlement is not lost on any viewer. For the moment, they are behaving themselves, eating bovine food and not the little lambs. Hicks's paintings over the years show an increasingly subtle rendering of these animals and children clustered together. His concern is revealed through a tree that appears as if struck by lightning, splitting it. These are not mere decorations added for the naturalistic setting. The divided tree remains a major element in his paintings. As with the animal symbolism, other figures could represent concepts like "justice" or "purity." Originally a sign painter, Hicks continued to make "signs," except that now we have to call them symbols.

 

The little child had appeared in earlier paintings representing liberty and freedom from autocratic oppression. Politically, that meant kings and princes for' Hicks. But spiritual freedom also has to be obtained. There is a struggle against a foe, not British Quakers or material riches, but the weakness and characteristics of a willful self. The true foe was a self-willed, egotistical, greedy, lustful, or slanderously poisonous self Hicks rejected the authority of the self-aggrandized. He sought the authority of a purer self, washed by the Inner Light, which could reveal religious understandings, even if possibly at odds with established views.

 

This search was not his alone, and there was resistance to it. A face-off came, with dire results culminating in a division amongst Quakers. For Friends there were many words, not necessarily all polite. Hicks laid the blame upon the inherent human propensities that when uncontrolled turn wild. He felt that a peaceable kingdom was possible, that the child would lead them, that the lamb would lie down with the wolf, etc. Across the ravine was seen an example of William Penn demonstrating how it could be done. There might be other groups of Quakers, with Elias Hicks among them, representing what the artist felt were the better aspects of humankind, wrapped in long ribbons, with messages such as "Mind the Inner Light." Deeper in the paintings, in colorful satu- rations of light, might be seen a hilltop with a figure and twelve followers, indicating something even loftier, but with no written labels.

 

Edward Hicks allows us to see the Light coming out of all living beings and the world, speaking to that which shines within every one of us.

This photo is part of a collection of my Jim Warren favorites, meaning that I did not paint this. This is not my work; I am merely helping to introduce it to those who care to look.

 

Here is the artist's website:

www.jimwarren.com/site/

 

www.jimwarren.com/site/index.php?option=com_gallery2&...

Ancient sexuality exposed

Adhya Sharma

Youth (12 years and under)

"Ganesha - Lord of Intellect"

2022

Works on Paper (watercolor, pencil, ink, charcoal, pastel, marker, crayon, digital)

8"x12"

‘Love and intellect cannot stay together in one head.’ - His Holiness Younus AlGohar

 

According to the 10th century philosopher, Abu Hayyan al-Tawhidi, calligraphy is "… Jewellery fashioned by the hand from the pure gold of the intellect". In addition the words themselves came to represent power, protection and blessing. The written word, as early as the 7th century, was adopted as the distinctive symbol of Islam. Arabic inscriptions continued to be used throughout the Islamic world on buildings and coins to signify the authority of Muslim rule.

 

Qur'an Page | Museum of Islamic Art, Doha, Qatar

 

Camera: Canon EOS 5D Mark II

Lens: Zeiss Distagon T* 2/25 ZE

Focal Length: 25 mm

Exposure: ¹⁄₃₀ sec at f/2.5

ISO: 640

A Faruqi String of Seven Madani Pearls

 

Amir-ul-Muminin Sayyiduna 'Umar Faruq A'zam has stated:

 

1. He who avoids talking uselessly is blessed with intellect and wisdom.

 

2. He who avoids useless gazing i.e. looking around unnecessarily, gains tranquillity of the heart.

 

3. He who refrains from useless eating (meaning, one who refrains from eating excessively or eating different type of food without any hunger merely for pleasure) is bestowed with pleasure in 'Ibadah(worship).

 

4. He who refrains from useless laughter is granted awe and dignity.

 

5. He who refrains from joking around and mockery, is blessed with light of Iman (faith).

 

6. He who refrains from fondness of this worlds, is given fondness of the afterlife.

 

7. He who refrains from finding faults in others, is blessed with the ability to rectify his own faults. (Derived from Al-Munabbihat, p.89)

 

All the Viewers are requested to kindly share this Image to as many people as you can and post your Comments about this Photo. It will be sadqa-e-jaria for us.

 

www.dawateislami.net

 

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Sometimes colors really add nothing to an image and even seem to be an insult to the intellect of the observer. As is the case here. I mean: who above the age of 2 does not know skies usually are blue, clouds white and grass green?

So, if it were not for the possibility to be aqble to convert color images to black and white, I would have thrown this one out already a long time ago.

 

Life Quotes

mini toy bus and color tone

China and India

   

english

 

Ganesha (Sanskrit: गणेश; IAST: Gaṇeśa ), also spelled Ganesa or Ganesh, also known as Ganapati (Sanskrit: गणपति; IAST: gaṇapati), Vinayaka (Sanskrit: विनायक; IAST: Vināyaka), and Pillaiyar (Tamil: பிள்ளையார்), is one of the deities best-known and most widely worshipped 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 other attributes, Ganesha's elephant head makes him easy to identify.Ganesha is widely revered as the Remover of Obstacles and more generally as Lord of Beginnings and Lord of Obstacles (Vighnesha (Sanskrit: विघ्नेश; IAST: Vighneśa), Vighneshvara (Sanskrit: विघ्नेश्वर; IAST: Vighneśvara), patron of arts and sciences, and the deva of intellect and wisdom. He is honoured at the beginning of rituals and ceremonies and invoked as Patron of Letters during writing sessions. Several texts relate mythological anecdotes associated with his birth and exploits and explain his distinct iconography.

 

Ganesha emerged a distinct deity in clearly recognizable form in the 4th and 5th centuries CE, during the Gupta Period, although he inherited traits from Vedic and pre-Vedic precursors. His popularity rose quickly, and 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, (Sanskrit: गाणपत्य; IAST: gāṇapatya), who identified Ganesha as the supreme deity, arose during this period. The principal scriptures dedicated to Ganesha are the Ganesha Purana, the Mudgala Purana, and the Ganapati Atharvashirsa.

 

Etymology and other names

 

Ganesha has many other titles and epithets, including Ganapati and Vigneshvara. The Hindu title of respect Shri (Sanskrit: श्री; IAST: śrī; also spelled Sri or Shree) 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 (Sanskrit: गण; IAST: gaṇa), meaning a group, multitude, or categorical system and isha (Sanskrit: ईश; IAST: īśa), 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 (IAST: Śiva). 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 (Sanskrit: गणपति; Tamil: கணபதி; IAST: gaṇapati), 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 Vignesha), 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 (IAST: gajānana) ; having the face of an elephant).

Vinayaka (Sanskrit: विनायक; Tamil: விநாயகா; IAST: vināyaka) 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 (Sanskrit: विघ्नेश; IAST: vighneśa) and Vighneshvara (Sanskrit: विघ्नेश्वर; vighneśvara) (Lord of Obstacles) refers to his primary function in Hindu mythology as the master and remover of obstacles (vighna). The widespread name of Ganesha in Thailand is Phra Phikanet or Phra Phikanesuan, both of which are derived from Vara Vighnesha and Vara Vighneshvara respectively, whereas the name Kanet (from Ganesha) is rather rare. In the Kundalini, Ganesha is the presiding deity of 'Mooladhara Chakra" and hence referred to as "Mooladhara Murthy" signifying that he is the Lord to be propitiated at the beginning of any event.

A prominent name for Ganesha in the Tamil language is Pille(பிள்ளை) or Pillaiyar(பிள்ளையார்) (Little Child). A. K. Narain differentiates these terms by saying that pille means a "child" while pillaiyar means a "noble child". He adds that the words pallu(பல்லு), 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 (မဟာပိန္နဲ, pronounced [məhà pèiɴné]), derived from Pali Mahā Wināyaka (မဟာဝိနာယက).

  

portugues

 

No hinduísmo, Ganexa ou Ganesha (sânscrito: गणेश ou श्रीगणेश (quando usado para distinguir status de Senhor) (ou "senhor dos obstáculos," seu nome é também escrito como Ganesa ou Ganesh e algumas vezes referido como Ganapati) é uma das mais conhecidas e veneradas representações de deus. Ele é o primeiro filho de Shiva e Parvati, e o esposo de Buddhi (também chamada Riddhi) e Siddhi. Ele é chamado também de Vinayaka em Kannada, Malayalam e Marathi, Vinayagar e Pillayar (em tâmil), e Vinayakudu em Telugu. 'Ga' simboliza Buddhi (intelecto) e 'Na' simboliza Vijnana (sabedoria). Ganesha é então considerado o mestre do intelecto e da sabedoria. Ele é representado como uma divindade amarela ou vermelha, com uma grande barriga, quatro braços e a cabeça de elefante com uma única presa, montado em um rato. É habitualmente representado sentado, com uma perna levantada e curvada por cima da outra. Em geral, antepõe-se ao seu nome o título Hindu de respeito 'Shri' ou Sri.

 

Ganesha é o símbolo das soluções lógicas e deve ser interpretado como tal. Seu corpo é humano enquanto que a cabeça é de um elefante; ao mesmo tempo, seu transporte (vahana) é um rato. Desta forma Ganesha representa uma solução lógica para os problemas, ou "Destruidor de Obstáculos". Sua consorte é Buddhi (um sinônimo de mente) e ele é adorado junto de Lakshmi (a deusa da abundância) pelos mercadores e homens de negócio. A razão sendo a solução lógica para os problemas e a prosperidade são inseparáveis.

 

O culto de Ganesha é amplamente difundido, mesmo fora da Índia. Seus devotos são chamados Ganapatyas.

Front row l-r: owlbear; intellect devourer; lamia; cave fisher; basilisk. Middle row l-r: shambling mound; two mummies; carrion crawler. Back row l-r: ochre jelly; giant; black pudding.

 

The ochre jelly and black pudding in the back row are my own sculpts, the left mummy is available from Mega Miniatures (originally a Metal Magic fig by Hobby Products), the right mummy is by Ral Partha, the owlbear by Archive and the rest are from Grenadier. Figures date from 1975-1988.

"I do not feel obliged to believe that the same God who has endowed us with sense, reason, and intellect has intended us to forgo their use." Galileo Galilei.

