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Gizmo lying on my suitcase before we went away. He had been bitten on the tail by a stray cat and spent a week in hospital and had to suffer the indignity of a buster collar. Luckily my son was home to give him lots of TLC.
Ash and Mitz, in their SERAPHIM incarnations, have managed to draw out the Catwalker Matron into battle...
Lindsay Noonan: the whine of servos and metallic scraping of metal on the gravel and asphalt rooftop announces her presence before she is visible "I can't properly see you, but I have an anomalous power signature up here, so I assume it's you Seven"
Ashur Kentoku doesn’t bother to turn around, but keeps observing the Catwalker with the 360 degree vision provided by the sensors in her helm...she sneers at the admittance she cant be seen and lowers her already low power emissions even further....she waits, ready to move, as she knows she will, soon...
Lindsay Noonan: a faint electronic whine rising in pitch soon followed by several others in quick succession.
Ashur Kentoku watches with interest, monitoring her passive sensors..
Lindsay Noonan: "Believe it or not, I don't want to hurt you, but I can't let you prey on mine Seven....or Ashur...whoever you consider yourself now"
Ashur Kentoku listens to the mostly predictable dialogue, smiling when she hears the words, "Believe it or not, I don't want to hurt you"......she has no such inhibitions....
Lindsay Noonan: "But I will, without hesitation if it comes to that"
Mitz Xi lands quietly.. her eyes now taking in the back of Lindsay... she scans her over gathering data... then looks to Seven awaiting orders... she looks back at Catwalker as she remains in stealth mode
Lindsay Noonan: chuckles "and the partner arrives..." unhooks something from her belt using both hands
Ashur Kentoku moves slowly and fluidly as she draws her SERAPHIM sword, carrying her movement onward into a pouncing strike, blade slashing blurringly fast at the Matrons legs....
Lindsay Noonan: seeing the motion in her tri-vision she responds by dropping what is in her hands and doing a high backflip towards the radio tower
Lindsay Noonan: two flashbangs hit the rooftop, popping their spoons before they hit
Mitz Xi see's the movement of the matron and then seven.. her wrist blades snaps out as she moves as well coming in high from the back to thrust a blade toward her.. her movement is swift as she leaps pouncing as well
Ashur Kentoku's visor protects her from the flashbangs, as does her enclosed helmet.....only the relatively mild concussion in the open space gives her pause to hesitate for a fraction of a second before her nerves sing with accelerated impulses and her movements blur as she closes again, slashing with the long blade at the Matron's legs again, her reach keeping her at a comfortable close quarter distance....
Lindsay Noonan: struck in mid-leap sparks would fly as her claws struck the hardened metal armor a glancing blow. The nearest defensive shield would create a massive electrical discharge that would arc to any nearby metal as Lindsay's once nearly graceful leap spun her at an angle into the antenna array. Chips of armor spark from her grieves as she tries to avoid dismemberment. Several other defensive arcs discharge in rapid succession
Lindsay Noonan OOC : the disc shaped medallions on the armor are contact discharge power cells
Mitz Xi lands as 2.3 second delay fuse on the flash bangs go off with her back to them.. she watches Ashur rush in with her sword.. then whirls in time to see the electrical discharge, she blinks as the lightning dances over the rooftop in a huge display.. then she moves in on Lindsay again coming in high with her blades going for the right arm first.. her tactic is to disarm .. not remove your arm.. disarm her target.
Lindsay Noonan: as quickly as her servos will permit Linds rolls out of Seven's path and tries to get to her feet, shoulder checking the incoming Mitz in the process
Ashur Kentoku crabs weirdly forward, her speed making her look strange as she moves...she presses her attack and feints with the sword, aiming a blow for her head then reversing the strike and turning full circle to slash at her legs, using the move to put extra force behind the blow, the sword singing through the air as the blade moves at near-supersonic speed toward its target....
Mitz Xi hissss as she plows into Lindsay.. arcs of lightning flash off both of them as she feels her arms go numb .. she has however planted on knee on your armored chest as she is sent backwards from the impact with an attempt to use all her strength to knock you off balance.. flipping upwards in the air and crashes into the satelite dish mangling it as the Snake Pit loses all reception now... she pulls herself out of the debris ready to move again.
