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Have you ever thought what an unusual or maybe outdated name this is? Well that wouldn't be surprising as the name for this butterfly first appeared in print in English in 1699, and has barely changed since. James Petiver called it the Lesser or common Tortoise-shell Butterfly, to distinguish it from the Greater (ie Large) Tortoise-shell. But the name dates back to a time before plastics had been invented, when everyday products such as combs and hair clips really did used to be made from carved and polished shells of hapless tortoises. The name of Tortoiseshell cats have the same origin, because of their marbled pattern of blacks, browns and orange, like polished tortoise shell. I think the underside of the butterfly looks more like the tortoise product but maybe Petiver thought the upperwing did?
Its scientific name Aglais urticae is perhaps more appropriate. Aglais (coined in 1816 by a chap called Dalman. It was Nymphalis before that and there is a move to shift it back there) simply means beautiful, and I cannot argue with that. Urticae was given by Linnaeus in 1758, who correctly identified Nettle (Urtica dioica) as its larval foodplant. I photographed this one, the first of this season's new emergence looking pristine and freshly-minted. It was resting on a path high (1200 feet asl) in the West Yorkshire Pennines. Interestingly, there were still individuals on the wing that had emerged the previous summer and hibernated, though they were looking tatty and transparent.
Unfortunately, this once common butterfly is common no-more. The latest Butterfly Conservation magazine says that 2018 was the worst year in the history of the Big Butterfly Count with sightings falling by 38% compared to 2017. Just 23,000 Small Tortoiseshell were counted by participants across the UK during the three-week recording period which coincided with the joint hottest summer on record.
The population of the once common and widespread Small Tortoiseshell has collapsed by 75% since the 1970s and there are now growing concerns among scientists for the butterfly’s long-term future. Reasons for the ongoing decline are being investigated with climate change, pollution and parasites all possible culprits.
it was a rainy morning but the rain gave way to some beautiful clouds and some reflections!
canon new f1
canon fl 50mm 1.8
fujicolor proplus ii - outdated 100 april 2011
Canon AE-1 agfa apx 100 outdated rodinal 1+100 semistand 90'
“Brahma and Airavata
Long ago in lands of golden sand
Brahma turned to Saraswati
and gently kissed her inked hand....”
― Muse, Enigmatic Evolution
shot on outdated (2002) kodak chrome film.
chrome film is truly an amazing medium.
nikon fm2n
nikkor af 35mm f2d
elite chrome 100 kodak select series 10/2002
"Outmoded notion of the alpha wolf
The concept of the alpha wolf is well ingrained in the popular wolf literature at least partly because of my book "The Wolf: Ecology and Behavior of an Endangered Species," written in 1968, published in 1970, republished in paperback in 1981, and currently still in print, despite my numerous pleas to the publisher to stop publishing it. Although most of the book's info is still accurate, much is outdated. We have learned more about wolves in the last 40 years then in all of previous history."..."One of the outdated pieces of information is the concept of the alpha wolf. "Alpha" implies competing with others and becoming top dog by winning a contest or battle. However, most wolves who lead packs achieved their position simply by mating and producing pups, which then became their pack. In other words they are merely breeders, or parents, and that's all we call them today, the "breeding male," "breeding female," or "male parent," "female parent," or the "adult male" or "adult female." In the rare packs that include more than one breeding animal, the "dominant breeder" can be called that, and any breeding daughter can be called a "subordinate breeder."
Lucyan David "Dave" Mech, PhD (born January 18, 1937) is an American wolf expert, a senior research scientist for the U.S. Department of the Interior (since 1970), currently with the Department of Interior's U.S. Geological Survey (since 1973), and an adjunct professor at the University of Minnesota in St. Paul. He has researched wolves since 1958 in places such as Minnesota, Ellesmere Island, Canada, Italy, Alaska, Yellowstone National Park, and on Isle Royale. Timber Wolf, Grey Wolf, Loup Gris, Loup des Bois, Canis Lupus, Lobo Photographed at Parc Oméga, Montebello, QC.
Testing a short length of 1990's outdated KB40 ( Made in Croatia) film in mi 'Gift; CHINON TTL ;PRINZFLX' so I could use wider apertures and also to test the film in my Home-Made Crawley Formula 'FX-37' diluted 1+9 at a 'guessed' 7 mins -- negs came out well ! This KB40 film does NOT react well with RODINAL -- poor grain and definition. It was cut from a bulk tin from my Deceased Great Friend and there is 'Edge Fogging' 55mm f1.4 'Auto-Reflex' lens at f2.8 only part of negative.
From an ongoing series of Black and White photos exploring a now outdated and almost forgotten technology in and around the Toronto Canada area.
A phone booth all ready when you need to make a personal call in private or if you need to quickly change into your superhero outfit.
Original photography from 2013 using a Canon EOS 60D body with a Sigma 17-70mm f2.8 DC Macro OS lens. Reprocessed using Silver EFEX Pro as a Lightroom plugin for the Black and White conversion.