   

“In the morning I bathe my intellect in the stupendous and cosmogonal philosophy of the Bhagavad gita, since whose composition years of the gods have elapsed, and in comparison with which our modern world and its literature seem puny and trivial; and I doubt if that philosophy is not to be referred to a previous state of existence, so remote is its sublimity from our conceptions.

 

I lay down the book and go to my well for water, and lo! there I meet the servant of the Bramin, priest of Brahma and Vishnu and Indra, who still sits in his temple on the Ganges reading the Vedas, or dwells at the root of a tree with his crust and water jug. I meet his servant come to draw water for his master, and our buckets as it were grate together in the same well. The pure Walden water is mingled with the sacred water of the Ganges.”

― Henry David Thoreau, Walden: Or, Life in the Woods

--- G.K. Chesterson

 

Yes, I am still alive.

Somehow.

Celastraceae (staff vine or bittersweet family) » Celastrus paniculatus

 

see-LAS-trus -- from the ancient Greek kelastros, the name of another tree

pan-ick-yoo-LAY-tus or pan-ick-yoo-LAH-tus -- referring to the flower clusters (panicles)

 

commonly known as: black-oil plant, celastrus, oriental bittersweet, intellect tree, staff tree • Bengali: kijri, malkangani • Gujarati: માલકંગના malkangana • Hindi: मालकंगनी malkangani • Kannada: ಭವಮ್ಗ bhavamga, ಜೊತಿಷ್ಮತಿ jotishmati, ಕರಿಗನ್ನೇ kariganne, ಕೊಉಗಿಲು kougilu • Konkani: माळकांगोणी malkangoni • Marathi: कांगुणी kanguni, माळकांगोणी malkangoni • Oriya: korsana, pengu • Sanskrit: अलवण alavan, ज्योतिषमति jyotishmati, कन्गु kangu • Tamil: குவரிகுண்டல் kuvarikuntal, மண்ணைக்கட்டி mannai-k-katti, வாலுளுவை valuluvai • Telugu: కాసరతీగె kasara-tige, మానెరు maneru • Urdu: کنگني مال malkanguni

 

Native to: India, China, Sri Lanka, south-east Asia

  

References: Flowers of India • Sahyadri Database • ENVIS - FRLHT • eFlora

"Intellectual, (Lat.) belonging to the Intellect, Spiritual."

– 'Glossographia Anglicana nova; or, A dictionary interpreting such hard words of whatever language, as are at present used in the English tongue' (1707).

 

"[General System Theory]... is a logico-mathematical field, the subject matter of which is the formulation and derivation of those principles which hold for systems in general."

– Ludwig von Bertalanffy, 'Problems of Life' (1952).

 

"Many psychiatrists and psychologists refuse to entertain the idea that society as a whole may be lacking in sanity. They hold that the problem of mental health in a society is only that of the number of ‘unadjusted’ individuals, and not of a possible unadjustment of the culture itself."

– Erich Fromm, 'The Sane Society'.

 

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AN ENERGY PHOTO REPORT FROM EARL R. STONEBRIDGE

 

"In my honest opinion, people, this is the size of the intellect of those who believe American industry will succeed by using green power," he said.

 

"Incidentally, scientists have discovered that glaciers were melting in the 1700s at the same rate as today. So, if you want to get rid of coal and oil, you might as well turn off your lights now."

__________________________________________________________________________

 

Earl R. Stonebridge is an avid supporter of using our nation's supply of natural gas. He has written extensively on the benefits of how our use of natural gas could completely change the nature of energy in North America, making the import of middle-eastern oil no longer necessary.

Photographed from our running bus.

  

My experience

 

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…

     

Description

 

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 megafauna 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.

   

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 )

  

Photographed from our running bus.

  

My experience

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…

  

Description

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 megafauna 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.

 

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 )

   

For more info on our trip to the Summer Palace, check out

Postcard Intellect

...Intellect on the offensive

Celastraceae (staff vine or bittersweet family) » Celastrus paniculatus

 

see-LAS-trus -- from the ancient Greek kelastros, the name of another tree

pan-ick-yoo-LAY-tus or pan-ick-yoo-LAH-tus -- referring to the flower clusters (panicles)

 

commonly known as: black-oil plant, celastrus, oriental bittersweet, intellect tree, staff tree • Bengali: kijri, malkangani • Gujarati: માલકંગના malkangana • Hindi: मालकंगनी malkangani • Kannada: ಭವಮ್ಗ bhavamga, ಜೊತಿಷ್ಮತಿ jotishmati, ಕರಿಗನ್ನೇ kariganne, ಕೊಉಗಿಲು kougilu • Konkani: माळकांगोणी malkangoni • Marathi: कांगुणी kanguni, माळकांगोणी malkangoni • Oriya: korsana, pengu • Sanskrit: अलवण alavan, ज्योतिषमति jyotishmati, कन्गु kangu • Tamil: குவரிகுண்டல் kuvarikuntal, மண்ணைக்கட்டி mannai-k-katti, வாலுளுவை valuluvai • Telugu: కాసరతీగె kasara-tige, మానెరు maneru • Urdu: کنگني مال malkanguni

 

Native to: India, China, Sri Lanka, south-east Asia

  

References: Flowers of India • Sahyadri Database • ENVIS - FRLHT • eFlora

d15 Selection commity announced / but maybe .... :THE NEXT DOCUMENTA SHOULD BE CURATED BY A TANK

 

Mitglieder der Findungskommission sind: Ute Meta Bauer, Internationale Kuratorin, Gründungsdirektorin des Centre for Contemporary Art (CCA) in Singapur, Direktorin der 3. Berlin Bienale;

Amar Kanwar, indischer Dokumentarfilmer und Künstler;

Frances Morris, Direktorin des Tate Modern in London;

Gabi Ngcobo, Kuratorin der 10. Berlin Bienale 2018;

Elvira Dyangani Ose, Kuratorin Creative Time in New York;

Philippe Pirotte, Rektor an der staatlichen Hochschule für Bildende Künste, Städelschule in Frankfurt;

Jochen Volz, Direktor der Pinacoteca do Estado in Sao Paulo, Brasilien.

--------------biennalist illustration and inspiration for the commity --------------

illustration documenta 2012 / uusollicited art work "THE NEXT DOCUMENTA SHOULD BE CURATED BY A TANK "

for the exhibition Global art and the Museum @ GAM @ ZKM MUSEUM / (Peter Weibel and Hans Belting ) came this text

THE NEXT DOCUMENTA SHOULD BE CURATED BY A TANK

author of the Month (linkk) "THE NEXT DOCUMENTA SHOULD BE CURATED BY A TANK"

by Thierry Geoffroy / sept 2012 / CL

www.emergencyrooms.org/biennalist.html by www.colonel.dk and www.emergencyrooms.org www.emergencyrooms.org/formats.html about other art format

 

------------------------------

documenta history From Wikipedia,

 

Documenta is an exhibition of contemporary art which takes place every five years in Kassel, Germany. It was founded by artist, teacher and curator Arnold Bode in 1955 as part of the Bundesgartenschau (Federal Horticultural Show) which took place in Kassel at that time,[1] and was an attempt to bring Germany up to speed with modern art, both banishing and repressing the cultural darkness of Nazism.[2] This first documenta featured many artists who are generally considered to have had a significant influence on modern art (such as Picasso and Kandinsky). The more recent documentas feature art from all continents; nonetheless most of it is site-specific.

 

Every documenta is limited to 100 days of exhibition, which is why it is often referred to as the "museum of 100 days".[3] Documenta is not a selling exhibition. It rarely coincides with the three other major art world events: the Venice Biennale, Art Basel and Skulptur Projekte Münster, but in 2017, all four were open simultaneously.

  

Etymology of documenta

The name of the exhibition is an invented word. The term is supposed to demonstrate the intention of every exhibition (in particular of the first documenta in 1955) to be a documentation of modern art which was not available for the German public during the Nazi era. Rumour spread from those close to Arnold Bode that it was relevant for the coinage of the term that the Latin word documentum could be separated into docere (Latin for teach) and mens (Latin for intellect) and therefore thought it to be a good word to describe the intention and the demand of the documenta.[4]

 

Each edition of documenta has commissioned its own visual identity, most of which have conformed to the typographic style of solely using lowercase letters, which originated at the Bauhaus.[5]

History[edit]

Stadtverwaldung by Joseph Beuys, oaktree in front of the museum Fridericianum, documenta 7

 

Art professor and designer Arnold Bode from Kassel was the initiator of the first documenta. Originally planned as a secondary event to accompany the Bundesgartenschau, this attracted more than 130,000 visitors in 1955. The exhibition centred less on "contemporary art“, that is art made after 1945: instead, Bode wanted to show the public works which had been known as "Entartete Kunst" in Germany during the Nazi era: Fauvism, Expressionism, Cubism, Blauer Reiter, Futurism and Pittura Metafisica. Therefore, abstract art, in particular the abstract paintings of the 1920s and 1930s, was the focus of interest in this exhibition.

