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Christopher Nolan 's Interstellar Countdown Billboard movie film poster astronauts science fiction sci-fi flooding out the windows of a building above the corner of 49th Street and 7th Avenue in New York City 11/08/2014 NYC traffic taxi cab cabs Now Days Left
Kathleen Edwards at the Interstellar Rodeo in Edmonton, Alberta, Canada. ©Eric Kozakiewicz/Interstellar Rodeo
two hundred and six.
Didn't have time to upload this yesterday because I went into the city to see The Interstellar Elevators, who were amazing!
Christopher Nolan 's Interstellar Phone Booth Billboard movie film poster astronauts science fiction sci-fi flooding out the windows of a building above the corner of 64th Street and 2nd Avenue in New York City 10/25/2014 NYC traffic taxi cab cabs
Henri le Sidaner (1862 - 1939) - "La Place Saint-Marc au Crepuscule" (1907)
From Au-dela des Etoiles - Le Paysage Mystique de Monet a Kandinsky
"Seeking an order beyond physical appearances, going beyond physical realities to come closer to the mysteries of existence, experimenting with the suppression of the self in an indissoluble union with the cosmos… It was the mystical experience above all else that inspired the Symbolist artists of the late 19th century who, reacting against the cult of science and naturalism, chose to evoke emotion and mystery. The landscape, therefore, seemed to these artists to offer the best setting for their quest, the perfect place for contemplation and the expression of inner feelings.
Thus the exhibition, organised in partnership with the Art Gallery of Ontario, Toronto, explores the genre of landscape principally through the works of Paul Gauguin, Maurice Denis, Ferdinand Hodler and Vincent Van Gogh, but also presents North American painters such as Giorgia O'Keeffe and Emily Carr, who are less well known in France. Contemplation, the ordeal of the night or of war, the fusion of the individual with the cosmos, and the experience of the transcendental forces of nature, are stages in a mystical journey the exhibition invites you to take."
Landscape received scant mention in Symbolist circles although the Impressionists had embraced it as a subject and invented a new style of painting focusing on the tangible world.
However, some artists chose to address their spiritual inquiries by depicting landscapes.
Against the backdrop of the rise of Positivism, which prioritised scientific experimentation, and in a world experiencing significant change, artists were pervaded by a form of idealism and began to question their own origins, religious culture and the relationship between man and nature. Nature became the locus for soul-searching, culminating in mystical experiences.
Mysticism was widespread in the late 19th century and this phenomenon is a feature of all religions and beliefs, offering a means of accessing the mysteries of existence through oneness with nature. This exhibition aims to analyse how mysticism influenced landscape painting at the dawn of the 20th century, paving the way for the birth of abstraction.
The sections of the exhibition reveal works by artists from diverse cultures who are exploring the transcendence and immanence of nature. The first section, which is underpinned by Monet’s aesthetic experiments, introduces visitors to the work of art as an aid to contemplation.
However, many artists use the motif of the landscape as a starting point to express their aspiration to mystical experience, including the Nabis, who found the theme of the sacred wood conducive to meditation. The second section explores the notion of the divine in nature in greater depth through works belonging to the Synthesist, Symbolist and Divisionist movements. Their iconography draws on Christian and Pantheist tropes.
In the third section, vivid and original paintings by Canadian artists from the period 1910-1930 tell the story of the North in pictures influenced by the natural world of Scandinavia. Landscape also reflects actual or internalised night in the fourth section, which is luminous in the case of Van Gogh, or melancholic and tragic when evil makes its presence felt.
By contrast, the mystical painter Dulac paves the way for the universal. The final section addresses the forces which transcend man and draw him to the realm of the stars: the cosmos and its interstellar light. This visit aims to reflect what Kandinsky describes as “those seeking for the internal in the external”.
www.musee-orsay.fr/en/events/exhibitions/in-the-musee-dor...
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Christopher Nolan 's Interstellar Countdown Billboard movie film poster astronauts science fiction sci-fi flooding out the windows of a building above the corner of 49th Street and 7th Avenue in New York City 11/04/2014 NYC traffic taxi cab cabs - 3 days left three
Christopher Nolan 's Interstellar Countdown Billboard movie film poster astronauts science fiction sci-fi flooding out the windows of a building above the corner of 49th Street and 7th Avenue in New York City 11/08/2014 NYC traffic taxi cab cabs Now Days Left
Paul McAuley at Starship Century Symposium in London, October 2013. Commercial/other licence may be available on request (+ high-res version)
Prior to interstellar travel, humanity used to use the vastness of oceans to hide behind the retaliation of threat forces. After this, such a tactic became obsolete overnight – after all one cannot use an ocean to block an enemy invading from space.
In the Inner Sphere, most worlds are water poor – the ones that are water rich are also the most successful, and desired – water after all is the source of life. In places where water is abundant, many worlds use either hovercraft to defend their territory or the rare but unheard of use of ships – what is known as blue naval craft. In the mind of many, the need and use of water in warfare is seen as an irrelevance.