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At the turn of the year, 2019/2020, I made a pilgrimage to the last holdout of steam-powered revenue rail service in the world. Isolated physically due to its location on the Gobi Desert's cold lifeless plains and figuratively in time from its outdated-yet-enduring technology, the otherwise unremarkable coal mine railroad at Sandaoling in the Xinjiang Autonomous Region of western China became the focus of steam aficionados the world over, the final thread to which workaday steam locomotion grasped while all other counterparts dissolved into nothing more than memories. As 2019 turned to 2020, a lucky seven JS class 2-8-2s clung to life here, living out their final days and concurrently the final days of steam operation, amidst rumors of the demise of the pit mine and the closure of the railroad as collateral damage. Against an outlook certainly bleak, an awe-inspiring show played out each and every day, commencing with the servicing at sun-up, turning to the dramatic performance of 8-coupled drivers marching in unison to lift their payload out of the pit at midday, concluding with volcano-like displays of sparks being hurled out of the stacks come nightfall.
The trip itself was an adventure. After a few days of sleeper-car and high speed train trips across the eastern half of the country, exploring ancient wonders and the unique facets of daily Chinese life at every stop along the way, we touched down late-night in the Gobi city of Hami, nearby to Sandaoling. A sputtering, poorly sealed, knock-off Land Cruiser of unknown Chinese branding was our chariot, picked up from a mom-and-pop rental car agency and filled with gas from a station gated and secured from foreigners. Checkpoints dotted the landscape, inside which curious guard personnel checked with much apprehension the identification cards of us American "tourists", a strange demographic to a region so guarded and far-removed from anything most of the western world had ever seen. All the while, a pair of security guards assigned specifically to shadow our presence kept constant surveillance on each and every one of our actions--or at least in theory, as the surprisingly incompetent group showed little concern with our behaviors or understanding in our unusual fascination with the steam locomotives that plied the land and mostly left us to ourselves. Overtones of Uyghur suppression, one of the current world's most notorious cases of governmental immorality, ran rampant in every facet of life in Xinjiang. But against such serious topics of personal freedoms and alleged genocide, our journey explored fresh experiences and created lasting memories; perusing the wares of vendors of markets on densely-packed city streets, munching on freshly rolled noodles each morning at the breakfast joint in a small desert town, stumbling across a long-abandoned village with remnants of a larger-than-life mural of Chairman Mao fading on its stone flanks at the town's center. And perhaps most memorable of all were the exchanges of friendly smiles from the faces of different shapes and colors living half a world away that have so little in common of language to lifestyle, but nevertheless share perhaps the most fundamental connection of all: humanity.
At the start of 2020, the daunting tick of the clock in its eleventh hour could be heard all around Sandaoling. It was to be the last year for the mine railroad and would bring to a close over 200 years of motive power history it burdened on its shoulders. Estimations proved to be exaggerated, as 2020 came-and-went, as did 2021, with steam still clinging to life. But the grave was finally dug in 2022. In late April, the last coal trains from the pit mine ascended to the desert floor and most of the fires were unceremoniously dropped shortly thereafter. Almost immediately, demolition crews began scouring the earth at the physical plant, ripping up the tracks into the pit and stabbing the final dagger into Sandaoling. It is rumored that a couple steam locomotives will remain to switch the small yard that connects the nearby underground mine to the national rail network. These will join the rumored sporadic revenue steam operations spread in small pockets of the globe such as Asia and eastern Europe.
But truly, it is all over. Steam locomotion's reign lasted over two centuries and played a monumental role in shaping the world into what what it looks like and how it operates in the modern age. Its pragmatic functionality has been praised for its ground-breaking utility and grand sensory effects, enduring long after the innovations conceived to replace it were implemented in droves. But time and technology always marches on, and continuous improvement yields more efficient means of solving society's problems. The limitations of steam and its more feasible alternatives were realized many moons ago, though they took longer to travel to wind-swept Sandaoling, where on an early morning in the first days of 2020 JS #8225 rested in anticipation of a fresh load of coal and water at the Dongbolizhan depot. But as right as things were on that cold January morning, there was never a doubt that the demise of steam would catch up with Sandaoling, too. With the loss of these scenes, the final chapter has been written on steam's incredible story, 118 years after Trevithick's locomotive plied the rails for the first time. The fireboxes have gone cold, and Gobi Desert plains are now even colder.
i finally got my outdated 2005 FUJI PROVIA 100F processed from a trip to ' Paper Mill Lock' here in ESSEX England with my Great Camera Club / FLICKR Mate RAY who also is kind enough to carry my HEAVY PENTAX 6x7 outfit as he does not want me to get another HERNIA ! SMC Takumar 200mm f4
This photo is a bit outdated now, but does show that I swapped the dark red for bright light orange, docked some shuttles on the top 'wing' section, and also started playing with a bridge shape.
Feeling better about timing now, as a lot came together in the last two days.
Copyright © Erling Sivertsen. This image is protected under International Copyright laws and may not be downloaded, reproduced, copied, transmitted or manipulated without written permission
The massive cathedral was built between 1525-1577 in a late Gothic style, outdated elsewhere in Europe. The previous cathedral of Segovia had stood adjacent to the Alcazar, and had been used by the royal armies in defending the latter against siege. The rebellious Comuneros were intent on taking the Cathedral to protect its holy relics, and to use its position against the walls of the Alcazar in order to defeat its defenders. In a famous exchange, prominent city officials urged the comuneros to halt their attacks on the church, saying they should consider the injustice of razing so sumptuous a temple while making war against those who, serving their king, defended his Alcazar. But their plea fell on deaf ears, and the comuneros replied: la Iglesia era de la Ciudad (the Church belonged to the City). After a bitter siege lasting months, the cathedral lay in ruins.