 

Over time, the focus shifted to contemporary art. At first, the show was limited to works from Europe, but soon covered works by artists from the Americas, Africa and Asia. 4. documenta, the first ever to turn a profit, featured a selection of Pop Art, Minimal Art, and Kinetic Art.[6] Adopting the theme of Questioning Reality – Pictorial Worlds Today, the 1972 documenta radically redefined what could be considered art by featuring minimal and conceptual art, marking a turning point in the public acceptance of those styles.[7] Also, it devoted a large section to the work of Adolf Wolfli, the great Swiss outsider, then unknown. Joseph Beuys performed repeatedly under the auspices of his utopian Organization for Direct Democracy.[8] Additionally, the 1987 documenta show signaled another important shift with the elevation of design to the realm of art – showing an openness to postmodern design.[9] Certain key political dates for wide-reaching social and cultural upheavals, such as 1945, 1968 or 1976/77, became chronological markers of documenta X (1997), along which art's political, social, cultural and aesthetic exploratory functions were traced.[10] Documenta11 was organized around themes like migration, urbanization and the post-colonial experience,[11] with documentary photography, film and video as well as works from far-flung locales holding the spotlight.[7] In 2012, dOCUMENTA (13) was described as "[a]rdently feminist, global and multimedia in approach and including works by dead artists and selected bits of ancient art".[12]

Criticism[edit]

 

documenta typically gives its artists at least two years to conceive and produce their projects, so the works are often elaborate and intellectually complex.[13] However, the participants are often not publicised before the very opening of the exhibition. At dOCUMENTA (13), the official list of artists was not released until the day the show opened.[14] Even though curators have often claimed to have gone outside the art market in their selection, participants have always included established artists. In the dOCUMENTA (13), for example, art critic Jerry Saltz identified more than a third of the artists represented by the renowned Marian Goodman Gallery in the show.[14]

Directors[edit]

 

The first four documentas, organized by Arnold Bode, established the exhibition's international credentials. Since the fifth documenta (1972), a new artistic director has been named for each documenta exhibition by a committee of experts. Documenta 8 was put together in two years instead of the usual five. The original directors, Edy de Wilde and Harald Szeemann, were unable to get along and stepped down. They were replaced by Manfred Schneckenburger, Edward F. Fry, Wulf Herzogenrath, Armin Zweite, and Vittorio Fagone.[15] Coosje van Bruggen helped select artists for documenta 7, the 1982 edition. DOCUMENTA IX's team of curators consisted of Jan Hoet, Piero Luigi Tazzi, Denys Zacharopoulos, and Bart de Baere.[16] For documenta X Catherine David was chosen as the first woman and the first non-German speaker to hold the post. It is also the first and unique time that its website Documenta x was conceived by a curator (swiss curator Simon Lamunière) as a part of the exhibition. The first non-European director was Okwui Enwezor for Documenta11.[17]

 

The salary for the artistic director of documenta is around €100,000 a year.[18]

Title Date Director Exhibitors Exhibits Visitors

documenta 16 July – 18 September 1955 Arnold Bode 148 670 130,000

II. documenta 11 July – 11 October 1959 Arnold Bode, Werner Haftmann 338 1770 134,000

documenta III 27 June – 5 October 1964 Arnold Bode, Werner Haftmann 361 1450 200,000

4. documenta 27 June – 6 October 1968 24-strong documenta council 151 1000 220,000

documenta 5 30 June – October, 1972 Harald Szeemann 218 820 228,621

documenta 6 24 June – 2 October 1977 Manfred Schneckenburger 622 2700 343,410

documenta 7 19 June – 28 September 1982 Rudi Fuchs 182 1000 378,691

documenta 8 12 June – 20 September 1987 Manfred Schneckenburger 150 600 474,417

DOCUMENTA IX 12 June – 20 September 1992 Jan Hoet 189 1000 603,456

documenta X 21 June – 28 September 1997 Catherine David 120 700 628,776

Documenta11 8 June – 15 September 2002 Okwui Enwezor 118 450 650,924

documenta 12 16 June – 23 September 2007 Roger M. Buergel/Ruth Noack[19] 114 over 500 754,301

dOCUMENTA (13) 9 June – 16 September 2012 Carolyn Christov-Bakargiev 187[20]

904,992[21]

documenta 14 8 April - 16 July 2017 in Athens, Greece; 10 June – 17 September 2017 in Kassel, Germany Adam Szymczyk

 

2012's edition was organized around a central node, the trans-Atlantic melding of two distinct individuals who first encountered each other in the "money-soaked deserts of the United Arab Emirates". As an organizing principle it is simultaneously a commentary on the romantic potentials of globalization and also a critique of how digital platforms can complicate or interrogate the nature of such relationships. Curatorial agents refer to the concept as possessing a "fricative potential for productive awkwardness," wherein a twosome is formed for the purposes of future exploration.[22]

Venues[edit]

 

documenta is held in different venues in Kassel. Since 1955, the fixed venue has been the Fridericianum. The documenta-Halle was built in 1992 for DOCUMENTA IX and now houses some of the exhibitions. Other venues used for documenta have included the Karlsaue park, Schloss Wilhelmshöhe, the Neue Galerie, the Ottoneum, and the Kulturzentrum Schlachthof. Though Okwui Enezor notably tried to subvert the euro-centric approach documenta had taken, he instigated a series of five platforms before the Documenta11 in Vienna, Berlin, New Delhi, St Lucia, and Lagos, in an attempt to take documenta into a new post-colonial, borderless space, from which experimental cultures could emerge. DOCUMENTA 12 occupyied five locations, including the Fridericianum, the Wilhelmshöhe castle park and the specially constructed "Aue-Pavillon," or meadow pavilion, designed by French firm Lacaton et Vassal.[23] At dOCUMENTA (13) (2012), about a fifth of the works were unveiled in places like Kabul, Afghanistan, and Banff, Canada.[13]

 

There are also a number of works that are usually presented outside, most notably in Friedrichsplatz, in front of the Fridericianum, and the Karlsaue park. To handle the number of artworks at DOCUMENTA IX, five connected temporary "trailers" in glass and corrugated metal were built in the Karlsaue.[24] For dOCUMENTA (13), French architects Anne Lacaton and Jean-Philippe Vassal constructed the temporary "Aue-Pavillon" in the park.

View of the Friedrichsplatz with the Fridericianum (2nd Building from the left) and the documenta ticket booth (right)

Permanent installations[edit]

Rahmenbau (1977) by Haus Rucker und Co.

 

A few of the works exhibited at various documentas remained as purchases in Kassel museums. They include 7000 Eichen by Joseph Beuys; Rahmenbau (1977) by Haus-Rucker-Co; Laserscape Kassel (1977) by Horst H. Baumann; Traumschiff Tante Olga (1977) by Anatol Herzfeld; Vertikaler Erdkilometer by Walter De Maria; Spitzhacke (1982) by Claes Oldenburg; Man walking to the sky (1992) by Jonathan Borofsky; and Fremde by Thomas Schütte (one part of the sculptures are installed on Rotes Palais at Friedrichsplatz, the other on the roof of the Concert Hall in Lübeck).------ by BIENNALIST @ documenta kassel 15 /

www.emergencyrooms.org/biennalist.html by www.colonel.dk and www.emergencyrooms.org www.emergencyrooms.org/formats.html about other art format

 

“In the morning I bathe my intellect in the stupendous and cosmogonal philosophy of the Bhagavad gita, since whose composition years of the gods have elapsed, and in comparison with which our modern world and its literature seem puny and trivial; and I doubt if that philosophy is not to be referred to a previous state of existence, so remote is its sublimity from our conceptions.

 

I lay down the book and go to my well for water, and lo! there I meet the servant of the Bramin, priest of Brahma and Vishnu and Indra, who still sits in his temple on the Ganges reading the Vedas, or dwells at the root of a tree with his crust and water jug. I meet his servant come to draw water for his master, and our buckets as it were grate together in the same well. The pure Walden water is mingled with the sacred water of the Ganges.”

― Henry David Thoreau, Walden: Or, Life in the Woods

Artist: Alex Outka

Address: 400 Marquette NW

Location: City/County Government Building, 5th Floor

628

Metro Youth Purchase Award

"It is clear to me that treading the path of felicity is the determination of the intelligent (folk) and its neglect is the heedlessness of the ignorant.

 

translation of a chapter from al-Ghazali’s Criterion of Action (Mizan al-‘Ammal) Ed. By S. Dunyah (dar al-Marraif Press, Cairo, 1964) pp. 194-197. Translation by Muhammad Hozien

 

How could someone travel this road without any knowledge of it?"

 

THAT SAGGINESS IN SEEKING BLISS IS AKIN TO ABSURDITY[1]

 

What we mean by eternal bliss is: Everlasting without demise, pleasure without effort, felicity without tragedy, prosperity without poverty, perfection without defect, and esteem without humiliation.

 

As a whole: Everything imagined be it a request of a petitioner or an aspiration of a yearner that is eternally forever in a manner that will not be diminished by the passage of time and extinction of generations.

 

Indeed, if the whole world is full of grains and a bird was to pilfer a single grain every one thousand years then the grains will be exhausted, not diminishing anything from everlasting eternity.

 

This then will not need any encouragement to request it nor incriminating slackness in seeking it after confirming its existence? Since every intelligent being will scurry for lesser gains than this and it will not hold him back even if the way to accomplish it is arduous, and requires leaving the worldly pleasures, and endure a multitude of hardships.

 

The time spent in adversity is finite and what is missed is minimal for the worldly pleasures are transitory and easily exhausted.

 

As for the intelligent person it is easy for him to part with petty amount in order to gain its multiple ten fold. That is why you see everyone in commerce and industry and even in the pursuit of knowledge will withstand all kinds of humiliations, poverty, hardships, and intolerable pain, eagerly desiring a gain of a pleasure in the future that is greater than what they miss at the present moment, a limited increase. How is it then that they will not leave present conditions in order to reach priceless and unlimited gains?

 

There is not an intelligent being in creation that is eager to gain wealth when asked to spend a dinar to wait a month in order to gain pure gold surely his ego will quickly allow him to spend it. Even though it may will be requested at that very instance, indeed that a person who will not even withstand the pains of hunger, for example, in that time period in order that he may achieve an abundant reward in the future will not be considered sane.

 

It may that it will not be imagined to exist in creation, even though that death is always looming and threatening over everyone and gold will not benefit anyone in the hereafter.

 

It may be that he will die in that month or a day after that month and will not benefit from that gold. All this will not deter his opinion in spending it for his eagerness in reaping that reward. How is it then that the opinion of the intelligent being is deceived in bearing the burden of desires in his life which is at maximum one hundred years and the reward for it is everlasting bliss?

 

However the reluctance of creation in following the path of felicity is due to their lack of conviction in the final day. For even the deficient intellect will quickly judge to go on the path of felicity over one with complete intelligence.

  

[1] Being a translation of a chapter from Abu Hamid al-Ghazali’s Criterion of Action (Mizan al-‘Ammal) Ed. By S. Dunyah (dar al-Marraif Press, Cairo, First Edition, 1964) pp. 180-181. Translation by Muhammad Hozien.

