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Since the microscope was first used for scientific purpose's in the 17th century, it has made invaluable contribution's to the fields of biology, chemistry, physics and micro electronics.
From the official site:
Who Are Those Owls?
Five massive owls look down from the top of Harold Washington Library Center.
The great horned owl is atop the main entrance of the building, on State Street. At 20 feet high with a 20-foot wingspan, it weighs three tons. Clutching an open book, this owl stands with wings spread, ready to take flight. An avid reader, the owl always returns his books.
From Wikipedia:
In 1993, the roof was ornamented with seven large, painted aluminum acroteria designed by Kent Bloomer with owl figures by Raymond Kaskey. The acroterium on the State Street side depicts an owl, a symbol of knowledge due to its association with the Greek goddess Athena.
Biblioteca del Jesus College de la Universitat de Oxford.
Vam tenir el privilegi de visitar aquesta bilbioteca, que no s'obre al públic i que ni tan sols els alumnes de la universitat hi tenen accés. Té uns 11.000 llibres. Les cintes negres que es veuen són per subjetar -los per què no es desmontin de tan antics. Un espai de coneixament i història resguardad del públic per preservar la seva integritat.
"Dedicada a en Xevi www.flickr.com/photos/xevius_pics, que és un gran fotògraf !!
The Architecture Of Knowledge - The Foundations Of The Spiritual Force by Daniel Arrhakis (2024/ 2025)
With the music: Nordanvinden (The North Wind) / Trollslottet
Sorgeberget
℗ 2024 Cryo Crypt
youtu.be/KAfpsjEbGM8?list=OLAK5uy_mIscZy_lp0YlL5XsSH2bWpu...
The Architecture Of Knowledge - The Foundations Of The Spiritual Force
Knowledge Architecture is a construction or system that allows us to connect all the elements or data, as if they were bricks or boards, scattered randomly, and transform them into a powerful, understandable, constructive and solid tool so that we can help us make effective decisions that support us in resolving problems or choosing priorities that we have to make on our journey as thinking beings.
This Knowledge Architecture thus incorporates a multidimensional, multifaceted and multifunctional constructive image patiently constructed through the collection, analysis, experimentation, creation and subsequent dissemination of knowledge through different means of communication.
This general and specific knowledge is fundamental and one of the essential foundations to sustain and strengthen our Spiritual Force to transcend our horizons beyond the knowledge of ourselves as material beings.
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A Arquitetura Do Conhecimento - As Fundações da Força Espiritual
A Arquitetura do Conhecimento é uma construção ou sistema que nos permite conectar todos os elementos ou dados, como se de tijolos ou tábuas de tratassem, espalhados de forma aleatória, e transformá-los numa ferramenta poderosa, compreensível, construtiva e sólida, para que nos possa ajudar a tomar decisões eficazes, que nos apoiem nas resoluções dos problemas ou nas escolhas de prioridades que temos de tomar no nosso percurso como seres pensantes.
Esta Arquitetura do Conhecimento incorpora assim uma imagem construtiva multidimensional, multifacetada e multifuncional construída pacientemente através da recolha, análise, experimentação, criação e posterior divulgação do conhecimento através de diferentes meios de comunicação.
Este conhecimento geral e específico é fundamental e uma das fundações essenciais para suster e fortalecer a nossa Força Espiritual de modo a transcender os nossos horizontes para além do conhecimento de nós mesmos como seres materiais.
Lit from the side, by a 45watt bulb and a SB600 speed light on a chair, fitted with a phong light sphere 2
Prints available at zacharymassengill.smugmug.com
“Everything happens around us, but no one knows how. Everything appears before us, but no one sees the source. Together and individually, people value that part of knowledge that is already known. They don’t know how to use the unknown to with his help to achieve knowledge. Isn't that a delusion? ”
Chuang tzu
Make a first step! First step!
I decided to write this text for those who know me, and those who have not yet! The story of my life is firmly connected with the art of photography.