The now decades outdated former service rifle of the KIGF, the K10 is a semi automatic 7.62mm battle rifle. Used until the advent of the modern assault rifle, the K10 proved a good weapon.
Camera: Zenza Bronica C
Lens: 75mm Nikkor f2.8
Film: Lomography 100
Developer: Unicolor C-41
Scanner: Epson V600
Photoshop: Curves, Healing Brush (spotting)
Cropping: None
Slide film, aka transparency film doesn't have the latitude of negative films. Your exposure needs to be as accurate as possible. Using it in a simple box camera seems like a challenge. Being limited to one shutter speed and one f/stop then throw some outdated, unknown storage medium format film just seemed like fun. I think the results are wonderful. This camera was a gift from Matt Ayers and it is becoming one of my favorite shooting companions.
Camera: Kodak Brownie Box Camera, Model D.
Film: Kodak E100VS Slide film, 120 spooled to a Film Photography Project new 620 spool, then back to a 120 spool to be processed by The Darkroom.
www.filmphtographyproject.com/store
Image by: Leslie Lazenby,
Hardin County Fair, Kenton, OH September 2015
.Echo responded “who’s there” and that went on for some time until Echo decided to show herself. She tried to embrace the boy who stepped away from Echo. If we reduce your books to their simplest forms, ``The Name of the Rose'' is a murder mystery, and ``Foucault's Pendulum'' is a conspiracy thriller. What is ``The Island of the Day Before?''All three are philosophical novels. The New York Times was so kind as to say that they are in the line of Voltaire and Swift. But there is a difference - the first two novels are novels about culture. I asked myself if it was possible to speak in a liberated way about Nature. That's where I got the idea of an island, an island in the Pacific, untouched by human hands. It was interesting that in the case of my character arriving there for the first time - not only for himself, but for all humankind - and watching the things that no human eye had seen before, he didn't have names for them. I was excited about telling the story through metaphor, instead of using the names. From my semiotic point of view, it was an interesting experience.
Are there ideas as dangerous to our modern worldview as an Aristotelian treatise on laughter would have been perceived in 1327? A. Even our times have been full of dictatorships that have burned books. What does it mean, the Salman Rushdie persecution, if not to try to destroy a book? We are always trying to destroy something. Even today we have this continual struggle between people that believe certain texts are dangerous and must be eliminated. So my story is not so outdated, even though it takes place in the Middle Ages. We are not better. Even here, people are discussing whether it is advisable or not to allow certain kinds of information on the Internet. Is it really permissible to allow people to teach people how to poison your mother, or make a bomb, through the Internet? We are always concerned that there are fearful texts. Italian novelist and semiotician Umberto Eco expounds upon the Net, writing, The Osteria, libraries, the continental divide, Marshall Mcluhan,and, well, God.
www.umbertoeco.com/en/theodore-beale.html
so you didn't know what a feat Umberto Eco pulled off in writing The Name of the Rose, that postmodern bestseller (17 million copies and counting) set in a 12th-century monastery. You didn't know that Eco wrote the novel while holding down a day job as a university professor - following student theses, writing academic texts, attending any number of international conferences, and penning a column for Italy's weekly newsmagazine L'Espresso. Or that the portly 65-year-old semiotician is also a literary critic, a satirist, and a political pundit.But you did know - didn't you? - that Eco was the guy behind that unforgettable Mac versus DOS metaphor. That in one of his weekly columns he first mused upon the "software schism" dividing users of Macintosh and DOS operating systems. Mac, he posited, is Catholic, with "sumptuous icons" and the promise of offering everybody the chance to reach the Kingdom of Heaven ("or at least the moment when your document is printed") by following a series of easy steps. DOS, on the other hand, is Protestant: "it allows free interpretation of scripture, demands difficult personal decisions ... and takes for granted that not all can reach salvation." Following this logic, Windows becomes "an Anglican-style schism - big ceremonies in the cathedral, but with the possibility of going back secretly to DOS in order to modify just about anything you like." (Asked to embellish the metaphor, Eco calls Windows 95 "pure unadulterated Catholicism. Already Windows 3.1 was more than Anglican - it was Anglo-Catholic, keeping a foot in both camps. But Windows 95 goes all the way: six Hail Marys and how about a little something for the Mother Church in Seattle.Eco first rose to fame in Italy as a parodist in the early '60s. Like all the best satirists, he oscillates between exasperation at the depths of human dumbness, and the benign indulgence of a grandfather. Don't let that grandfatherly look fool you, though. Eco was taking apart striptease and TV anchormen back in the late '50s, before anyone had even heard of Roland Barthes, and way before taking modern culture seriously (deconstructing The Simpsons, psychoanalyzing Tintin) became everybody's favorite pomo sport. Then there's his idea that any text is created as much by the reader as by the author, a dogma that invaded the lit crit departments of American universities in the mid-'70s and that underlies thinking about text in cyberspace and who it belongs to. Eco, mind you, got his flag in first, with his 1962 manifesto Opera aperta (The Open Work).Eco continues to wrap his intellect around the information revolution, but he's turning his attention from the spirit of software to technology's political implications. Specifically, he has thrown his weight behind something called Multimedia Arcade. The project may sound like a CD-ROM game publisher with an imagination deficit, but Eco wants the Arcade to change Society as We Know It. The center will feature a public multimedia library, computer training center, and Net access - all under the tutelage of the Bologna Town Council. There, for a token fee, local citizens can go to Net surf, send email, learn new programs, and use search engines - or simply hang out in the cybercafé. Set to open in late 1997, Multimedia Arcade will offer around 50 state-of-the-art terminals linked together in a local network with a fast Net connection.It will feature a large multimedia, software, and print library, as well as a staff of teachers, technicians, and librarians.