  

In his famous autobiography, The Deliverer from Error, al-Ghazālī reconstructs the way the science of ethics is supposed to have developed. Al-Ghazālī contends that the philosophical ethics taught by the Arabic Aristotelians necessarily depends upon prior revelations handed to religious aspirants of a vaguely Sufi stamp. Al-Ghazālī’s argument is reminiscent of similar ones made in late antiquity; I maintain, however, that for al-Ghazālī the point bears added systematic significance. Given the central position held by the purification of the soul in al-Ghazālī’s conception of true religion, he can hardly admit that the philosophers should have discovered independently any of the philosophical ethics al-Ghazālī himself espouses. It is the supernatural power of prescribed ritual acts that ultimately allows al-Ghazālī to maintain the superiority of religiously predicated ethics. Leaving aside Ghazālī's ethics of character, the article examines his treatment of the ethics of action in Iqtiṣād, Iḥyāʾ and Mustaṣfā and finds a consistent theory. The ethical meaning of wājib is defined as "necessary for an agent's interest." The main interest for man is personal salvation. Al-Ghazali, who lived in the eleventh century of the Christian era, was one of the greatest Muslim thinkers. He had an encyclopaedic knowledge and wrote a great number of "books on many subjectsj ethics, Islamic jurisprudence, theology, metaphysics and logic. Ethics occupied a central position in his thought. He set forth his ethical views in many books according to the need and interest of various categories of his readers. Since his thought developed through several stages, the books he wrote including those on ethics are usually divided in accordance with these stages. They have been arranged chronologically by such scholars as Maurice Boyges, W. Montgomery Watt, George F. Hourani, ^Abd-ar-Rahman Badawl and Farid Jabre. The creative part of al-GhazalPs life may broadly be divided into two phases, the early period and the later period which began from his conversion to Islamic mysticism (sufism). His ethical works belonged to both periods and are coloured with their characteristics. There is disagreement on the authenticity of some of the works attributed to al-Ghazali, Some ethical works ascribed to him as of the later period of his life are of doubtful authenticity in their entirety, while some ethical works of both periods are shown to be spurious only in part. Some ideas in an ethical work of a moderate size of the earliest period or, more accurately, of the transitional period, are regarded as superseded by those set forth in his later works. In view of these established facts regarding al-Ghazall's works on morals, any study of them which does not take these facts into consideration may not "be regarded as revealing the truth about him in its entirety. Such a study misleads readers and scholars with regard to al-Ghazall and engenders various theories of his life. Unfortunately, all of the very few studies hitherto made on his ethics are partly based upon the unauthentic books, unauthentic parts of books and the books containing the superseded ideas, as they are also based upon the authentic books. Besides thtis mixing the non- Ghazalian or superseded Ghazalian ideas with the genuine Ghazalian teachings, they often failed to investigate the basic moral principles which are explicit or implicit in his teaching and also to give as complete a description of it as possible in the length of a book. They are unsatisfactory on various other accounts also. Therefore, there is a need for a study of his ethics which is based only upon those ethical works which all the scholars have accepted as authentic and which have not been superseded by others. Such a study should give readers a true knowledge and understanding of this great man and of his thought concerning moral problems. The present work is an effort to meet this need. It is a new approach to the study of al-Ghazsli's ethical theory for it seeks to present this theory in a reasonably complete form "by drawing only upon materials from Ms genuine works or genuine parts of works which have not "been superseded. Among the works of the earlier period, therefore, Mizan al-rAmal (Criterion o f Action) is discarded altogether; (reference to it is made in a few places only for the sake of comparison). Out of the large number of the ethical works of the later period whose authenticity has "been generally accepted, almost a score is selected to constitute the basis of the present study, since to make use of all Ms works would be impossible in a limited period of time. Efforts are also made in tMs work to bring to light the principles of al-Ghazalis ethics. Sometimes it has been found necessary to enquire into the sources of his inspiration and ideas. This study, however, does not seek, except very rarely, to determine the influence of al-Ghazali's ethics upon the subsequent development of ethical thought in Islam or in Christianity - a task which may form the subject-matter of a separate study.

 

ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.640142

 

THAT THE ROAD TO FELICITY IS KNOWLEDGE AND ACTION

 

(p. 194)

 

If you say: "It is clear to me that treading the path of felicity is the determination of the intelligent (folk) and its neglect is the heedlessness of the ignorant.

 

How could someone travel this road without any knowledge of it?

 

How could I know that knowledge and action are the path [to felicity] in order to tread upon it?"

 

You have two ways of knowing it:

 

First, one that is agreeable to the prior methodology, and it is that you should consider what the three groups agreed upon.

 

Indeed they were united in [the belief] that success and salvation will not be achieved save by knowledge and action together.

 

They have agreed that knowledge is nobler than action. It is as though action is its achievement. Knowledge steers action to arrive at its destination.

 

Allah, the Most High, states:

 

{To Him pious speech rises, And the righteous action advances it higher}

 

The pious speech is known through study of knowledge. It [pious speech] is what is elevated and falls in place. Action is like a servant; it elevates and bears it. Indeed this is a remark pointing to the prestige of knowledge.

 

(p. 195)

 

The teaching of the first group who are the ones that subscribe to the first definition of the literalist who link salvation with knowledge and action. Proving this is beyond enumeration.

 

The majority of Sufis and philosophers who believe in Allah and The Final Day are all in agreement that felicity is reached through knowledge and worship, even though they differed in its mode.

 

Their differences are in the minute exposition of knowledge and action. The suspension (of action) in light of this [above mentioned] agreement is imbecility.

 

Whosoever is overwhelmed by an ailment and the consensus of medical texts and consultations, with their varying specialties, state that the cure for the malady is a "cold cure".

 

The abstention (from taking the cure) by the patient is a stupidity in his intellect. Indeed, it is a requirement of intellect to initiate the measures [of taking the cure].

 

Indeed, he may then find [an independent] means; until that is realized, not by imitating the masses on the contrary by verifying the true reality of the malady and the ways that are valid for its cause to be cured. He will then rise with clear vision if he searches, becomes independent, surge above the perigee of imitation (mimicry) and compliance to the apogee of scrutiny.

 

The Sufis and other groups claim that it is possible to reach the realization [of that station] with cognition and verification.

 

Not realizing the reality of death is the removal of the instrument from useful function to the annihilation of the user. Knowing that the felicity, delight and repose are attaining its distinctive perfection

 

Knowing the distinctive perfection of humanity is the realization of the reality of rationals for what it is, not by what is illusionary and sensible, which it has in common with animals.

 

(p. 196)

 

Knowing that the soul itself is thirsty for it, [knowledge and action], and by its nature, has prepared for it. What distracts the body is overwhelming afflictions and its occupation with carnal desires. However, he may destroy and over power those desires and free himself from its servitude and bondage.

 

If he has devoted (himself) to contemplation and meditation in the majesty of the heavens and earth, indeed in contemplating the marvels of what is created in himself then he would have attained his personal [level of] perfection.

 

Indeed, then he would be blissful on earth for there is no significance of felicity save for the soul's attainment of its potential perfection; even though the levels of perfection are countless.

 

However, he will not feel that delight so long as he is in this world prohibited by senses, illusions, and afflictions of the soul. [The situation is] similar to the person who was presented with a savory dish but his taste buds are numb and [numbness] dissipates then he will sense the ultimate delectation.

 

Death is like the dissipation of anesthetizing for I have heard from elite Sufis, saying that the advanced student to the way of Allah will perceive paradise while he is on Earth and that the loftiest Firdaws is within his heart if he would only attain it.

 

Its attainment is by freeing oneself from the trappings of the world and the placement of all his effort in contemplating divine matters until the divine revelation is clearly manifested to him.

 

This is achieved when his soul is purified from these [earthly] defilements. The attainment of this station is true felicity. Action is the aid in its fulfillment.

 

Those are a group that claimed gnosis by knowledge and action towards felicity. What they have said is sound and, they claim, will not be known except by struggle and devotional exercises.

 

As Allah most high has stated:

 

{and those that struggle in Our path We will guide them to Our path}

 

Your only path is to struggle and dedicate yourself to the cause; conceivably the reality of the situation will be manifested either by negation or substantiation.

 

It is enough [proof] for you to embark on knowledge and action. The consensus of the three [groups] is [enough], if your aim of the question is not argumentative. Indeed, if your aim is the achievement of success, just like the ill who seek a cure, not disputation. If you seek it with the consensus of various classes of medical experts.

 

ghazali.org/works/mizan-en2.htm

Celastraceae (staff vine or bittersweet family) » Celastrus paniculatus

 

see-LAS-trus -- from the ancient Greek kelastros, the name of another tree

pan-ick-yoo-LAY-tus or pan-ick-yoo-LAH-tus -- referring to the flower clusters (panicles)

 

commonly known as: black-oil plant, celastrus, oriental bittersweet, intellect tree, staff tree • Bengali: kijri, malkangani • Gujarati: માલકંગના malkangana • Hindi: मालकंगनी malkangani • Kannada: ಭವಮ್ಗ bhavamga, ಜೊತಿಷ್ಮತಿ jotishmati, ಕರಿಗನ್ನೇ kariganne, ಕೊಉಗಿಲು kougilu • Konkani: माळकांगोणी malkangoni • Marathi: कांगुणी kanguni, माळकांगोणी malkangoni • Oriya: korsana, pengu • Sanskrit: अलवण alavan, ज्योतिषमति jyotishmati, कन्गु kangu • Tamil: குவரிகுண்டல் kuvarikuntal, மண்ணைக்கட்டி mannai-k-katti, வாலுளுவை valuluvai • Telugu: కాసరతీగె kasara-tige, మానెరు maneru • Urdu: کنگني مال malkanguni

 

Native to: India, China, Sri Lanka, south-east Asia

  

References: Flowers of India • Sahyadri Database • ENVIS - FRLHT • eFlora

 

Let's Get It Started, in here...

 

And the base keep runnin' runnin', and runnin', and runnin', and runnin', and runnin', and runnin', and runnin', and

runnin', and runnin', and runnin', and runnin', and runnin', and runnin', and runnin', and runnin', and...

 

In this context, there's no disrespect, so, when I bust my rhyme, you break your necks.

We got five minutes for us to disconnect, from all intellect collect the rhythm effect. Obstacles are inefficient, follow

your intuition, free your inner soul and break away from tradition.

Coz when we beat out, girl it's pullin without. You wouldn't believe how we wow shit out.

Burn it till it's burned out. Turn it till it's turned out. Act up from north, west, east, south.

  

Everybody, everybody, let's get into it.