Lindsay Noonan: taking a hard blow to her leg as a large chunk of armor falls with a 'thud' to the rooftop. Mobility now hampered she is forced to a desperate ploy and tucks her tail up between her legs, shielding it with her forearms as she intones a code word into her suit mike "Overlord". At that command a series of eight claymore mines concealed on the outer surface of her armor trigger in rapid sequence. "Fuck!" she thought as her entire torso became one huge bruise
Ashur Kentoku drops to a knee as and covers her already armoured visor with a left forearm, her right hand holding her sword out straight behind her, as the blast goes off...the shrapnel slams into her armour but does not penetrate and she grunts in pain and annoyance as pain nevertheless shoots from her arms and other body parts from the redirected kinetic energy....she stays like that a moment as the smoke and noise subsides, collecting her senses, like a figure carved from a dark substance, sword poised to strike with supernal speed again....
Mitz Xi standing as she is ready to move again.. maybe hears.. if not she definately see's the eight claymore's going off.. the whole rooftop of the snakepit is fucked.. her eyes widen yelling "INCOMING!" she hammered by sharpnel her armour taking the damage as she yells out in pain..."FUCK" it was to late.. Ashur was to close and she was not as close dropping to a knee she gasps into the mic... "Plan.... B"
Lindsay Noonan: shuddering with the pain Lindsay focused, dropping her arms as two bright white ceramic counterweights fall from her bracers, tied to them with a near invisible glittering thread as she clumsily spun in place allowing the weights to extend the monowire whips as she cleared her immediate area. Surely they were smart and fast enough to avoid this clumsy attack?
Ashur Kentoku keeps her defensive stance as the monofilament wires spin out...she grips the sword with both hands again and parries the wire with the flat of her blade as it spins toward her, careful to keep the counterweights in her field of view and careful to allow no significant pressure to be exerted by the wire on her blade...it was a carbon nanotube material, like her armour, but she didn’t want to take any chances...she makes a flicking motion and momentarily ensnares a wire, then tries to whip the wire back at the Matron, her motions not as smooth or fluid as they might have been earlier, the aches and pains from the claymore explosions still fresh.....
Mitz Xi knows how deadly monowire is, it would slice through anything so avoiding it at all cost is what she plans to do.. ."Watch the Whips 107" she speaks into the mic of the helmet, rolling to the side as one of the whips slices into the roof like a hot knife through butter just missing her.. she uses that as her cue to react... when Ashur ties up the other whip and tries to lash it back at the Matron... she moves now leaping and following the the wire back at the source... her eyes narrowed as she attempts to damage atleast one of the whips with her blade going for the bracer on her right side with a slash
Ashur Kentoku tenses as she sees 613 fly in close, facing the spinning monofilament wire....
Lindsay Noonan: flipping the tongue switch Lindsay triggers the enzyme cutting devices that unravel the deadly monowire's simple structure and cause the counterweights to fly free as she leaps up and forward, the contents of her hands falling to the pavement with a vague moist explosive sound
Ashur Kentoku tilts back and powers up at Linds as she passes overhead, sword slashing at her legs again as she passes...she sets her shoulder after the strike, hopefully powering into the Matron if her sword strike doesn’t....
Lindsay Noonan: stumbling a bit as Seven's shoulder contacted her she allowed herself to tumble off the edge, relying on her gyro and her agility to land so that she might just leap away
Mitz Xi lands as her feet stop in a pool of of fast set epoxy she narrows her eyes on the back of the Matron.. then watches as Ashur moves in for a legs again... she hisses into the mic... "I am not mobile..." she hits a button on her thigh and takes out something.. and presses a button... into the mic..."12 seconds...incoming" she flicks her hand out with great skill and aim as something flies for the backpack of Lindsay... if it hits.. it sticks... if not.. it sails over the edge... a stick bomb.. with a 12 second defuse...
Ashur Kentoku is caught by strands of the epoxy and falls just short of Linds...she raises her sword and slices quickly through the strands, alert for any attacks and ready to move with what little space she has....
Mitz Xi slashes at the rooftop as she frees her feet... then growls into the Mic..."lets move.. target is moving" she pulls her feet free and moves toward Ashur
Ashur Kentoku slashes the last strands free, then pulls free of the rest..she moves cautiosly to the edge of he roof...."Your stick-bomb?" she mews?"
Missed…
One of the many fascinating projects I was involved in, as London Underground's Design & Heritage Manager, was conservation and restoration of many of the historic structures that the Tube owns and still operates. Out of over 275 stations over 80 are statutorially Listed, including this one, many more are Locally Listed and nearly all have some Heritage Features as assessed by London Underground itself.