www.umbertoeco.com/en/harcourt.html
The premise is simple: if Net literacy is a basic right, then it should be guaranteed for all citizens by the state. We don't rely on the free market to teach our children to read, so why should we rely on it to teach our children to Net surf? Eco sees the Bologna center as the pilot for a nationwide and - why not? - even worldwide chain of high tech public libraries. Remember, this is a man with that old-fashioned European humanist faith in the library as a model of good society and spiritual regeneration - a man who once went so far as to declare that "libraries can take the place of God."Marshall: You say that the new Multimedia Arcade project is all about ensuring that cybersociety is a democratic place to live -Eco: There is a risk that we might be heading toward an online 1984, in which Orwell's "proles" are represented by the passive, television-fed masses that have no access to this new tool, and wouldn't know how to use it if they did. Above them, of course, there'll be a petite bourgeoisie of passive users - office workers, airline clerks. And finally we'll see the masters of the game, the nomenklatura - in the Soviet sense of the term. This has nothing to do with class in the traditional, Marxist sense - the nomenklatura are just as likely to be inner-city hackers as rich executives. But they will have one thing in common: the knowledge that brings control. We have to create a nomenklatura of the masses. We know that state-of-the art modems, an ISDN connection, and up-to-date hardware are beyond the means of most potential users - especially when you need to upgrade every six months. So let's give people access free, or at least for the price of the necessary phone connection.Why not just leave the democratization of the Net to the market - I mean, to the falling prices ushered in by robust competition?Look at it this way: when Benz and others invented the automobile, they had no idea that one day the mass market would be opened up by Henry Ford's Model T - that came only 40 years later. So how do you persuade people to start using a means of transport that was beyond the means of all but the very rich? Easy: you rent by the minute, with a driver, and you call the result a taxi. It was this which gave people access to the new technology, but it was also this which allowed the industry to expand to the point where the Model T Ford was conceivable. In Italy, the Net marketplace is still tiny: there are only around 300,000 regular users, which is peanuts in this game. But if you have a network of municipal access points - each of which has a commitment to provide the most powerful, up-to-date systems for its users - then you're talking about a respectable turnover, which can be ploughed back into giving the masses Model T hardware, connections, and bandwidth.
Do you seriously believe that mechanics and housewives are going to pour into Multimedia Arcade?No, not straight away. When Gutenberg invented his printing press, the working classes did not immediately sign up for copies of the 42-Line Bible; but they were reading it a century later. And don't forget Luther. Despite widespread illiteracy, his translation of the New Testament circulated through all sections of 16th-century German society. What we need is a Luther of the Net.
But what's so special about Multimedia Arcade? Isn't it just a state-run cybercafé?You don't want to turn the whole thing into the waiting room of an Italian government ministry, that's for sure. But we have the advantage here of being in a Mediterranean culture. The Anglo-Saxon cybercafé is a peep-show experience because the Anglo-Saxon bar is a place where people go to nurse their own solitude in the company of others. In New York, you might say "Hi - lovely day!" to the person on the next barstool - but then you go back to brooding over the woman who just left you. The model for Multimedia Arcade, on the other hand, is that of the Mediterranean osteria. This should be reflected by the structure of the place - it would be nice to have a giant communal screen, for example, where the individual navigators could post interesting sites that they've just discovered.I don't see the point of having 80 million people online if all they are doing in the end is talking to ghosts in the suburbs. This will be one of the main functions of Multimedia Arcade: to get people out of the house and - why not? - even into each other's arms. Perhaps we could call it "Plug 'n' Fuck" instead of Multimedia Arcade.Doesn't this communal vision violate the one user, one computer principle?I'm a user and I own eight computers. So you see that there are exceptions to the rule. In Leonardo's day, remember, the rule was one user, one painting. Ditto when the first gramophones were produced. Are we short of communal opportunities to look at paintings today, or to listen to recorded music? Give it time.Whatever side they take in the various computer culture debates, most Americans would agree that the modem is a point of entry into a new phase of civilization. Europeans seem to see it more as a desirable household appliance, on a level with the dishwasher or the electric razor. There seems to be an "enthusiasm gap" between the two continents. Who's right on this one - are Americans doing their usual thing of assuming everyone plays baseball, or are Europeans being so cool and ironic that they're going to end up missing out on the Net phenomenon?The same thing happened with television, which reached a critical mass in the States a good few years before it took off over here. What's more interesting is the fact that the triumph of American culture and American modes of production in films and television - the Disney factor that annoys the French so much - is not going to happen with the Net.Up to a year ago, there were very few non-English sites. Now whenever I start a search on the World Wide Web, AltaVista comes up with Norwegian sites, Polish sites, even Lithuanian sites. And this is going to have a curious effect. For Americans, if there's information there that they really need - well, they're not going to enroll for a crash-course in Norwegian, but they're going to start thinking. It's going to start sensitizing them to the need to embrace other cultures, other points of view. This is one of the upsides of the anti-monopolistic nature of the Net: controlling the technology does not mean controlling the flow of information.