Get stupid.

Get started, get started, get started.

Let's get started (ha), let's get started in here. Let's get started (ha), let's get started in here.

Let's get started (ha), let's get started in here. Let's get started (ha), let's get started in here.

Yeah.

 

Lose control, of body and soul.

Don't move too fast, people, just take it slow.

Don't get ahead, just jump into it.

Ya'll here a body, two peices to it.

Get stutted, get stupid.

You'll want me body people will walk you through it.

Step by step, like you're into new kid.

Inch by inch with the new solution.

Trench men hits, with no delusion.

The feeling's irresistible and that's how we movin'.

  

Everybody, everybody, let's get into it.

Get stupid.

Get started, get started, get started.

Let's get started (ha), let's get started in here. Let's get started (ha), let's get started in here.

Let's get started (ha), let's get started in here. Let's get started (ha), let's get started in here.

Yeah.

 

Runnin' runnin', and runnin' runnin', and runnin' runnin', and runnin runnin' and... Come on ya'll let's get...Oohhoo!

Aha, let's get oohhoo... in here (right now yeah.) Cookoo, aha, let's get, cookoo, in here... Cookoo, aha, let's get,

cookoo, in here...ow, ow, ow...

ya, ya, ya, ya, ya, ya, ya, ya, ya, ya, ya...

 

Let's get ill, that's the deal.

At the gate, we'll bring the bud top drill. (Just)

Lose your mind this is the time,

Ya'll test this drill, Just and bang your spine. (Just)

Bob your head like epilepsy, up inside your club or in your bentley.

Get messy, loud and sick.

Ya'll mount past slow mo in another head trip. (So)

Come then now do not correct it, let's get pregnant let's get hectic.

  

Everybody, everybody, let's get into it.

Get stupid. (Come on)

Get started (come one) , get started (yeah), get started.

Let's get started (ha), let's get started in here. Let's get started (ha), let's get started in here. (R-E-T-A-R-D-E-D)

Let's get started (ha), let's get started in here. Let's get started (ha), let's get started (woah, woah, woah) in here.

Yeah.

Oohhoo! Aha, oohhoo... in here... Cookoo, aha, cookoo, in here (S-T-A-R-T-D-E-D)... Cookoo, aha, let's get, cookoo, in here...ow, ow, ow...

ya, ya, ya, ya, ya, ya, ya, ya, ya, ya, ya, ya, ya, ya, ya, ya, ya, ya...

 

Runnin' runnin', and runnin' runnin', and runnin' runnin', and runnin' runnin'

 

Presidential Candidate 總統候選人

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Tianliang Ma

 

~ a Taiwanese social reformer, philosopher, photographer and film director

 

“Touching Fairness and Justice”

  

馬天亮

 

~ 臺灣的社會改革者，哲學家，攝影師，和電影導演

 

《感動的公平與正義》

  

TianLiang Maa, alternative spelling: Tianliang Ma, also known as Theophilus Raynsford Mann; Ma, Tianliang; Chinese: 馬天亮; 马天亮.

  

SUMMARY

 

TianLiang Maa is a naturalist, occultist, Buddhist and Taoist. In 1982, Maa developed a technique for abstract photography, applied “Rayonism” into photographic works. Maa staged 32 individual, extraordinary exhibitions around Taiwan, who was the first exhibitor around Formosa. Maa’s works is the beginning of modernization in the modern abstract arts in the world. At the University of Oxford, Maa’s attractive topic was “A View of Architectural History: Towns through the Ages from Winchester through London Arrived at Oxford in England”; also an author at the University of California, Berkeley and the University of Michigan in the United States; an alumnus from Christ Church College at the University of Oxford in England, the University of Glamorgan in Wales, and National Taiwan University in Taipei on Taiwan. Maa’s works have been quoted by the scholars many times, making Maa one of the highly cited technological, artistic, and managing public administrators in the academia. Maa was listed in “Taiwan Who’s Who In Business” © 1984, 1987, 1989 Harvard Management Service.

  

Early Life and Record of Genealogy

 

TianLiang Maa possesses both Taiwanese and German surnames from birth. Usually, whenever anyone asks Maa about where he comes from, he would reply “Formosa” as he grew up and was educated in the Far East and lives in Taiwanese and Japanese lifestyles. Moreover, he often teaches and educates younger generations based on the methods of the Far Eastern teaching he experienced when he was young, though he does not oppose the Western ways of teaching and thinking. Maa takes great pride in his roots, which go back 150 years (since 1864); Maa’s ancestry originates and creates generations, and prepares younger generations to succeed their personality and ethical standards and integrity.

 

Education in Taiwan and a Brief of Latest Generation of History in Taiwan / Formosa

 

In 1980, Maa obtained his postgraduate certificate from the Graduate Institute of Electrical Engineering of National Taiwan University in Taipei; successfully completed another graduate studies in Information dBase III Plus and Taiwanese Traditional Chinese Mandarin Information System at National Sun Yat-Sen University in Kaohsiung in 1989.

 

In history, the Portuguese explorers discovered and called the island (Taiwan), “Formosa” (meaning “Beautiful Island”) in 1590. They are non-Chinese people; it was long a Chinese and Japanese pirate base. Fighting continued, between its original inhabitants of Taiwanese and the Chinese settlers, into the 19th century. In 1894-95 first Sino-Japanese War that ended in Manchus of the Qing (Ching) dynasty defeat, the late Manchu Qing Government forced to cede Formosa to Japan. This result was made by the Treaty of Shomonoseki in 1895 and remained under Japanese control until the end of the Second World War. Early on, Taiwan was conquered by the Qing in 1683 and for the first time became part of older China dynasty. However, today, the home country of Maa’s origin has around 165 institutions (93 universities) of higher education, which now has one of the best-educated populations in Asia. Among the major public (state) ones are the National Taiwan University (NTU) at Taipei, and National Sun Yat-Sen University (NSYSU) at Kaohsiung. NSYSU is also called National Chun-Shan University; according to Times Higher Education 2010-2011, NSYSU ranks as the 3rd university in Taiwan, 21st in Asia, and 163rd worldwide. National Taiwan University is ranked 51 to 60 ranks on Times Higher Education World University Rankings - Top Universities by Reputation 2013, the United Kingdom (see www.timeshighereducation.co.uk/world-university-rankings/...); King's College London (KCL) (21st in the world and 6th in Europe in the 2010, QS World University Rankings), the University of London, and University of Southern California (is one of the world's leading private research universities, located in the heart of Los Angeles), afterward.

 

Backing to Maa’s early school-time of Taiwan Provincial Kaohsiung Industrial Senior High School (Kaohsiung Municipal Kaohsiung Industrial High school), the professional technical education, which is equivalent to Advanced Level General Certificate of Education, commonly referred to as an A-level in the United Kingdom; China Electronic Engineering College, the distance learning programme, which is in equivalence as UK’s Diploma of Higher Education / Undergraduate Diploma (as an Associate Degree in the United States). An additional, his middle education was taught by the Kaohsiung Municipal Chihjh (Ci Sian) Junior High School; and Kaohsiung Municipal San Min Elementary School was his first school in Taiwan.

  

Early Career

 

In 1989, Maa instituted Maa’s Office of Electrical Engineer, he settled himself in electrical technology and industries as a chief engineer in his early years. He put his professional and precise knowledge to good account in business management. A formal business management with business relationship established to provide for regular services, dealings, and other commercial transactions and deed. He had many customers having a business and credit relationship with his firm then he was a successful engineer.

  

Study Abroad and Immigration into the United Kingdom

 

In 1998, Maa studied abroad when he arrived in Great Britain; he studied at School of Built Environment, the University of Glamorgan (Prifysgol Morgannwg) in Merthyr Tydfil, Pontypridd, Wales for a master of science in real estate appraisal. Until the summer of 2000, Maa completed an academic course on “Towns through the Ages” from Christ Church College at the University of Oxford (is ranked the 2nd place worldwide on The Times Higher Education, World University Rankings 2012-2013

www.timeshighereducation.co.uk/world-university-rankings/...) in England. Afterward, Maa immigrated into the United Kingdom in the early year of 2004.

  

PHILOSOPHICAL VIEWS

 

Maa is a naturalist; he trusts spiritual naturalism and naturalistic spirituality, which teaches that “the unknown” created this wonderful world. “The unknown” arranged the nature with its law so that everything in nature is kept balanced and in order. However, human beings failed to control themselves, deliberately went against the law of nature, and resulted in disasters, which we deserved. He also is an occultist, a Taoist, and a Buddhist; but in Britain, he frequently goes to Christian and Catholic churches, where he makes friends with pastors and fathers as well as churchgoers. In his mind, he recognizes “Belief is truth held in the mind; faith is a fire in the heart”. He is always a freethinker, does not accept traditional, social, and religious teaching, but based on his ideas: a thought or conception that potentially and actually exists in his mind as a product of mental activity - his opinion, conviction, and principle. If people have not come across eastern classics and philosophy, we are afraid that people would never understand TianLiang Maa. People cannot judge an eastern philosopher based on western ways of thinking. He studies I Ching discovering eastern classics of ancient origin consisting of 64 interrelated hexagrams along with commentaries. The hexagrams embody Taoist philosophy by describing all nature and human endeavour in terms of the interaction of yin and yang, and the classics may be consulted as an oracle.

 

Back in the 1990s when Maa just arrived at England, he had been offered places to do Ph.D. and LL.M. degrees (degree in Law and Politics of the European Union) by several western professors in the Great Britain. He has met all the requirements for postgraduate admissions to study at UK’s universities.

 

During his time at Oxford, he learnt a lot of British culture and folk-custom while carrying out research with many British and Western professors, experts, and archaeologists. This proves that Maa understands various aspects in British society, culture, and lifestyles. Of course, he does not fully understand about the perspectives of thinking of a typical British. For example, what would be the most valuable in life for a British person? What would a British want to gain from life? What is the goal in life for a British? Is it fortune or a lover? Alternatively, perhaps honour? On the other hand, maybe being able to travel around the world and see the world?

  

FAIRNESS and JUSTICE

 

As TianLiang Maa’s (馬天亮) saying are:

 

“Touching Fairness and Justice”

 

Feel good about themselves, but do not know the sufferings of the people...