All that changed in the infamous battle for Galtor III during the Third Succession War. In the First Succession War, House Kurita took this world and its citizens lived in brutality – liberation by the Federated Suns came in 3022. However in a plan of “brilliance” the Davions tried to lure the Kuritans into invading Galtor III to route them. The plan was a disaster and extra effort was put to repel the Combine. In that process, House Davion came up with an idea to maintain its C3 network – by placing them underwater. Mobile or static, C3 posts drew fire like magnets. Underwater, very little if anything existed to stop them. Only Mechs could be lethal, and even then, most Mech weapons could not work underwater. Of course, this meant Mechs could not defend these installations, so the Galtor nation created the Neptune Submarine. This simple craft held back a lot of Kuritan advances on that world and kept the underwater C3 network from falling. However irony of irony, in the Fourth Succession War, Galtor III was won by the DCMS and the Neptunes were captured and used by them to defend that very system.
Nether the less, Hanse Davion was impressed by the Neptune’s performance, and wondered if an idea like that could be made into a Mech. A Mech dedicated to sea warfare would have advantages, and following the successful recovery of the Helm Memory Core, the details revealed showed potential. Hanse planned to get back at the Kuritans, and Galtor was one such place ripe for retribution. The Fourth Succession war was a success and Hanse was on a high.
The Corean Enterprise Plant on New Avalon was commissioned with NAIS personnel to design a Mech to do this. Many scoffed at the idea, many more saw it a waste of resource, but some saw Hanse’ thinking. If they had to retake Galtor, they had to disable said C3 network. When one owned a planet, transportation and deployment is not a problem – when one had to invade a world it can be a headache of titanic proportions. Despite its effectiveness, the Neptune is an awkward thing to transport. A Mech however can walk to the sea, go into the ocean and do what was needed.
The Sea Lion as it was called was ambitious. It had the endo steel frame and 9 tons of ferro-fibrous armour, and a more compact XL engine. It also had an XL gyro because of its aquatic dedication. The machine carried an impressive naval adapted SRM system that fired torpedoes instead. Three SRT-6s each with a ton of ammo was incorporated into it for not just taking care of any Neptune subs, but also demolition work of the underwater C3s. Backing it up were three ER medium lasers for cutting cable, hitting Neptune return fire, blasting torpedoes and to defend itself when it surfaced. Finally as a thought, the machine had a claw hand in case it had to breach these bases in desperation. The claws can scissor thick communication cable, and in a twisted vision, can grapple with Neptunes.
To help find these C3 posts, a searchlight was added, and a targeting computer was installed to compensate for wave drifts when torpedoes were fired. Finally a smaller cockpit was installed to increase the integrity of the machine when underwater.
The Sea Lion was deployed in the 3039 war and on Galtor as planned. They were deployed as standard mechs but did not meet the problems as other Davion machines faced. In combat, their agility underwater compared to the Neptunes was staggering. The Neptunes has LRTs but the Sea Lions were more resilient to the assault. Hitting back with ER lasers were a shock to the crews, and worse, the Neptunes were nowhere as maneuverable as the Sea Lions. The Mechs could close in and smash them with SRTs, or in some cases used their claws with nightmarish effect. The Sea Lions managed to destroy a lot of undersea C3 units and cables – alas word had got out about their existence, and a rethink was made. The Kuritans used remaining Neptunes to lure the Sea Lions into a part of water that started to get shallow. As they surfaced, they met proper Mechs. With only three lasers as effective armament, the Sea Lions had no chance. Most were destroyed.
Despite the success, the Sea Lion ceased production – the glaring weakness sent a shudder into even Hanse’s heart, as well as the routing of 3039. When the Clan invasion took place, the Sea Lion was abandoned.
However the idea of a sea Mech is gaining a renaissance, especially with a known experimental machine called the Spindrift made by Bowie industries, similar technology being looked into by Clans, and rumours of a super sea based mech somewhere on the world of Skye….
For Colourbrand. Thanks and credit to him for the description.
Made with Inkscape.
Christopher Nolan 's Interstellar Countdown Billboard movie film poster astronauts science fiction sci-fi flooding out the windows of a building above the corner of 49th Street and 7th Avenue in New York City 11/04/2014 NYC traffic taxi cab cabs - 3 days left three
Christopher Nolan 's Interstellar Countdown Billboard movie film poster astronauts science fiction sci-fi flooding out the windows of a building above the corner of 49th Street and 7th Avenue in New York City 11/04/2014 NYC traffic taxi cab cabs - 3 days left three
Wagons at the Interstellar Rodeo held at Hawrelak Park in Edmonton, Alberta, Canada.
©Eric Kozakiewicz/ Interstellar Rodeo
OlympicKineticGames Swiss Entry into the Interstellar Overdrive event... I get to enter 2x since I am a dual national (I hope I can anyway)
Christopher Nolan 's Interstellar Countdown Billboard movie film poster astronauts science fiction sci-fi flooding out the windows of a building above the corner of 49th Street and 7th Avenue in New York City 11/04/2014 NYC traffic taxi cab cabs - 3 days left three
These interstellar warships are over the town of Retroville and Jimmy Neutron tells those warships to get in formation, but carl is too low.