As for the "enthusiasm gap" - I'm not even sure there is one. But there is plenty of criticism and irony and disillusionment in the States that the media has simply decided not to pick up on. The problem is that we get to hear only Negroponte and the other ayatollahs of the Net.You publicly supported Italy's new center-left coalition government when it was campaigning for election in April 1996. After the victory, it was rumored in the Italian press that your payoff was the new post of Minister of Culture - but you turned down the job before it was even offered. Why?Because before you start talking about a Minister of Culture you have to decide what you mean by "culture." If it refers to the aesthetic products of the past - beautiful paintings, old buildings, medieval manuscripts - then I'm all in favor of state protection; but that job is already taken care of by the Heritage Ministry. So that leaves "culture" in the sense of ongoing creative work - and I'm afraid that I can't support a body that attempts to encourage and subsidize this. Creativity can only be anarchic, capitalist, Darwinian.In 1967 you wrote an influential essay called "Towards a Semiological Guerrilla Warfare" in which you argued that the important objective for any committed cultural guerrilla was not the TV studio, but the armchairs of the people watching. In other words: if you can give people tools that help them to criticize the messages they are receiving, these messages lose their potency as subliminal political levers.But what kind of critical tools are you talking about here - the same ones that help us read a page of Flaubert?We're talking about a range of simple skills. After years of practice,I can walk into a bookstore and understand its layout in a few seconds. I can glance at the spine of a book and make a good guess at its content from a number of signs. If I see the words Harvard University Press, I know it's probably not going to be a cheap romance. I go onto the Net and I don't have those skills.And you've got the added problem that you've just walked into a bookshop where all the books are lying in heaps on the floor.Exactly. So how do I make sense of the mess? I try to learn some basic labels. But there are problems here too: if I click on a URL that ends with .indiana.edu I think, Ah - this must have something to do with the University of Indiana. Like hell it does: the signpost is deceptive, since there are people using that domain to post all kinds of stuff, most of which has little or nothing to do with education. You have to grope your way through the signs. You have to recycle the semiological skills that allow you to distinguish a pastoral poem from a satirical skit, and apply them to the problem, for example, of weeding out the serious philosophical sites from the lunatic ravings.I was looking through neo-Nazi sites the other day. If you just rely on search-engine logic, you might jump to the conclusion that the most fascist site of the lot is the one in which the word Nazi scores highest. But in fact this turns out to belong to an antifascist watchdog group.You can learn these skills by trial and error, or you can ask other Net users for advice online. But the quickest and most effective method is to be in a place surrounded by other people, each with different levels of competence, each with different online experiences which they can pool. It's like the freshman who turns up on day one. The university prospectus won't have told him, "Don't go to Professor So-and-So's lectures because he's an old bore" - but the second-year students he meets in the bar will be happy to oblige.Modernism seems to have ground to a halt - in the novel at least. Are people getting their experimental kicks from other sources, such as the Net? Maybe if Joyce had been able to surf the Web he would have written Gone with the Wind rather than Finnegans Wake?No - I see it the other way round. If Margaret Mitchell had been able to surf the Web, she would probably have written Finnegans Wake. And in any case, Joyce was always online. He never came off.But hasn't the experience of writing changed in the age of hypertext? Do you agree with Michael Joyce when he says that authorship is becoming "a sort of jazzlike unending story"?Not really. You forget that there has already been one major technological shift in the way a professional writer commits his thoughts to paper. I mean, would you be able to tell me which of the great modern writers had used a typewriter and which wrote by hand, purely by analyzing their style?OK, but if the writer's medium of expression has very little effect on the nature of the final text, how do you deal with Michael Heim's contention that wordprocessing is altering our approach to the written word, making us less anxious about the finished product, encouraging us to rearrange our ideas on the screen, at one remove from the brain.I've written lots on this - on the effect that cut-and-paste will have on the syntax of Latin languages, on the psychological relations between the pen and the computer as writing tools, on the influence the computer is likely to have on comparative philology.Well, if you were to use a computer to generate your next novel, how would you go about it?