Who can get easy life like them?

What is profile of modern society?

What type and style is truly solemn for this society identify?

Where “the characterization” is? Who can see? Did you see it?

 

《感動的公平與正義》

 

自我感覺良好, 不知民間疾苦...

誰能得到安逸的生活如同他們一樣？

這是個什麼樣子的社會？

這個社會認定什麼樣的類型和風格是真正莊重的?

「特徵」在那裡？誰可以看到？你看到了嗎？

  

Jurisprudence and Political Philosophy and Perspectives

 

Maa ever studied judicial review and governmental action, the impact of law and legal techniques, constitutional mechanisms for the protection of basic rights, and ensuring the integrity of commercial activity, the impact of law and legal techniques on government, policymaking, and administration, as well as the creation of markets. He tries to understand these critical trends in the political development of modern state. Maa will combine both theoretical and empirical approaches, and the conditions for democratic transition and the nature of state development in the ‘post-industrial’ era of globalisation and economic integration.

 

According as Maa’s legal experiences, he comprehend that “the knowledge of the law is like a deep well, out of which each man draught according to the strength of his understanding”, and, law and arbitrary power are in eternal enmity. He is also sure law and institutions are constantly tending to gravitate like clocks; they must be occasionally cleansed, and wound up, and set to true time.

 

The government issues a decree - an authoritative order having the force of law, which charged with putting into effect a country's laws and the administering of its functions. Any of the officials promulgate a law or put into practice relating to the government charged with the execution and administration of the nation's laws then they announce and carry out the creation of any order or new policy that will be responsible for the people.

 

Maa had knowledge in connexion with construction law; he also understands architectural arts, and as well learnt the forms by combining materials and parts include as an integral part concerning modern construct. I ever built urban buildings and rural architecture in different styles under new housing and building projects by the governmental administration and construction corporations.

 

Right now, Maa studies the problems caused by ethnic disputes and human armed conflicts in the modern society resulted code of mixed civil and criminal procedure. He wishes an agreement or a treaty to end human hostilities - the absence of war and other hostilities around the world. The interrelation and arrangement of freedom from quarrels and disagreement become harmonious relations living in peace with each other. Actually, erect peace in more friendly ways of making friendships for modern human society is comfortable in my ideal. It is like building monolithic architecture: houses and buildings for the people. Maa would like to do “something beautiful for `the unknown`”.

 

In the ethnic disagreement and armed conflicts as concerning the poor people and children notwithstanding they live through a bad environment on any of poor or crowded village or town in a particular manner - lived frugally. However, after years of industrialisation as a more educated population, becomes more aware of global plenum, continuing to be alive. Environmental groups are increasing and lobbing government will legislate to stop bad environmental and social practices. The establishments of human rights’ wide and untiring efforts will be alleviated people’s suffering. And as well the poor people shall meet and debate sustainable development and for a concerted government led action towards sustainability is an example that the younger generation are concerned for the future. It shall be making the younger easier for their life and make better on their lives, and help them to build a better future.

 

In present world, Maa really knows the full meanings of “Fundamental Human Rights and Equal Opportunities for the People”. He thinks ethics is the moral code governing the daily conduct of the individual toward those about him / her. It represents those rules or principles by which men and women live and work in a spirit of mutual confidence and service. Without going into the question of how an ethical code was formulated or why anybody should obey it, we can look at the matter in a common-sense fashion with reference to its influence upon our legal affairs. In brief, from the law point of view, a reputable ethical code embodies the qualities of accuracy, dependability, fair play, sound judgement, and service. It is based upon honesty.

 

No person can have an ethical code that concerns him / her alone. Living in society, as he / she must, a person encounters others whose rights must be respected as well as his / her own. An honest regard for the rights of others is an essential element of any decent code of ethics, and one that anyone must observe if anybody intends to follow that code. After all, ethics is not something apart from human beings. Indeed, there is no such thing apart from our actions and us. It is the duty, therefore, of every man and woman in legal affairs to see that his daily associations with others are truly in conformity with the plain meaning of the Ten Commandments: “Thou shalt not barratry, thou shalt not bear false witness, thou shalt not receive illegal fee and the rest”.

 

The knowledge Maa has, in connection with legal affairs, was usually come from his precious experiences of his past over ten year’s law and political careers. In an interval regarded as a distinct period of 1980s, he studied mixed civil and crime, and the code of mixed civil and criminal procedure for the problems caused by ethnic disputes and human armed conflicts in the modern society. He was especially one who maintains the language and customs of the group, and social security in Taiwan.

 

Since 30 July of 1988, Maa settled himself in law as a chief executive and scrivener at Central Legal, Real Estate, and Accounting Services Office; it is in the equivalent to a solicitor of the United Kingdom. The Office provided full legal, accounting, real estate, and commercial services to the public. He did his job as a person legally appointed by another to act as his or her agent in the transaction of business, specifically one qualified and licensed to act for plaintiffs and defendants in legal proceedings and affairs. Over and above Maa was a chairman and executive consultant at Taiwan Credit Information Company®, founded in 1994. The company offered services to the public in response to need and demand in the area of credit information.

 

Maa had excellent experiences in political and law work was pertaining to mixed civil and crime, the code of mixed civil and criminal procedure, construction, and commercial law abroad. The experiences of legal services related to the rights of private individuals and legal proceedings concerning these rights as distinguished. In the criminal proceedings, he did many cases for the defendants. Although an act committed or omitted in violation of a law forbidding or commanding it and for which punishment is imposed upon conviction; but he also laid legal claim, required as useful, just, proper, or necessary to the defendants under the human rights in the meantime. This provision ensures to the defendant a real voice in the subject.

 

The men whose judgement we respect are those who do not allow prejudices, preferences, or personalities to influence their decisions. Profit and self-aggrandisement are likewise ignored in their determination to reach an equitable and fair settlement. What are the basic principles upon which good judgement is founded? A keen intellect, a normal emotionally, a through understanding of human nature, experience of law work, sincerity, and integrity.

  

Developed a Technique for Abstract Photography and Abstractionist

 

In 1982, Maa developed a technique for abstractive photography, which applied “rayonism” to the photographic works. In November of 1984, Maa was 26-year-old, he instructed many professors and students of National Taiwan Normal University in photography of abstract impressionism and rayonnisme in Taipei, Taiwan. The word “rayonnisme” is French for rayonism - a style of abstract painting developed in 1911 in Russia.

  

Photographic Exhibitions

 

TianLiang Maa (Theophilus Raynsford Mann) Photographic Exhibition of “Rayonnisme / Rayonism” Tour - Invitational Exhibition of Taiwan 1983-84.

一九八三〜八四年中華民國臺灣 馬天亮攝影巡迴邀請展

 

TianLiang Maa (Theophilus Raynsford Mann) Photographic Exhibition of Rayonnisme / Rayonism (32 individual exhibitions) 1983~1985.

馬天亮『光影』攝影特展（個人展32場）1983〜1985年.

 

Maa staged 32 individual, extraordinary exhibitions and annual special exhibitions on photography of abstractive image and Rayonnisme around Taiwan / Formosa. Maa was the first exhibitor around the country. All of the invited displays were by the Chinese Government, cultural and artistic organisations, and sponsors. Maa’s earliest exhibition took place in the National Taiwan Arts Education Institute (Museum) on 19 December 1983 when Maa was 25 years old; Maa was the youngest exhibitor in the history of the Institute in any solo exhibitions. The Institute that was opened in March 1957, kept a collection of Maa’s work. It is currently updating the Institute’s internal organisation and strengthening co-operation with leading institutes and museums around the world. Meanwhile, it widened the institute’s scope to increase its emphasis on Taiwan’ regional culture and folk arts.

  

Modernization in the Modern Abstract Arts of Taiwan

 

Maa’s works is the beginning of modernization in the modern abstract arts of Taiwan, China and greater Chinese society in the world. The use of “modernisation” as a concept that is opposed to “Traditional” of “Conservative” ideas began with the approach of the 20th century. It spreads rapidly through academic circles, and was broadly accepted as a means to reform society. Chinese Manchu Qing (Ching) dynasty’s first steps toward modernisation began in the Tung-chih era (1862-1874) with the “Self-Empowerment Movement”. During the late 19th century, as late Manchu dynasty was confronted on all sides by foreign aggression, voices throughout society debated the most effective means to reform and strengthen the country. Some advocated “combining the best of East and West”, while others went so far as to call for “complete Westernisation”. Taiwan was at the centre of these waves of reform. Faced with direct threats against the island by foreign enemies, the Chinese Ching dynasty court took special steps to push Taiwan’s modernisation.

 

In a role just like that of a gardener wanting to create a rich and fertile environment for the seeds of culture, one in which Maa may sprout, grow and bloom. Maa aims to provide an educational stimulus for society by introducing his works - Maa can express the neo-romantic spirit deftly from various creations and supporting international artistic exchanges. Maa believes that the first step in creating such a new and independent state is the real emergence of culture and arts, for which the art and science of designing and erecting buildings, and fine arts (including photography and motion picture) of the civilization is a good measurement of success. For the foreseeable future, Maa should be continuing to forge ahead, working diligently and unceasingly towards its mission of raising China and Formosa / Taiwan’s culture in his spare time.

  

Became an Author and a Scholar

 

In 1980, TianLiang Maa completed his first book - scenario original “The Soul's Sentimentalizing”, also named: “Hun Yun : Jin Qi Tu Rui” 電影原著《魂韻》(衿契吐蕊) then Maa was at the age of 22. In 1983, The General Library of the University of California, Berkeley in the United States of America, collected and kept Maa’s writings - scenario original 「魂韻 : 衿契吐蕊」“Hun Yun : jin qi tu rui”, included a musical composition of his own – “Sonate Nr. 1 C-dur op. 3 für Klavier (piano)”, composed on 3rd April 1977 then Maa was 18 years old. The works were published in 1980; the theme was based on “The Soul's Sentimentalizing”. Another masterpiece was an Album of Academic Work for News Publication “TianLiang Maa (Theophilus Raynsford Mann) Photographic Exhibition of Rayonnisme / Rayonism”, published in 1985. The Hathi Trust Digital Library, the University of Michigan also collected and kept Maa’s writings.