Meeting with people from different cities, countries; talking with supporters of different views on this wonderful world, I realized that I'm not the only one ...
Studying communication methods on the Internet, meeting with photographers in Russia and abroad, I was surprised to find that much has not been done in this industry.
Moreover, the changes of recent years that have affected everyone leave no chance for old methods of communication!
For three years of close contact with different platforms of photographers, I decided to take this step!
Gradually, my thoughts began to take shape in a project that I created in the midst of a "system switch".
Despite the skepticism of many, I am sure that what I have planned will be realized. Even if my efforts are not enough!
Indeed, as many have probably already understood, Photography is a process!
And the game, and especially if it is interesting, lasts longer than it is supposed at the beginning of the journey!
I wish everyone not to stop on the way! I will continue it not only Online at sites
Listenwave photography
Photography without poses
Primavera, is a large panel painting in tempera paint by the Italian Renaissance painter Sandro Botticelli made in the late 1470s or early 1480s (datings vary). It has been described as "one of the most written about, and most controversial paintings in the world", and also "one of the most popular paintings in Western art".
The painting depicts a group of figures from classical mythology in a garden, but no story has been found that brings this particular group together. Most critics agree that the painting is an allegory based on the lush growth of Spring, but accounts of any precise meaning vary, though many involve the Renaissance Neoplatonism which then fascinated intellectual circles in Florence. The subject was first described as Primavera by the art historian Giorgio Vasari who saw it at Villa Castello, just outside Florence, by 1550.
Although the two are now known not to be a pair, the painting is inevitably discussed with Botticelli's other very large mythological painting, The Birth of Venus, also in the Uffizi. They are among the most famous paintings in the world, and icons of the Italian Renaissance; of the two, the Birth is even better known than the Primavera. As depictions of subjects from classical mythology on a very large scale, they were virtually unprecedented in Western art since classical antiquity.
The history of the painting is not certainly known; it may have been commissioned by one of the Medici family, but the certainty of its commission is unknown. It draws from a number of classical and Renaissance literary sources, including the works of the Ancient Roman poet Ovid and, less certainly, Lucretius, and may also allude to a poem by Poliziano, the Medici house poet who may have helped Botticelli devise the composition. Since 1919 the painting has been part of the collection of the Uffizi Gallery in Florence, Italy.
The painting features six female figures and two male, along with a cupid, in an orange grove. The movement of the composition is from right to left, so following that direction the standard identification of the figures is: at far right "Zephyrus, the biting wind of March, kidnaps and possesses the nymph Chloris, whom he later marries and transforms into a deity; she becomes the goddess of Spring, eternal bearer of life, and is scattering roses on the ground." Chloris the nymph overlaps Flora, the goddess she transforms into.
In the centre (but not exactly so) and somewhat set back from the other figures stands Venus, a red-draped woman in blue. Like the flower-gatherer, she returns the viewer's gaze. The trees behind her form a broken arch to draw the eye. In the air above her a blindfolded Cupid aims his bow to the left. On the left of the painting the Three Graces, a group of three females also in diaphanous white, join hands in a dance. At the extreme left Mercury, clothed in red with a sword and a helmet, raises his caduceus or wooden rod towards some wispy gray clouds.
The interactions between the figures are enigmatic. Zephyrus and Chloris are looking at each other. Flora and Venus look out at the viewer, the Cupid is blindfolded, and Mercury has turned his back on the others, and looks up at the clouds. The central Grace looks towards him, while the other two seem to look at each other. Flora's smile was very unusual in painting at this date.
The pastoral scenery is elaborate. There are 500 identified plant species depicted in the painting, with about 190 different flowers, of which at least 130 can be specifically identified. The overall appearance, and size, of the painting is similar to that of the millefleur ("thousand flower") Flemish tapestries that were popular decorations for palaces at the time.