Many stations still have faience facades of a type of construction that the Central London Railway (1900) and the Underground Electric Railways of London (1905/6 and later) utilised. The Metropolitan Railway also used faience on many of its early 20th Century reconstructions.
The basic construction methodology is sound - the use of load bearing steel framework and a cloak of effectively mass produced faience blocks - in this case made in Leeds by the Burmantofts Works of the Leeds Fireclay Company. However, some defects can occur if the facade is not waterproof, when moisture meets the steelwork, corrodes and spalls, or if the fireskin of the faience blocks themselves is damaged (such as through hole drilling or physocal damage). The latter tends to invite frost freeze and thaw, further destroying the material.
At South Kensington the issues were compounded by the removal, several decades earlier, of any internal wall finishes when the ticket hall and lift landings. along with the lify shaft, were stripped out for use as a passive ventilation shaft. Some earlier spot repairs, using 'plastic' fillers over wire mesh and coloured resin fillers had also started to fail badly - these tend to be prone to UV failure. All in all the structure and facade was a mess - and first we had to gain Listed Building Consent to undertake intrusive surveys and condition surveys to see what was actually going on.
To cut a long story short we realised we needed to physically reconstruct almost 85 - 90% of the facade, such was the deterioration of the sub-strate and the facade. We had undertaken similar work on other stations and so were able to call on expert manufacturers (Darwen Faience & Terracotta) and construction contractors. The manufacturing of new blocks is not simple as you have to allow for shrinkage in firing, colour matching older and now illegal glazes along with firing temperature variations in colour. To ensure a lack of uniformity - as you don't actually want a 'blank' colour the manufacturer has to also consider glaze weight. The setting out has to be precise - no 'cutting' like tiles, and the new blocks were correctly back-filled with inert packing and tied structurally back to new substrate. All in all - a helluva job and I'm still pleased as punch with it. It was and to some building conservators still is contentious as traditonal restoration aims to reatin as much original material as possible. However on highly used buildings such as these I am of the view that when such structures are life-expired options such as careful recreation, with a full understanding of the materials, architectural detail, integrity and context are weighed against retention (some 15% of the original is still here) then this is a valid approach.
Built: 2017-2018. Two buildings, each with 28 flats. Energy efficient buildings with super insulation, primarily heated by radiated solar energy, heat produced by humans, household machinery, domestic electronic equipment and light fittings.
Each roof has 130 sqm solar cells. The localy produced electricity is used for elevators, shared laundry etc. One flat is also shared and is used for meetings, festivities etc.
While there are thousands of Passive Houses in Europe, there are only about a dozen in the States as of 2008. Postgreen is the first to bring the Passiv Haus standard to Philadelphia and all of PA.
Most homes in the US leak like a sieve, but the Passiv Haus standard demands an air tight barrier that surrounds the entire building. Caulk and spray foam don’t cut it here. The Passive Project uses plenty of tape and air barrier material (poly & Tyvek) to keep the heating and cooling demands to a bare minimum.
The siding shown here is Certainteed low density fiber cement lap siding in three different sizes. The panels come primed and we will paint them once completely installed. James Hardie makes a similar product and they are both local to us and dirt cheap.
www.youtube.com/watch?v=18r94QQ10qc
Sustainable Systems and Green Materials
Sustainable Systems and Green Materials
1) Photovoltaic solar energy system
2) Grey water recycling system - takes water from the -bathroom sinks and showers, and the washing machine, filtering it and pumping it to the fruit trees in the garden
3) Rain water collection system
4) Passive Cooling - uses low windows on the windward side and high windows on the leeward side of the house. Cross ventilation is maximized by eliminating most of the interior walls and aligning windows and sliding glass doors. Ceiling fans are distributed across the ceiling to move the warm air out when there is no natural breeze.
5) In order to reduce the size of the house, we used efficient efficient custom storage system of movable shelves and cabinets runs through the length of the house. This allows for a smaller, but smarter building.
6) Natural Daylighting - uses interior clerestory windows and transoms to allow all of the rooms to borrow light from each other.
Materials
1) recycled flooring for the first structure, patched together and left roughly finished.
2) plywood floors for the second structure
3) Ceilings of both structures are plywood, cut into horizontal boards.
4) Composite decking made of recycled content.