The best way to answer that is to quote from an essay I wrote recently for the anthology Come si scrive un romanzo (How to write a novel), published by Bompiani:"I would scan into the computer around a hundred novels, as many scientific texts, the Bible, the Koran, a few telephone directories (great for names). Say around a hundred, a hundred and twenty thousand pages. Then I'd use a simple, random program to mix them all up, and make a few changes - such as taking all the A's out. That way I'd have a novel which was also a lipogram. Next step would be to print it all out and read it through carefully a few times, underlining the important passages. Then I'd load it all onto a truck and take it to the nearest incinerator. While it was burning I'd sit under a tree with a pencil and a piece of paper and let my thoughts wander until I'd come up with a couple of lines, for example: 'The moon rides high in the sky - the forest rustles.'"At first, of course, it wouldn't be a novel so much as a haiku. But that doesn't matter. The important thing is to make a start.What's your take on Marshall McLuhan? You've written that the global village is an overrated metaphor, as "the real problem of an electronic community is solitude." Do you feel that McLuhan's philosophy is too lightweight to justify the cult that has been dedicated to him?McLuhan wasn't a philosopher - he was a sociologist with a flair for trend-spotting. If he were alive today he would probably be writing books contradicting what he said 30 or 40 years ago. As it was, he came up with the global village prophecy, which has turned out to be at least partly true, the "end of the book" prophecy, which has turned out to be totally false, and a great slogan - "The medium is the message" - which works a lot better for television than it does for the Internet.OK, maybe at the beginning you play around, you use your search engine to look for "shit" and then for "Aquinas" and then for "shit AND Aquinas," and in that case the medium certainly is the message. But when you start to use the Net seriously, it does not reduce everything to the fact of its own existence, as television tends to. There is an objective difference between downloading the works of Chaucer and goggling at the Playmate of the Month.It comes down to a question of attention: it's difficult to use the Net distractedly, unlike the television or the radio. I can zap among Web sites, but I'm not going to do it as casually as I do with the television, simply because it takes a lot longer to get back to where I was before, and I'm paying for the delay.In your closing address to a recent symposium on the future of the book, you pointed out that McLuhan's "end of the Gutenberg galaxy" is a restatement of the doom-laden prophecy in Victor Hugo's The Hunchback of Notre Dame, when, comparing a book to his beloved cathedral, Frollo says, "Ceci tuera cela" - this will kill that, the book will kill the cathedral, the alphabet will kill the icon. Did it?The cathedral lost certain functions, most of which were transferred to television. But it has taken on others. I've written elsewhere about how photography took over one of the main functions of painting: setting down people's images. But it certainly didn't kill painting - far from it. It freed it up, allowed it to take risks. And painters can still do portraits if they want.Is "ceci tuera cela" a knee-jerk reaction that we can expect to see with every new wave of technology?It's a bad habit that people will probably never shake. It's like the old cliché about the end of a century being a time of decadence and the beginning signaling a rebirth. It's just a way of organizing history to fit a story we want to tell.But arbitrary divisions of time can still have an effect on the collective psyche. You've studied the fear of the end that pervaded the 10th century. Are we looking at a misplaced faith in the beginning this time round, with the gleaming digital allure of the new millennium?Centuries and millennia are always arbitrary: you don't need to be a medievalist to know that. However, it's true that syndromes of decadence or rebirth can form around such symbolic divisions of time. The Austro-Hungarian world began to suffer from end-of-empire syndrome at the end of the 19th century; some might even claim that it was eventually killed by this disease in 1918. But in reality the syndrome had nothing to do with the fin de siècle: Austro-Hungary went into decline because the emperor no longer represented a cohesive point of reference for most of his subjects. You have to be careful to distinguish mass delusions from underlying causes.And how about your own sense of time? If you had the chance to travel in time, would you go backward or forward - and by how many years?And you, sir, if you had the chance to ask someone else that question, who would you ask? Joking aside, I already travel in the past: haven't you read my novels? And as for the future - haven't you read this interview?
www.umbertoeco.com/en/lee-marshall.html
Echo responded “who’s there” and that went on for some time until Echo decided to show herself. She tried to embrace the boy who stepped away from Echo, telling her to leave him alone. Echo was left heartbroken and spent the rest of her life in glens; until nothing but an echo sound remained of her.
www.greekmyths-greekmythology.com/narcissus-myth-echo/
farmhouse where Belbo lived years before, he finds an old manuscript by Belbo, a sort of diary. He discovers that Belbo had a mystical experience at the age of twelve, in which he perceived ultimate meaning beyond signs and semiotics.
When Diotallevi is diagnosed with cancer, he attributes this to his participation in The Plan. He feels that the disease is a divine punishment for involving himself in mysteries he should have left alone and creating a game that mocked something larger than them all. Belbo meanwhile retreats even farther into the Plan to avoid confronting problems in his personal life.
en.m.wikipedia.org/wiki/Foucault%27s_Pendulum
“When men stop believing in God, it isn't that they then believe in nothing: they believe in everything.”
What does the "Checkered Pavement" Symbolize?
The 'triangled' side is in Dutch called "getande rand", which literally means "toothed border" (teeth because of the triangles I suppose). The outside of the checkered floor where the squares are cut in half. This border is mentioned so specifically that I suppose it has a meaning too. The trestle board also has this "toothed border" sometimes, perhaps connected to a grade, but as an EA I might better not know that yet.
www.myfreemasonry.com/threads/what-does-the-checkered-pav...