These tapestries had not caught up by the 1480s with the artistic developments of the Italian Renaissance, and the composition of the painting has aspects that belong to this still Gothic style. The figures are spread in a rough line across the front of the picture space, "set side by side like pearls on a string". It is now known that in the setting for which the painting was designed the bottom was about at eye level, or slightly above it, partly explaining "the gently rising plane" on which the figures stand.
The feet of Venus are considerably higher than those of the others, showing she is behind them, but she is at the same scale, if not larger, than the other figures. Overlapping of other figures by Mercury's sword and Chloris' hands shows that they stand slightly in front of the left Grace and Flora respectively, which might not be obvious otherwise, for example from their feet. It has been argued that the flowers do not grow smaller to the rear of the picture space, certainly a feature of the millefleur tapestries.
The costumes of the figures are versions of the dress of contemporary Florence, though the sort of "quasi-theatrical costumes designed for masquerades of the sort that Vasari wrote were invented by Lorenzo de' Medici for civic festivals and tournaments." The lack of an obvious narrative may relate to the world of pageants and tableaux vivants as well as typically static Gothic allegories.
Various interpretations of the figures have been set forth, but it is generally agreed that at least at one level the painting is "an elaborate mythological allegory of the burgeoning fertility of the world." It is thought that Botticelli had help devising the composition of the painting and whatever meanings it was intended to contain, as it appears that the painting reflects a deep knowledge of classical literature and philosophy that Botticelli is unlikely to have possessed. Poliziano is usually thought to have been involved in this, though Marsilio Ficino, another member of Lorenzo de' Medici's circle and a key figure in Renaissance Neoplatonism, has also often been mentioned.
One aspect of the painting is a depiction of the progress of the season of spring, reading from right to left. The wind of early Spring blows on the land and brings forth growth and flowers, presided over by Venus, goddess of April, with at the left Mercury, the god of the month of May in an early Roman calendar, chasing away the last clouds before summer. As well as being part of a sequence over the season, Mercury in dispelling the clouds is acting as the guard of the garden, partly explaining his military dress and his facing out of the picture space. A passage in Virgil's Aeneid describes him clearing the skies with his caduceus. A more positive, Neoplatonist view of the clouds is that they are "the benificent veils through which the splendour of transcendent truth may reach the beholder without destroying him."
Venus presides over the garden – an orange grove (a Medici symbol). It is also the Garden of the Hesperides of classical myth, from which the golden apples used in the Judgement of Paris came; the Hellenistic Greeks had decided that these were citrus fruits, exotic to them. According to Claudian, no clouds were allowed there. Venus stands in front of the dark leaves of a myrtle bush. According to Hesiod, Venus had been born of the sea after the semen of Uranus had fallen upon the waters. Coming ashore in a shell she had clothed her nakedness in myrtle, and so the plant became sacred to her. Venus appears here in her character as a goddess of marriage, clothed and with her hair modestly covered, as married women were expected to appear in public.
The Three Graces are sisters, and traditionally accompany Venus. In classical art (but not literature) they are normally nude, and typically stand still as they hold hands, but the depiction here is very close to one adapting Seneca by Leon Battista Alberti in his De pictura (1435), which Botticelli certainly knew. From the left they are identified by Edgar Wind as Voluptas, Castitas, and Pulchritudo (Pleasure, Chastity and Beauty), though other names are found in mythology, and it is noticeable that many writers, including Lightbown and the Ettlingers, refrain from naming Botticelli's Graces at all.
Botticelli's Pallas and the Centaur (1482) has been proposed as the companion piece to Primavera.
Cupid's arrow is aimed at the middle Grace — Chastity, according to Wind — and the impact of love on chastity, leading to a marriage, features in many interpretations. Chastity looks towards Mercury, and some interpretations, especially those identifying the figures as modelled on actual individuals, see this couple as one to match Chloris and Zephyrus on the other side of the painting.
In a different interpretation the Earthy carnal love represented by Zephyrus to the right is renounced by the central figure of the Graces, who has turned her back to the scene, unconcerned by the threat represented to her by Cupid. Her focus is on Mercury, who himself gazes beyond the canvas at what many believe hung as the companion piece to Primavera: Pallas and the Centaur, in which "love oriented towards knowledge" (embodied by Pallas Athena) proves triumphant over lust (symbolized by the centaur).