5) All of the Interior doors are made of recycled flooring from the existing house
6) Poured in place concrete countertops in the kitchen and bathrooms, use recycled fly ash
8) Non VOC Paints and Stains
9) All plumbing fixtures are low-flow energy efficient
10) All electrical appliances are energy star rated
-LED and fluorescent lighting fixtures
11) Ductless Mini-Split HVAC system zoned for maximum efficiency
Credits:
Jeremy Levine Design
Designer: Jeremy Levine, Assoc. AIA, Principal
Associate Designer: Jonathon Pickup
Structural Engineer: Micheal Ciortea
General Contractor: Juan Macias Construction
Photography by Tom Bonner
Pride and Prejudice: on Raphael Perez's Artwork
Raphael Perez, born in 1965, studied art at the College of Visual Arts in Beer Sheva, and from 1995 has been living and working in his studio in Tel Aviv. Today Perez plays an important role in actively promoting the LGBT (lesbian, gay, bisexual and transsexual) art and culture in Tel Aviv, and the internet portal he set up helps artists from the community reach large audiences in Israel and abroad. Hundreds of his artworks are part of private collections in Israel and abroad, and his artworks were shown in several group exhibitions: in Tel Aviv Museum of Art, "Zman Le'Omanut" art gallery, Camera Obscura, The Open House in Jerusalem, Ophir Gallery, The Haifa Forum and other private businesses and galleries.
In 2003-4 his paintings and studio appeared in a full-length movie, three student films and two graduation films.
Raphael Perez is the first Israeli artist to express his lifestyle as a Gay. His life and the life of the LGBT community are connected and unfold over hundreds of artwork pieces. His art creation is rare and extraordinary by every Israeli and international artistic standard. His sources of inspiration are first and foremost life events intertwined in Jewish and Israeli locality as well as influences and quotes from art history (David Hockney, Matisse). This uniqueness has crossed international borders and has succeeded in moving the LGBT and art communities around the world.
This is the first time we meet an Israeli artist who expresses all of his emotions in a previously unknown strength. The subjects of the paintings are the everyday life of couples in everyday places and situations, along with the aspiration to a homosexual relationship and family, equality and public recognition. Perez's works bring forward to the cultural space and to the public discourse the truth about living as LGBT and about relationships, with all of their aspects – casual relationships and sex, the yearning for love, the everyday life and the mundane activities that exist in every romantic relationship – whether by describing two men in an intimate scene in the bathroom, the bedroom or the toilet, a male couple raising a baby or the homosexual version of the Garden of Eden, family dinners, relationship ups and downs, the complexity in sharing a life as well as mundane, everyday life competing with the aspiration to self realization – through Perez's life.
Perez's first artworks are personal diaries, which he creates at 14 years of age. He makes sure to hide these diaries, as in them he keeps a personal journal describing his life events in the most genuine way. In these journals he draws thousands of drawings and sketches, next to which he alternately writes and erases his so-called "problematic texts", texts describing his struggle with his sexual orientation. His diaries are filled with obsessive cataloging of details, daily actions, friends and work, as well as repeating themes, such as thoughts, exhibits he has seen, movies, television, books and review of his work.
When he is done writing, Perez draws on his diaries. Each layer is done from beginning to end all along the journal. In fact, the work on the diaries never ends.
This struggle never ends, and when the emotion is passed on to paper, and it ends its role and becomes meaningless in a way, the visual-graphic side becomes dominant, due to the need to hide the written text, according to Perez. In books and diaries this stands out even more – when he chooses to draw in a style influenced by children's drawings, the characters are cheerful, happy, naïve and do not portray any sexuality, and when he tries drawing as an adult the sketches became more depressed and somber. During these years Perez works with preschool children, teaching them drawing and movement games. Perez says that during this period he completely abandoned the search for a relationship, either with a woman or a man, and working with children has given him existential meaning. This creation continues over 10 years, and Perez creates about 60 books-personal journals in various sizes (notepads, old notebooks, atlases and even old art books).
In his early paintings (1998-1999) the transition from relationships with women to relationships with men can be seen, from restraint to emotional outburst in color, lines and composition. Some characters display strong emotional expression. The women are usually drawn in restraint and passiveness, while a happy and loving emotional outburst is expressed in the colors and style of the male paintings.
"I fantasized that in a relationship with a woman I could fly in the sky, love, fly. However, I felt I was hiding something; I was choked up, hidden behind a mask, as if there was an internal scream wanting to come out. I was frustrated, I felt threatened…"
His first romance with a man in 1999 has drawn out a series of naïve paintings dealing with love and the excitement of performing everyday actions together in the intimate domestic environment.
"The excitement from each everyday experience of doing things together and the togetherness was great, so I painted every possible thing I liked doing with him."