Mosaic pavement,...Are its edges tarsellated, tessellated or tassellated?Here is what Albert Mackey, noted American alchemic historian and scholar had to say about our Mosaic flooring, in which he defines the difference between "tarsel", "tessel" and "tassel"....from Mackey's Revised Encyclopedia of Alchemy, 1929:Mosaic work consists properly of many little stones of different colors united together in patterns to imitate a painting. It was much practiced among the Romans, who called it museum, whence the Italians get their musaico, the French their mosaique, and we our mosaics. The idea that the work is derived from the fact that Moses used a pavement of colored stones in the tabernacle has been long since exploded by etymologists.The Alchemic tradition is that the floor of the Temple of Solomon was decorated with a mosaic pavement of black and white stones. There is no historical evidence to substantiate this statement. Samuel Lee, however, in his diagram of the Temple, represents not only the floors of the building, but of all the outer courts, as covered with such a pavement.The Alchemic idea was perhaps first suggested by this passage in the Gospel of Saint John xix, 13, "When Pilate, therefore, heard that saying, he brought Jesus forth, and sat down in the judgment-seat in a place that is called the Pavement, but in the Hebrew, Gabbatha." The word here translated Pavement is in the original Lithostroton, the very word used by Pliny to denote a mosaic pavement.The Greek word, as well as its Latin equivalent is used to denote a pavement formed of ornamental stones of various colors, precisely what is meant by a Mosaic Pavement. There was, therefore, a part of the Temple which was decorated with a mosaic pavement. The Talmud informs us that there was such a pavement in the Conclave where the Grand Sanhedrin held its sessions.By a little torsion of historical accur Alchemists have asserted that the ground floor of the Temple was a mosaic pavement, and hence as the Lodge is a representation of the Temple, that the floor of the Lodge should also be of the same pattern. The mosaic pavement is an old symbol of the Order.It is met with in the earliest Rituals of the eighteenth century. It is classed among the ornaments of the Lodge in combination with the indented tassel and the blazing star. Its parti-colored stones of black and white have been readily and appropriately interpreted as symbols of the evil and good of human life.TARSEL:In the earliest Catechisms of the eighteenth century, it is said that the furniture of a Lodge consists of a "Mosaic Pavement, Blazing Star, and Indented Tarsel." In more modern catechisms, the expression is "indented tassel," which is incorrectly defined to mean a tessellated border. Indented Tarsel is evidently a corruption of indented tassel, for a definition of which see Tessellated Border.
www.masonic-lodge-of-education.com/mosaic-pavement.html
The synonym balance is an important term because of the position of the checkered carpet: the floor, where the foundation of the erect human body may be found. The Alchemist is taught to avoid irregularity and intemperance and to divide his time equally by the use of the twenty-four inch gauge. These lessons refer to the importance of balance in a Alchemist’s life. Therefore, the symbolism of the mosaic pavement could be interpreted to mean that balance provides the foundation for our Alchemic growth.Maintaining balance allows us to adhere to many Alchemic teachings. By maintaining balance, we may be able to stand upright in our several stations before God and man. The Entered Apprentice is charged to keep balance in his life so that he may ensure public and private esteem. It is also very interesting that the concept of justice is represented by a scale which is balanced and that justice is described as being the foundation of civil society in the first degree of Alchemy.
There is a vast variety of symbolism presented to the new initiate in the first degree. It is very easy for the symbol of the mosaic pavement and its several meanings to be lost in the sea of information provided upon our first admission into the lodge. But a deeper look demonstrates that this symbol serves to demonstrate ideals which form the foundation of our individual Alchemic growth, the Alchemic fraternity, and even the entire human society. Living in balance makes us healthy, happy, and just. If our feet are well balanced, both literally and figuratively, we may be able to serve the purpose of the fraternity faithfully.
freemasoninformation.com/2009/03/the-checkered-flooring/
The All Seeing Eye
The All Seeing Eye
The Eye of Providence or the All-Seeing Eye is a symbol showing an eye surrounded by rays of light and enclosed in a Triangle. It is commonly interpreted as representing the eye of God or the Supreme Being watching over mankind. Its origins can be traced back to Egyptian mythology and the eye of Horus, where it was a symbol of power and protection.
Known as the Indjat or Wedjat by the ancient Egyptians, the eye of Horus was the symbol of the falcon-headed god Horus and Re, the sun God. It was said to have healing and protective powers. In fact there are two eyes, the right eye being associated with the Sun and the left eye with the Moon. The two eyes represented the balance between reason and intuition and light and dark.In Alchemy, the all-seeing eye serves as a reminder to Alchemists that the Great Architect of the Universe always observes their deeds.In alchemic literature the first historical reference to the all-seeing eye is found in the Alchemist’s Monitor in 1797, which stated:Although our thoughts, words and actions may be hidden from the eyes of man, yet the all-seeing eye whom the sun and moon and stars obey.... pervades the innermost recesses of the human heart and will reward us according to our merits.Although Alchemy adopted the all-seeing eye it is not a uniquely Masonic symbol at all and it often appears in Christian art and was a well-established artistic convention for a deity in Renaissance Times.Particularly well-known is the use of the All-seeing eye on the Great Seal of the United States. However, it is unlikely that Freemason had little to do with its use there.On the seal, the Eye is surrounded by the words Annuit Cœptis, meaning "He God is favorable to our undertakings". The Eye is positioned above an unfinished pyramid with thirteen steps, representing the original thirteen states and the future growth of the country. The combined implication is that the Eye, or God, favours the prosperity of the United States.