The basic identification of the figures is now widely agreed,but in the past other names have sometimes been used for the females on the right, who are two stages of the same person in the usual interpretation. The woman in the flowered dress may be called Primavera (a personification of Spring), with Flora the figure pursued by Zephyrus. One scholar suggested in 2011 that the central figure is not Venus at all, but Persephone.
In addition to its overt meaning, the painting has been interpreted as an illustration of the ideal of Neoplatonic love popularized among the Medicis and their followers by Marsilio Ficino. The Neoplatonic philosophers saw Venus as ruling over both Earthly and divine love and argued that she was the classical equivalent of the Virgin Mary; this is alluded to by the way she is framed in an altar-like setting that is similar to contemporary images of the Virgin Mary. Venus' hand gesture of welcome, probably directed to the viewer, is the same as that used by Mary to the Archangel Gabriel in contemporary paintings of the Annunciation.
Punning allusions to Medici names probably include the golden balls of the oranges, recalling those on the Medici coat of arms, the laurel trees at right, for either Lorenzo, and the flames on the costume of both Mercury (for whom they are a regular attribute) and Venus, which are also an attribute of Saint Laurence (Lorenzo in Italian). Mercury was the god of medicine and "doctors", medici in Italian. Such puns for the Medici, and in Venus and Mars the Vespucci, run through all Botticelli's mythological paintings.
The origin of the painting is unclear. Botticelli was away in Rome for many months in 1481/82, painting in the Sistine Chapel, and suggested dates are in recent years mostly later than this, but still sometimes before. Thinking has been somewhat changed by the publication in 1975 of an inventory from 1499 of the collection of Lorenzo di Pierfrancesco de' Medici.
The 1499 inventory records it hanging in the city palace of Lorenzo di Pierfrancesco de' Medici and his brother Giovanni "Il Popolano". They were the cousins of Lorenzo de' Medici ("Lorenzo il Magnifico"), who was effectively the ruler of Florence, and after their father's early death had been his wards. It hung over a large lettuccio, an elaborate piece of furniture including a raised base, a seat and a backboard, probably topped with a cornice. The bottom of the painting was probably at about the viewer's eye-level, so rather higher than it is hung today.
In the same room was Botticelli's Pallas and the Centaur, and also a large tondo with the Virgin and Child. The tondo is now unidentified, but is a type of painting especially associated with Botticelli. This was given the highest value of the three paintings, at 180 lire. A further inventory of 1503 records that the Primavera had a large white frame.
In the first edition of his Life of Botticelli, published in 1550, Giorgio Vasari said that he had seen this painting, and the Birth of Venus, hanging in the Medici country Villa di Castello. Before the inventory was known it was usually believed that both paintings were made for the villa, probably soon after it was acquired in 1477, either commissioned by Lorenzo di Pierfrancesco or perhaps given to him by his older cousin and guardian Lorenzo de' Medici. Rather oddly, Vasari says both paintings contained female nudes, which is not strictly the case here.
Most scholars now connect the painting to the marriage of Lorenzo di Pierfrancesco de' Medici. Paintings and furniture were often given as presents celebrating weddings. The marriage was on 19 July 1482, but had been postponed after the death of the elder Lorenzo's mother on 25 March. It was originally planned for May. Recent datings tend to prefer the early 1480s, after Botticelli's return from Rome, suggesting it was directly commissioned in connection with this wedding, a view supported by many.
Another older theory, assuming an early date, suggests the older Lorenzo commissioned the portrait to celebrate the birth of his nephew Giulio di Giuliano de' Medici (who later became Pope), but changed his mind after the assassination of Giulo's father, his brother Giuliano in 1478, having it instead completed as a wedding gift for Lorenzo di Pierfrancesco.