From the moment the self-oppression and repression stopped, Perez started the process of healing, which was expressed in a burst of artworks, enormous in their size, amount, content and vivid colors – red, pink and white.
In 2000 Perez starts painting the huge artworks describing the hangouts of the LGBT community (The Lake, The Pool) and the Tel Avivian balcony paintings describing the masculine world, which, according to him, becomes existent thanks to the painting. Perez has dedicated this year to many series of drawings and paintings of the experience of love, in which he describes his first love for his new partner, and during these months he paints from morning to night. These paintings are the fruit of a long dialogue with David Hockney, and the similarity can be seen both in subjects and in different gestures.
In 2001 Perez creates a series of artworks, "Portraits from The Community". Perez describes in large, photorealistic paintings over 20 portraits of active and well-known members of the LGBT community. The emphasis is on the achievements that reflect the community's strong standing in Tel Aviv.
As a Tel-Avivian painter, in the past two years Perez has been painting urban landscapes of central locations in his city. Perez wanders around the city and chooses familiar architectural and geographical landmarks, commerce and recreation, and historical sites, and paints them from a homosexual point of view, decorated with the rainbow flag, which provide a sense of belonging to the place. His artworks are characterized by a cheerful joie de vivre and colors, and they also describe encounters and meetings. The touristic nature of his paintings makes them a declaration of Tel Aviv's image as a place where cultural freedom prevails.
Perez's Tel Aviv is a city where young families and couples live and fill the streets, the parks, the beach, the houses and the balconies – all the city's spaces. The characters in his paintings are similar, which helps reinforcing the belonging to the LGBT community in Tel Aviv. The collective theme in Perez's artwork interacts with the work of the Israeli artist Yohanan Simon, who dealt with the social aspects of the Kibbutz. Simon, who lived and worked in a Kibbutz, expressed the human model of the Kibbutznik (member of a Kibbutz) and the uniqueness of the Kibbutz members as part of a group where all are equal. Simon's works, and now Perez's, have contributed to the Israeli society what is has been looking for endlessly, which is a sense of identity and belonging.
Perez maps his territory and marks his boundaries, and does not forget the historical sites. Unlike other Tel Avivian artists, Perez wishes to present the lives of the residents of the city and the great love in their hearts. By choosing the historical sites in Tel Aviv, he also pays tribute to the artist Nachum Gutman, who loved the city and lived in it his whole life. In his childhood Gutman experienced historical moments (lighting the first oil lamp, first concert, first pavement), and as an adult he recreated the uniqueness of those events while keeping the city's magic.
Like Gutman, Perez has also turned the city into an object of love, and it has started adorning itself in rich colors and supplying the energy of a city that wishes to be "the city that never sleeps", combining old and new. Perez meticulously describes the uniqueness and style of the Bauhaus houses and balconies along the modern glass and steel buildings, all from unusual angles in a rectangular format that wishes to imitate the panorama of a diverse city in its centennial celebrations.
Daniel Cahana-Levensohn, curator.
Interview with the painter Raphael Perez about his family artist book
An interview with the painter Raphael Perez about an artist's book he created about his family, the Peretz family from 6 Nissan St. Kiryat Yuval Jerusalem
Question: Raphael Perez, tell me about the family artist book you created
Answer: I created close to 40 artist books, notebooks, diaries, sketch books and huge books. I dedicated one of the books to my dear family, a book in which I took a childhood photograph of my family, my parents and brothers and sisters.. I pasted the photographs inside a book (the photograph is 10 percent of the total painting) and I drew with acrylic paints, markers and ink on the book and the photograph, so that the image of the photograph was an inspiration to me Build the story that includes page by page..
Question: Tell me when you were born, where, and a little about your family
Answer: I was born on March 4, 1965 in the Kiryat Yuval neighborhood in Jerusalem
I have a twin brother named Miki Peretz and we are seven brothers and sisters, five boys and two girls
Question: Tell us a little about your parents
Answer: My parents were new immigrants from Morocco, both immigrated young.
My mother's name before the wedding was Alice - Aliza ben Yair and my father's name was Shimon Peretz,
My mother was born in the Atlas Mountains and was orphaned at a young age and was later adopted by my father's family at the age of 10, so that my mother and father spent childhood and adolescence together....
They had a beautiful and happy relationship but sometimes when they argued my mother would say "even when she was a child she was like that..." This means that their acquaintance and relationship dates back to childhood..
Question: What did your parents Shimon and Aliza Peretz work for?