  

Authorship

 

Maa’s articles and writings were published in more than 200 different kinds of domestic and foreign magazines, newspapers, and periodicals, in the period between May of 1972 and 1990s. It was all started when Maa was just 13-year-old. Many of which have been very influential. These have been quoted by Western and Eastern scholars many times in the last few years, making Maa one of the highly cited technological, artistic, and managing public administrators in the world in the late 20th and early 21st century. The Ministry of the Interior in Taiwan had registered Maa’s professional writings and given him two certificates of copyright. The numbers are 33080 and 33081 on 4th July of 1985; and Taiwan’s Gazette of The Presidential Office issue No. 4499, featured his writings on 4th September 1985.

  

Became an Academic and Film Director

 

Today, Maa is a professor at Space Time Life Research Academy, and a photographer, film director, and computer engineer now live and work in London.

  

Director Works:

FILMS:

Experimental Film “New Image for the Spring” © 1982

Documentary Film “Rayonnisme” © 2011

“The Soul's Sentimentalizing” of the feature film is based on the scenario original “The Soul's Sentimentalizing” (preparation)

 

FASHION SHOWS:

New Image for the Spring of Shapely Models International © 1982

High Lights on the Summer and Fall Fashion of Shapely Models Int’l © 1982

 

ART EXHIBITIONS:

The Cadillac Club International Fine Arts Exhibition © 1981

The Cinematic & Photographic Arts Salon and the Hall of the Arts, Pegasus Academy of Arts © 1981

  

Musician Work:

MUSIC COMPOSITION:

Sonate Nr. 1 C-dur op. 3 für Klavier (piano) © 1977, © 1980, © 1981, © 1983, the theme was based on “The Soul's Sentimentalizing”.

  

PHOTOGRAPHIC ALBUMS:

Portrait and Landscape in France © 2000

Portrait and Landscape in Scotland © 2001

Portrait and Landscape in England © 2009

Portrait at Queen Mary, University of London © 2010

Rayonism of London © 2011

Portrait at The University of Nottingham, United Kingdom © 2011

Snowy London © 2012

Portrait at King's College London © 2013

  

BOOKS:

Scenario Original「魂韻」(衿契吐蕊) “Hun yun: jin qi tu rui” © December 1980, © 1981, © 1983 (Date of First Publication: 31 December 1980, Second Edition on 29 July 1981, Date of Revision: Revised Edition on 8 May 1983), Languages: Chinese (traditional), and English language.

“Album of the Cadillac Club International Fine Arts Exhibition” © 1981

“Album of the Cinematic & Photographic Arts Salon and the Hall of the Arts, Pegasus Academy of Arts” © 1981

“Album of New Image for the Spring of Shapely Models International” © 1982

“Album of High Lights on the Summer and Fall Fashion of Shapely Models Int’l” © 1982

“Romantic Carol” © 1982

Album of Academic Work for News Publication: “TianLiang Maa (Theophilus Raynsford Mann) Photographic Exhibitions of Rayonnisme” © May 1985

新聞出版之學術著作專輯「馬天亮『光影』“Rayonism” 攝影展」© May 1985

New version of scenario original “The Soul's Sentimentalizing” (to be published)

「曾經輝煌到頂天立地」 “The Indomitable Spirit Was Brilliant to Upright” (individual biography, to be published)

“My Life, My History, and My Love” (based on a legend, to be published, a film scenario will be developed later)

「感動的公平與正義」“Touching Fairness and Justice” (political science and social studies, to be published)

  

Research Interests:

 

University of Oxford

Research Studies in Archaeology:

Maa’s attractive topic was “A View of Architectural History: Towns through the Ages from Winchester through London Arrived at Oxford in England”.

 

National Taiwan University

Graduate Certificate,

Graduate Institute of Electrical Engineering:

Maa’s monograph of seminar was “Applied the sequence control in the electric power distribution engineering”.

 

University of Glamorgan

M.Sc. Course,

Master of Science in Real Estate Appraisal:

Maa’s thesis - major subject, with relevant construction law was “The Assignment is under Economics of Construction Management in Architecture”.

 

National Sun Yat-Sen University

Postgraduate Certificate,

Postgraduate Studies in Computing:

Maa’s required subject was Information dBase III Plus and Taiwanese Traditional Mandarin Chinese Information System. He combined academic course work and practical laboratory sessions in “Applied Mandarin Phonetic Symbols into Traditional Taiwanese Personal Computer and Its Information System”.

  

Associations:

 

Since 1980, a member of Chinese Taipei Film Archive (CTFA, National Film Archive, Taiwan; founded in 1978), The Motion Picture Foundation, R.O.C. (member of Fédération Internationale des Archives du Film, FIAF; The International Federation of Film Archives was founded in Paris in 1938 by the British Film Institute, the Museum of Modern Art in New York City, the Cinémathèque Française and the Reichsfilmarchiv in Berlin.)

 

Commissioner of the cinema, photography, radio, and television committee of The Culture and Arts Association (Chinese Writers and Artists Association) of Taiwan ever since September 1983.

 

Classic member, the membership is equivalent to a doctorate membership of the Chinese Institute of Electrical Engineering since 23 March 1984.

 

On 15 March 1989, Maa promoted and founded the Consortium Juridical Person Mr. TianLiang Maa Social Benefit Foundation 財團法人馬天亮先生社會公益基金會 in Taiwan. near.archives.gov.tw/cgi-bin/near2/nph-redirect?rname=tre...

 

Classic member, the membership is equal to a professor or associate professor of The Chinese Institute of Engineers since 30 September 1991.

  

Honours:

 

Listed on ‘Taiwan Who’s Who In Business’, © 1984, © 1987, and © 1989 Harvard Management Service.

中華民國企業名人錄編纂委員會, 哈佛企業管理顧問公司.

 

On 26 August 1985, Maa was awarded a professional certificate of the Outdoor Artistry Activities issued by Education Bureau, Kaohsiung City Government, Taiwan. He acquired awards and certificates of honour about twenty times from National Taiwan Arts Education Center (Museum) on 24 December 1983; Kaohsiung Municipal Social Education Center on 17 March 1984, Kaohsiung Cultural Center, Taipei Cultural Center (Taipei Municipal Social Education Hall); and Taiwan Province Government, Taipei City Government, Kaohsiung City Government, and many cultural centres and art galleries, and so on.

  

Careers:

 

Honorary Professor at Space Time Life Research Academy, 7 June 2012 to present; Professor at Space Time Life Research Academy, 1 September 2011 to 1 June 2012 in London, United Kingdom:

Academia,

Teaching and Research:

business management and consultant, political philosophy, Chinese classics, Chinese humanities, modern Chinese language and literature, photography (portrait, fashion, commercial, digital, architectural, abstract photography), visual arts and film production.

www.facebook.com/stlra/info

教學與研究：

企業管理及顧問、政治哲學、中華經典 (古典漢學、文學、藝術、語言) 、中華人文、中華現代語言與文學、攝影 (人像、時裝、商業、數位/數碼、建築、抽象攝影) ，視覺藝術和影片製作。

 

Consultant and Translator at Eternal Life Consultants of Immigration and Translations Services, 10 March 2004 to present in London, United Kingdom:

consultants of immigration, translations, and legal services.

www.facebook.com/elcits/info

永生移民顧問翻譯服務社的移民諮詢顧問和翻譯：

移民事務，翻譯和法律服務。

 

Computer Hardware & Networking Engineer at Maa Office of Electrical Engineer, 8 March 2004 to present in London, United Kingdom:

Computer Engineering and Network Services. Repairing of Motherboards, Monitors, Power Supplies, CD-ROM Drives; UPS, Hard Disk Drives, H.D.D Data Recovery; BIOS Programming, and all types of Computer Hardware and Software Solutions.

www.facebook.com/maaelec/info

計算機工程和網絡服務。維修主機板，顯示器，電源供應器，光碟機/光盘驱动器，不斷電系統，硬碟/硬盘，硬盤數據恢復，基本輸入輸出系統編程，以及所有類型的電腦/計算機硬體/硬件和軟體/軟件解決方案。

 

Film Director & Photographer at Photographer and Film Director (Shapely), 2 April 2007 to present in London, United Kingdom:

1) Photo, Video and Film Production; 2) Graphic Design, Web Design, Social Networking, Social Media and Advertising; 3) Architectural Design and Interior Design.

www.facebook.com/filmshapely/info

 

Reformer and Philosopher at Taiwanese Social Reformer and Philosopher, 7 April 2012 (location: Los Angeles, California) to present in London, United Kingdom:

Social Reform in Taiwan

www.facebook.com/twreform/info

  

《魂韻》(衿契吐蕊) - 馬天亮22歲寫的電影原著。TianLiang Maa (Theophilus Raynsford Mann) wrote “Hun Yun” (Jin Qi Tu Rui), scenario original “The Soul’s Sentimentalizing” © 1980, 1981, 1983, was at the age of 22.

Website

mtltwp.pixnet.net/album/set/1265174

album.blog.yam.com/mtltwp

photo.roodo.com/photos/mtltwp/albums/small/100469.html

www.facebook.com/hunyun22

www.facebook.com/hy22tss

www.facebook.com/tsstrm

  

Sonate Nr. 1 C-dur op. 3 für Klavier (piano) by Theophilus Raynsford Mann (TianLiang Maa 馬天亮) © 1977, © 1980, © 1981, © 1983. The Sonate composed on 3rd April 1977 then Maa was 18-year-old. The work was published in 1980; the theme was based on “The Soul's Sentimentalizing”.

Website

www.facebook.com/sonate1c

www.facebook.com/piano1c/info

  

LINKS:

 

University of California, Berkeley

berkeley.worldcat.org/search?q=Ma%2C+Tianliang&dblist...

berkeley.worldcat.org/title/hun-yun/oclc/813684284?refere...

oskicat.berkeley.edu/record=b11283690~S1

 

University of Michigan

mirlyn.lib.umich.edu/Record/006237256

catalog.hathitrust.org/Record/006237256

 

WorldCat® Identities

www.worldcat.org/search?q=au%3AMa%2C+Tianliang%2C&dbl...

www.worldcat.org/wcidentities/np-ma,%20tianliang$1958

 

Google Books

books.google.co.uk/books?id=PkyaAAAAIAAJ&redir_esc=y

books.google.co.uk/books?id=JfxnMwEACAAJ&dq=editions:...

scholar.google.com/scholar?cluster=3569983911138966023&am...