It is frequently suggested that Lorenzo di Pierfrancesco is the model for Mercury in the portrait, and his bride Semiramide represented as Flora (or Venus). In older theories, placing the painting in the 1470s, it was proposed that the model for Venus was Simonetta Vespucci, wife of Marco Vespucci and according to popular legend the mistress of Giuliano de' Medici (who is also sometimes said to have been the model for Mercury); these identifications largely depend on an early date, in the 1470s, as both were dead by 1478. Simonetta was the aunt of Lorenzo's bride Semiramide. Summarizing the many interpretations of the painting, Leopold Ettlinger includes "descending to the ludricous – a Wagnerian pantomime enacted in memory of the murdered Giuliano de' Medici and his beloved Simonetta Vespucci with the Germanic Norns disguised as the Mediterranean Graces."
Whenever this painting and the Birth of Venus were united at Castello, they have remained together ever since. They stayed in Castello until 1815, when they were transferred to the Uffizi. For some years until 1919 they were kept in the Galleria dell'Accademia, another government museum in Florence. Since 1919, it has hung in the Uffizi Gallery in Florence. During the Italian campaign of World War Two, the picture was moved to Montegufoni Castle about ten miles south west of Florence to protect it from wartime bombing.
It was returned to the Uffizi Gallery where it remains to the present day. In 1978, the painting was restored.[66] The work has darkened considerably over the course of time
Name: Jisza Vylon
Birth: 28 BBY
Birthplace: Corellia
Species: Human
Gender: Male
Height: 1.70 meters
Hair: Brown
Eyes: Blue
Skin: Tan White
Era(s): New Republic Era
Affiliation(s): - Rebel Merc Alliance
- Rebellion
- New Republic
Master(s): - Kydan Witress (temporary master)
- Coneros Witress (master)
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Jisza Vylon was a human male that was born on the planet of Corellia. At the young age of 10, he was forced to leave his home and find refuge with the Rebel Merc Alliance, a small rebel cell that was slowly growing. During those months, he would eventually meet the young rebel general, Kydan Witress, who would realize the young boy’s connection with the Force. He would then teach Jisza the basics of the Force, and later train him to protect and defend himself, both with a blaster and a training staff. Later, however, his master and a large group of volunteers would venture out through hyperspace, and never be heard from again. With his absence, he would be left to train on his own and find the answers that he would seek.
Being born with a connection to the Force, he would slowly grow up to acquire the ability to be swift and keen. His first power was using Force Speed, mostly using this ability under tight situations, but lacked the knowledge of other types of abilities to use. Nonetheless, with learning on how to survive with little resource, he would become a skillful agent for the Rebellion and other smaller cells.
A year before the Battle of Yavin, he would eventually reunite with Kydan’s uncle, Coneros Witress, after escaping near death from a Sith Inquisitor. Wanting to learn how to better defend himself, the older man would spend the next few years with the young Jisza, eventually sending him to receive his kyber crystal on Ilum. He would then join the fully grown Rebel Alliance, who would then become a Rebel Agent for the leaders. Task with a small team, Jisza would soon become a reliable soldier for the Rebellion, eventually becoming a commanding officer. In his time of service, he would be part of the Rebellions biggest events; from the Battle of Hoth, to the Battle of Jakku, seeing the rise of the New Republic and the destruction of the Galactic Empire.
Although he became a general for the New Republic, he would soon realize that the Imperial Remnant is still at large, and will not stop ‘til they retake the galaxy once again. With that, he, along with his old task force, would then leave New Republic territory and travel to the Outer Rim to help bring down the remaining Imperial Warlords that still plague the galaxy with the aid of a large group called "The Survivors". However, somewhere in the back of his mind, he will soon find something that will come back to haunt him…
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So yeah, this is far overdue to post lol! A while back, I’ve found this group, “The Survivors RPG”, and have debated for some time if I wanted to join, considering that myself and my crew are hard at work finishing the first season of “The Jedi Mercenary”. Well, after much pondering, I have decided that I would give this a shot. So…here we are lol! I do hope you all will enjoy what we can offer that isn’t our series.