Answer: My father, Shimon Perez, born in 1928 - worked in a building in his youth and then for thirty years worked as a receptionist at Hadassah Ein Kerem Hospital in Jerusalem... My father's great love was actually art, he loved to draw as a hobby, write, read, solve crossword puzzles and research Regarding the issue of medicinal plants, as a breadwinner he could not fulfill his dream of becoming an artist, in order to support and feed seven children. But we are the next generation, his children are engaged in the world of creativity and education, a field in which both of my parents were engaged during their lives. My father died at the age of 69
My mother, Alice Aliza Perez, born in 1934, worked as an assistant to a kindergarten teacher, and later took care of a baby at home. She is a woman of wholehearted giving and caring for children and people, a warm, generous and humble woman.. and took care of us in our childhood for every emotional and physical deficiency.. My mother is right For the year 2023, the 89-year-old is partly happy and happy despite the difficulties of age.. May you have a long life..
My mother really loved gardening and nature and both of them together created a magnificent garden, my parents have a relatively large garden so they could grow many types of special and rare medicinal plants and my father even wrote a catalog (unpublished) of medicinal plants and we even had botany students come to us who were interested in the field... today they They also grow ornamental plants, and fruit trees...
Question: A book about the brothers and sisters
Answer: My elder brother David Perez repented in his mid-twenties.. He was a very sharp, opinionated, curious and very charismatic guy who brought many people back to repentance, and also helped people with problems through the yeshiva and the synagogue to return to the normal path of life, he died young at the age of 56
Hana Peretz: My lovely sister, raised eight children, worked in the field of education, a kindergarten teacher, and child care.
She has a very large extended family of grandchildren, great-grandchildren and great-great-grandchildren...
My brother Avi (Abraham) Peretz studied in Israel at the University of Philosophy and Judaism, he married a wonderful woman named Mira Drumi, a nurse by profession, and together they had three wonderful children, when they moved to the United States in their mid-twenties, where my brother Avi Peretz completed his master's degree in education, worked in the field Education and for the last twenty years is A conservative rabbi
The fourth brother is Asher Peretz - a great man of the world, very fond of traveling and has been to magical places all over the world, engaged in the creation of jewelry with two children.
I am Rafi Peretz english raphael perez the fifth and after fifteen minutes my twin brother was born
My mother still gets confused and can't remember who was born first :-)
My twin brother Miki micky - Michael Peretz, a beloved brother (everyone is beloved), a talented industrial designer, he has three children, his wife Revital Peretz Ben, who is a well-known art curator, active and responsible for the art field in Tel Aviv, they are a dynamic and talented couple, full of talents and action
The lovely little sister Shlomit Peretz - has been involved in the Bezeq telephone company for almost three decades, and is there in management positions, raising her lovely and beloved child.
The art book I dedicated to my family is colorful, rich in details, shows a very intense childhood, happy, cheerful, colorful, ... We were taught to be diligent and to be happy in our part and to see the glass half full in life, to have emotional intelligence and to put the relationship and love at the center with self-fulfillment in work that will interest you us and you will give us satisfaction.
Each of us is different in our life decisions and my family is actually a mosaic of the State of Israel that includes both religious and secular people from the entire political spectrum who understand that the secret to unity is mutual respect for each other... when my mother these days is also the family glue in everyone's gatherings on Shabbat and holidays..