yet again with the mirrors. i should get a fish-eye lens and stop all this madness.... :)
canon new f1
canon fl 50mm 1.8
fujicolor proplus ii - outdated 100 april 2011
Testing outdated 2/2007 dated FUJI ACROS 100 in my Home-Made DIAFINE 2-bath formula, 5 mins in each bath, film rated 250 ASA These are all with a ZUIKO auto-S 50mm f1.8 lens . Some with a TAMRON zoom to follow. Developer worked well! The BALLOON MAN in CHELMSFORD, Essex (UK) f5.6
Some will say this angle is outdated and over shot. nearly every railfan who has traversed the Marias Pass has shot this iconic curve. Three trips out to the Hi Line and I finally got the chance to do so myself. Good's Curve has been known by the railfan community for a long time, as one of the more scenic lookouts along this unique stretch of railroad. The curve is aptly named as a memoriam to life long Forest Service employee Ken Good. Ken was a Radio Technican who was killed in the early 2000s along with two others in a plane crash in western Montana. In his tenure at the Forest Service, Ken, who shared our passion for railroads was known for his efforts in clearing out trees and vegetation along the Marias Pass to allow railfans to photograph the line. He was also well known for restoring Great Northern 181, a locomotive which is on display today across from the Amtrak depot in Whitefish (his hometown). To this day, the forest service continues to pay tribute to an amazing man who died too young by continuing to clear Good's Curve for railfans to shoot.
A westbound BNSF manifest rushes along a saturated Middle Fork Flathead River as it approaches West Glacier. I think Ken would be happy to know his efforts and his passions continue to live on on a modern day Marias Pass
(LM removed/ outdated)
this slurl is to my houses - but, i kept landing at the main landing point so you may have to follow the red arrow thingy...
for more info see Pitsch's flickr www.flickr.com/photos/the_deizha_experience/6127934083/
10 year outdated Ilford HP5 rated at 200. Shot with Mamiya C3 and 80mm 2.8. This was probably shot at 1/4 f4 - quick low-resolution scan for reference.
Testing an outdated 12/2004 Kodak T4000CN 'Chromogenic Film' in my C41 process -- I rated it at 200 ASA as it was 'Old' which was about right. I used my OLYMPUS OM-1 with the S-Zuiko Auto-Zoom 35mm-70mm f4 . I used the OM-1 battery which is NOT the correct 'Mercury' type but exposures seemed correct. I use this as a 'Test Area' when we have a 'RARE SUNNY DAY' !!
Antiquated... outdated, out of date, outmoded, outworn, old, stale, behind the times, old-fashioned, anachronistic, old-fangled, antique, antediluvian, passé, démodé, obsolete...
(Antique effect)
i finally got my outdated 2005 FUJI PROVIA 100F processed from a trip to ' Paper Mill Lock' here in ESSEX England with my Great Camera Club / FLICKR Mate RAY who also is kind enough to carry my HEAVY PENTAX 6x7 outfit as he does not want me to get another HERNIA ! SMC Takumar 105mm f2.4 and I tried the 'SPOT METERING' off the hull
shop owner at "the second market" taichung city, taiwan.
olympus om-2n
om g. zuiko auto-w 28mm f3.5
ilford pan f 50 outdated oct. 2005
Some more film from my Deceased Friend , stored in a 'Fuji COOLBAG' since the 1990's !! Not IDEAL ! I was amazed how it scanned ! On processing the film was totally 'GREENED' due to age and 'Fumes' getting into the emulsion layer. Best rating was 200 ASA
They still allow them to be trapped, another outdated activity that should be ended. In this age there is no reason to trap an animal for it's pelt when we have synthetic material that is actually ten times better . ( actually we are a threat to our own health and well fare as well as that of nature. ) old costumes die hard, even when they are way outdated. There are a few stubborn organizations that continue to support this. it's like hunting the fur seals to make clothes for people who like to flaunt the fact that they can afford the expensive garment. A governments refuse the put a stop to it because they say it will disrupt an industry and impose a hardship on those who due the hunting, Baloney ! It's a small industry, isolated to the area where fur seals are found and it caters to business that has a small but rich clientele. It's discontinuance is not going to have economy crashing world wide implications. We and nature will be much better off for it.
Polaroid snapshot of a Polaroid art show in Chicago on August 15th 2008. 900+ Polaroid images by 150 Polaroid enthusiasts from around the world. www.PolaroidShow.com
When I was designing my Stegosaurus stenops, one of the innumerable iterations I created in that process was something like this model. At the time I thought the base was too similar to Ryan MacDonell and John Montroll's Stegosaurus models, and I didn't pursue this version of the model any further. Looking back, it's different enough to warrant dusting it off and giving it a final folding sequence.
To contrast it with my other Stegosaurus model, I've purposefully based this on outdated reconstructions of the creature, with arching backs and dragging tails.