On another note, not many people know, but this was an old character I am redoing that was used in an old Star Wars RPG back on MOCpages. But with it being a few years, and not having to do much with the character and all, I thought it would be neat to remake his entire story and fit him into the canon/fanon universes. So this will be very interesting in where this will be going.
Lastly, as for our series, the next chapter is on the way very soon, and will be posting a couple sneak peeks of them. Stay tune for those!
That will do for now, so thank you all for everything up to this point, and please, continue to support what we have to show you all. Hope you all have a fan-tucking-tastic day/night! See ya next time!
- Director KW
The picture is taken at the Prunksaal (English: State Hall) of the Austrian National Library, which is the largest library in Austria, with 7.4 million items in its various collections. The library is located in the Hofburg Palace in Vienna. Founded by the Habsburgs, the library was originally called the Hof-Bibliothek ("Imperial Library"). - See Wikipedia
I am so happy these are all completed. This is not how they will be displayed in the Container but I like this arrangement as well.
I have a series of posts on my blog for further details about this project.
A pair of Antique neoclassical carved wooden doors depicting both masculine and feminine figures with tablet and scroll.
Me gustaba tanto el cielo de ayer, un cielo estrecho, negro de lluvia, que se apretaba contra los vidrios como un rostro ridículo y conmovedor. Este sol no es ridículo, al contrario. Sobre todas las cosas que me gustan, sobre la herrumbre del depósito, sobre las tablas podridas de la empalizada, cae una luz ávara y razonable, semejante a la mirada que, después de una noche insomne, echamos a las decisiones tomadas con entusiasmo la víspera, a las páginas escritas sin tachaduras, de un tirón.
Día perfecto para volver sobre uno mismo: las frías claridades que el sol proyecta, como un juicio sin indulgencia, sobre las criaturas, entran en mí por los ojos; me ilumina por dentro una luz empobrecedora. Me bastarían quince minutos para llegar al sumpremo hastío de mí misma.
The wings of the paraglider, carried by sound knowledge of weather and wind. Westenschouwen, Netherlands.
“The greatest enemy of knowledge is not ignorance, it is the illusion of knowledge”. Stephen Hawkings
I always find it “amazing” how people spend their time discussing other people. We have so many topics for conversations and yet ... I just walk away... *i have almost a week off starting the following Tuesday but contemplating about going away because would really miss NY during the holidays * ♥️
I have not posted a "puddle picture" in a while but I'm always on the lookout for them. Last night we had a thunderstorm, complete with lightning and heavy rain. This morning, the landscape was sparkling, the sun was still low in the sky and this wonderful picture of the Library of Congress dome and torch appeared at my feet! The image is SOOC, except for a slight crop. I usually do some tweaking but decided this one was just right as is. Happy weekend everybody!
© Jerry T Patterson - All Rights Reserved Worldwide In Perpetuity - No Unauthorized Use. Absolutely no permission is granted in any form, fashion or way, digital or otherwise, to use my Flickr images on blogs, personal or professional websites or any other media form without my direct written permission. This includes but is not limited to Pinterest, Tumblr, Reddit or other websites where one's images are circulated without the photographer's knowledge or permission.
Want to enjoy a beautiful western mountain sunset in the USA? I can think of no better place than Jackson Hole, WY.
Whether it be from Jenny's Lake or Jackson Lake, the reflection of the light around the Tetons from anywhere along these two lakes is just impressive. The one here is from Jackson Lake along the northeastern shoreline.
If you want to enjoy a sunset like this from Jackson Lake of the entire Teton range and Mt. Moran but you want to enjoy a few drinks as you're admiring it then I recommend you visit Signal Mtn Lodge near the north end of Teton Park Road. Have a seat on the deck behind the lodge just outside the restaurant and take it all end for one memory after another.
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Time to relax to Reuban Halsey's chillout song .. Symphony Of Soul
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Thanks for stopping by.