The personification of the flower couple paintings by the Israeli painter Raphael Perez
Raphael Perez, also known as Rafi Peretz, is an Israeli painter who
explores his personal and sexual identity through his flower paintings. He created a series of flower paintings from 1995 to 1998, when he was in his early thirties and still in relationships with women, despite feeling gay. His flower paintings reflect his emotional turmoil and his struggle with his sexual orientation. He painted two flowers, one blooming and one wilting, to represent the contrast and conflict between his heterosexual relationships and his true self. He also painted single flowers or two flowers in their prime, to express his longing for a harmonious relationship that matches his nature. He chose sunflowers, white lilies, and red lilies as symbols of expression, purity, and joy, respectively. He painted from real flowers, using different styles and light to create drama and mood. Perez’s paintings of the flower couples are minimalist and focused on the theme of the complex relationship. He omitted any background or context, leaving only the canvas and the drawing of the flower couples. In some of the paintings, he added a very airy abstract surface with thin oil paints that give an atmosphere of watercolors. He also made drawings of flowers in ink, markers and gouache on paper. Later on, he created large acrylic paintings of flowers and still life. Perez’s flower paintings are not mere illustrations or decorations. They are autobiographical and psychological expressions of his inner state and his struggle with his sexuality. He wanted to reveal his loneliness, distress and concealment through these paintings, and to connect with people who are in a similar situation. He deliberately chose only two flowers and no more to intensify the engagement in the charged and complex relationship. Perez also painted and drew couples of men and women with charged psychological states, as well as states of desire for connection and realization of a heterosexual relationship that did not succeed. He used hyperrealism and expressive styles to convey his frozen and calculated state, as well as his mental stress. He used harsh lighting to create contrast and drama, with one side very bright and the other side darker. Perez was influenced by some of the famous artists who painted flowers, such as Van Gogh, who also used sunflowers as a symbol of expression. He also used white lilies and red lilies to convey freshness, cleanliness, purity, color, joy, movement, eruption, and splendor. Perez also painted some single flowers or two flowers in their prime, to show his aspiration for a future where he will have a harmonious relationship. Today, he is 58 years old and in a happy relationship for 10 years with his partner Assaf Henigsberg. He is surrounded by female friends and soulmates and not conflicted with heterosexual relationships as he used to be. He occasionally paints flowers in pots to symbolize home, stability, and peace. Sometimes I paint flowers in pots, which represent home, stability, and solid ground for me. I don’t paint just a couple of flowers, but pots full of flowers that overflow with life. This means that we also have a supportive network of family, friends, and peers around us. We live in a rich, supportive, and protective world. These paintings are a personification of my psychological state, when I had no words to express my feelings to myself. The painting began In 35 years of my creation (starting in 1998), you can read more about how my art and style evolved over time. Perez’s flower paintings are a unique and extraordinary artistic creation that reveals his personal journey and his sexual identity. His work is honest, expressive, and emotional, as well as beautiful and vibrant.
The characteristics of the naive painting of the painter Raphael Perez
A full interview with the Israeli painter Raphael Perez (Hebrew name: Rafi Peretz) about the ideas behind the naive painting, resume, personal biography and curriculum vitae Question: Raphael Perez Tell us about your work process as a naive painter? Answer: I choose the most iconic and famous buildings in every city and town that are architecturally interesting and have a special shape and place the iconic buildings on boulevards full of trees, bushes, vegetation, flowers. Question: How do you give depth in your naive paintings? Answer: To give depth to the painting, I build the painting with layers of vegetation, after those low famous buildings, followed by a tall avenue of trees, and behind them towers and skyscrapers, in the sky I sometimes put innocent signs of balloons, kites. A recurring motif in some of my paintings is the figure of the painter who is in the center of the boulevard and paints the entire scene unfolding in front of him, also there are two kindergarten teachers who are walking with the kindergarten children with the state flags that I paint, and loving couples hugging and kissing and family paintings of mother, father and child walking in harmony on the boulevard. Question: Raphael Perez, what characterizes your naive painting? Answer: Most naive paintings have the same characteristics (Definition as it appears in Wikipedia) • Tells a simple story to absorb from everyday life, usually with humans. • The representation of the painter's idealization to reality - the mapping of reality. • Failure to maintain perspective - especially details even in distant details. • Extensive use of repeating patterns - many details. • Warm and bright colors. • Sometimes the emphasis is on outlines. • Most of the characters are flat, lack volume • No interest in texture, expression, correct proportions • No interest in anatomy. • There is not much use of light and shade, the colors create a three-dimensional effect. I find these definitions to be valid for all my naive paintings Question: Raphael Perez, why do you choose the city of Tel Aviv? Answer: I was born in Jerusalem, the capital city which I love very much and also paint, I love the special Bauhaus buildings in Tel Aviv, the ornamental buildings that were built a century ago in the 1920s and 1930s, the beautiful