 

National Bibliographic Information Network (NBINet)

nbinet3.ncl.edu.tw/search~S10?/a%7bu99AC%7d%7bu5929%7d%7b...

192.83.186.170/search*cht/a%E9%A6%AC%E5%A4%A9%E4%BA%AE

 

National Yang Ming University 國立陽明大學

library.ym.edu.tw/search~S7*cht?/tThe+Soul%27s+and+sentim...

 

National Taiwan University of Science and Technology 國立臺灣科技大學

millennium.lib.ntust.edu.tw/record=b1016706~S1

 

Wikimedia Commons 維基共享資源

commons.wikimedia.org/w/index.php?search=TianLiang+Maa+%E...

commons.wikimedia.org/wiki/File:TianLiang_Maa_馬天亮.jpg

commons.wikimedia.org/wiki/File:馬天亮_TianLiang_Maa.jpg

 

國家圖書館 期刊文獻資訊網, 臺灣期刊論文索引

readopac3.ncl.edu.tw/nclJournal/search/search_result.jsp?...

 

聲音藝術的審美角度, 大學雜誌, 天然

readopac3.ncl.edu.tw/nclJournal/search/detail.jsp?sysId=0...,

readopac3.ncl.edu.tw/nclJournal/search/detail.jsp?sysId=0...

 

為文化中心把脈, 幼獅文藝

readopac3.ncl.edu.tw/nclJournal/search/detail.jsp?sysId=0...,

 

科學家與守財奴, 中國地方自治

weblib.exam.gov.tw/ccdb2/Result_List.asp?idx_id=CCVOL&...

 

Yahoo, Bing, Google Search

www.google.com/search?q=馬天亮

www.google.com/search?q=TianLiang+Maa

images.search.yahoo.com/search/images;_ylt=AwrB8pGXJyVTVm...

www.bing.com/images/search?q=tianliang+ma&go=&qs=...

 

Atomzone

atomzone.co.uk/images/search/馬天亮

atomzone.co.uk/images/search/Ma+Tianliang

 

lurvely.com www.lurvely.com/photographer/77438197_N03/

 

portfotolio.net/mtltwp

portfotolio.net/mtltwpprof

 

www.flickriver.com/photos/mtltwp/

www.flickriver.com/photos/mtltwpprof/

 

Nature - National Library Board Singapore

snap.nl.sg/searchflickr.aspx?q=%E9%A6%AC%E5%A4%A9%E4%BA%A...

snap.nl.sg/searchflickr.aspx?q=TianLiang+Maa+&p=1&...

 

画像検索

flickr.akitomo.net/馬天亮/1

flickr.akitomo.net/TianLiang+Maa/1

 

Japan Photos and Pictures

japan.pictures-photos.com/professor-tianliang-maa%E2%80%A6

summer.pictures-photos.com/professor-tianliang-maa%E2%80%A6

 

far-east-movement - Blogcu (Turkey)

far-east-movement.blogcu.com/professor-tianliang-maa/1226...

 

man fashion

spirehim.com/3454/professor-tianliang-maa-%E9%A6%AC%E5%A4...

 

Travel Splash

travel-splash.com/photos/view.php?id=13397167315&sear...

 

Country profile Taiwan

atomzone.co.uk/images/search/Country+profile+Taiwan

 

itpints

www.itpints.com/?q=TianLiang+Maa&sources%5b%5d=flickr...

 

AskJot

askjot.com/search/TianLiang-Maa

 

Who is talking

whotalking.com/flickr/TianLiang+Maa

 

University of California, Berkeley period

atomzone.co.uk/scaffold/images/search/University%20of%20C...

 

University of Michigan period

atomzone.co.uk/scaffold/images/search/University%20of%20M...

 

University of Oxford period

atomzone.co.uk/scaffold/images/search/University%20of%20O...

www.wer-ist.org/person/Oxford_Archaeology

 

University of Glamorgan period

atomzone.co.uk/images/search/University+of+Glamorgan+period

www.worldofbuildings.worldofbuildings.org/flickr/wob_flic...

 

University of Huddersfield period

atomzone.co.uk/scaffold/images/search/Huddersfield%20period

 

art galleries uk

artgalleriesuk.blogspot.co.uk/2012/08/bigandtall-stores-s...

 

Mitrasites system

sites.google.com/site/mitrasites/system/app/pages/customS...

 

articles.whmsoft

articles.whmsoft.com/related_search.php?keyword=Tianliang...

 

pantieslace-forwomen.blogspot.co.uk/2012/08/motherhood-ma...

3piece-suits.blogspot.co.uk/2012/07/nursing-shawl-become-...

3piece-suits.blogspot.co.uk/2012/08/body-briefers-childre...

 

www.flickriver.com/search/%E6%BC%A2%E5%AD%B8+OR.../intere...

www.flickriver.com/search/%E8%AB%96%E6%96%87+OR.../recent/

 

German

www.wer-ist.org/person/Jin_Mann

 

www.pediatr.org.tw/DB/News/file/1913-1.pdf

  

HOMEPAGE

Tumblr twwinp.tumblr.com/

 

LinkedIn

 

Facebook www.facebook.com/twwinp

 

plus.google.com/+FormosanWinner/about

 

Flickr

www.flickr.com/people/mtltwpprof/

www.flickr.com/photos/mtltwp/

www.flickr.com/photos/115081224@N02/

 

Behance be.net/mtltwp

 

Vimeo vimeo.com/user19375807

 

ReverbNation www.reverbnation.com/directortianliangmaa%E9%A6%AC%E5%A4%...

 

YouTube www.youtube.com/watch?v=mqZCtzVdwIU

 

VideoRes

www.territorioscuola.com/videores/video/view/mqZCtzVdwIU/...

 

Mashpedia VideoPlayer

www.mashpedia.com/videoplayer.php?q=mqZCtzVdwIU

 

Webs mtltw-com.webs.com/

 

NOWnews blog.nownews.com/mtl

blog.nownews.com/profile.php?bid=43616

 

TaiwanYes tw01.org/profile/mtl

 

Baidu Space 百度空间

www.baidu.com/p/馬天亮/detail hi.baidu.com/new/mtltw

 

Blogger mtltwp.blogspot.co.uk/

 

LiveJournal

mtltwp.livejournal.com/profile

 

Scribd

www.scribd.com/TianLiang%20Maa%20%E9%A6%AC%E5%A4%A9%E4%BA%AE

 

yam 天空部落

blog.yam.com/mtltwp&act=profile

 

痞客邦 PIXNET mtltwp.pixnet.net/profile

 

Roodo Blog 樂多日誌 blog.roodo.com/mtltwp

 

funP 推推王 funp.com.tw/t2362814

 

Plurk www.plurk.com/mtlp/invite

 

TypePad profile.typepad.com/mtlp

 

Udemy www.udemy.com/u/861/

 

Delicious.com previous.delicious.com/mtltw

 

Pinterest

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Yasni®.co.uk person.yasni.co.uk/tianliang+maa+1310815

 

Twitter twitter.com/mtltwp

 

Topsy topsy.com/twitter/mtltwp

 

twpro ツイプロ twpro.jp/mtltwp

  

Google Talk twwinp@gmail.com

Skype tmanntw@outlook.com

Skype Name: tianliang.maa

Yahoo! Messenger twnwin@yahoo.com

ICQ twwinp@gmail.com

AOL t.maa@aim.com

 

Tel +44 (0)7575 288 016

 

Cartoon from Punch magazine 1867.

Punch the London magazine of wit, satire and political humour.

Description: An article and poem about Julia Brace written by F.M.S.

 

Full text: Songs in the Shade

By F.M.S.

 

On Reading the Account of

An American Girl Born Deaf, Dumb, and Blind

 

“In the Hartford Institution for the Deaf and Dumb, is a poor girl named Julia Brace, who, in addition to being deaf and dumb, is also blind.

Her complexion is fair; her smile gentle and sweet, though of rare occurrence; and her person somewhat bent, when sitting, from habits of fixed attention to her work.

She has never been known to appropriate to herself, without permission, the most trifling object. This incorruptible honesty is connected with a delicacy of feeling, or scrupulousness of conscious, which renders it necessary on presenting her with any gift, to assure her repeatedly, by sign which she understands, that it is for her, ere she will consent to accept it.

With her-whose eye, ear, and tongue are alike dead-the capabilities both of touch and smell are exceedingly heightened. Especially the latter seems almost to have acquired the properties of a new sense. Yet, keeping in view all the aids which these limited faculties have the power of imparting, some of the discoveries and exercises of her intellect are still, in a measure, unaccountable.

Persons most intimately acquainted with her habits assert that she constantly regards the recurrence of the Sabbath, and composes herself to unusual quietness, as if in meditation. Her needlework, from which she will not be debarred on other days, she never attempts to resort to; and this wholly without influence from those around her.

The genial influence of Spring wakes her lone heart to gladness; and she gathers the first flowers, and even the young blades of grass, and inhales their freshness with a delight bordering on transport.”

 

Poem:

 

Thy soul hath dwelt in silence; yet a tone Deeper and louder than the ocean’s swell,

Softer than human ear hath ever known, Breathes, with thy sighs, the prayer unspeakable!

 

Thy speechless form, thou bending bruised reed, Thine ear for ever closed, they sightless eye,

These all for thee with tenderest accents plead, They reach the ear, the heart of the Most High!

 

The Father, from his high and holy seat, Looks down on thee his strangely helpless child!

He bids his angels guard thy wandering feet, And watch thy bed, and sooth with slumbers mild.

 

Publisher: Songs in the Shade. J.C. Bridgewater, London.

 

Date: 1844

 

Format: text

 

Digital Identifier: AG54-JB-0014

 

Rights: Samuel P. Hayes Research Library, Perkins School for the Blind, Watertown, MA

Glory to the courage, labour and intellect of the Soviet people!

 

by V. Viktorov, 1962

Apollo the God of knowledge and Intellect must hear the plea of this street boy trying to gain knowledge despite of all odds.

The Kaldanes have no organs considered unnecessary, and devote nearly all of their body volume to brain matter.