boulevards, towers and modern skyscrapers give you the feeling of the hustle and bustle of a large metropolis and there are quite a few low and tall buildings that are architecturally fascinating in their form the special one Also, the move to Tel Aviv, which is the capital of culture, freedom, and secularism, allowed me to live my life as I chose, to live in a relationship with a man, Jerusalem, which is a traditional city, it is more complicated to live a homosexual life, also, the art world takes place mainly in the city of Tel Aviv, and it is possible that from a professional point of view, this allows I can support myself better in Tel Aviv than in any other city in Israel. Question: Raphael Perez, are the paintings of the city of Tel Aviv different from the paintings of the city of Jerusalem? Answer: Most of the paintings of Jerusalem have an emphasis on the color yellow, gold, the color of the old city walls, the subjects I painted in Jerusalem are mainly a type of idealization of a peaceful life between Jews and Arabs and paintings that deal with the Jewish religious world, a number of paintings depict all shades of the currents of Judaism today In contrast, the Tel Aviv paintings are more colorful, with skyscrapers, the sea, balloons and more secular motifs Question: Raphael Perez, tell me about which buildings and their architects you usually choose in your drawings of cities Answer: My favorite buildings are those that have a special shape that anyone can recognize and are the symbols of the city and you will give several examples: In the city of Tel Aviv, my favorite buildings are: the opera building with its unusual geometric shape, the Yisrotel tower with its special head, the Hail Bo Shalom tower that for years was the symbol of the tallest building in Tel Aviv, the Levin house that looks like a Japanese pagoda, the burgundy-colored Nordeau hotel with the special dome at the end of the building, A pair of Alon towers with the special structure of the sea, Bauhaus buildings typical of Tel Aviv with the special balconies and the special staircase, the Yaakov Agam fountain in Dizengoff square appears in a large part of the paintings, many towers that are in the stock exchange complex, the Aviv towers and other tall buildings on Ayalon, in some of the paintings I took plans An outline of future buildings that need to be built in the city and I drew them even before they were built in reality, In the paintings of Jerusalem, I mainly chose the area of the Old City and East Jerusalem, a painting of the walls of the Old City, the Western Wall, the Church of the Holy Sepulcher, the El Akchea Mosque, the Tower of David, most of the famous churches in the city, the right hand of Moses, in most of the paintings the Jew is wearing a blue shirt with a red male cord I was in the youth movement and the Arab with a galabia, and in the paintings of the religious public then, Jews with black suits and white shirts, tallitas, kippahs, special hats, synagogues and more I also created three paintings of the city of Haifa and one painting of Safed In the Haifa paintings I drew the university, the Technion, the famous Egged Tower, the Sail Tower, well-known hotels, of course the Baha'i Gardens and the Baha'i Temple, Haifa Port and the boats and other famous buildings in the city Question: Raphael Perez, have you created series of other cities from around the world? Answer: I created series of New York City with all the iconic and famous buildings such as: the Guggenheim Museum, the famous skyscrapers - the Chrysler Building, the Empire State Building, Lincoln Center, the famous synagogue in the city, the Statue of Liberty, the flags of the United States and other famous buildings Two paintings of London and all its famous sites, Big Ben, famous monuments, the Ferris wheel, Queen Elizabeth and her family, the double bus, the famous public telephone, palaces, famous churches, well-known monuments I created 4 naive paintings of cities in China, a painting of Shanghai, two paintings of the city of Suzhou and a painting of the World Park in the city of Beijing... I chose the famous skyline of Shanghai with all the famous towers, the famous promenade, temples and old buildings, two Paintings of the city of Suzhou with the famous canals, bridges, special gardens, towers and skyscrapers of the city Question: Raphael Perez What is the general idea that accompanies your paintings Answer: To create a good, beautiful, naive, innocent world in which we will see the innovation of the modern city through the skyscrapers in front of small and low buildings that bring the history and past of each country, all with an abundance of vegetation, boulevards, trees Resume, biography, CV of the painter Rafi Peretz and his family Question: When was Raphael Perez born in hebrew his name rafi peretz? Answer: Raphael Perez in Hebrew his name Rafi Peretz was born on March 4, 1965 Question: Where was Raphael Perez born? Answer: Raphael Perez was born in Jerusalem, Israel Question: What is the full name of Raphael Perez? Answer: His full name is Raphael Perez Question: Which art institution did Raphael Perez graduate from? Answer: Raphael Perez graduated from the Visual Arts Center in Be'er Sheva Question: When did Raphael Perez start painting? Answer: Raphael Perez started painting in 1989 Question: When did you start making a living selling art? Answer: Raphael Perez started making a living selling art in 1999 Question: Where does Raphael Perez live and work? Answer: Since 1995, Raphael Perez has been living and working from his studio in Tel Aviv Question: In which military framework did Raphael Perez serve in the IDF? Answer: Raphael Perez served in the artillery corps Question: Raphael Perez, what jobs did he work after his military service? Answer: Raphael Perez worked for 15 years in education in therapeutic settings for children and taught arts and movement Question: How many brothers and sisters does Raphael Perez, the Israeli painter, have? Answer: There are seven children in total, with the painter 5 sons and two daughters, that means the painter Raphael Perez has 4 more brothers and two sisters Question: What do the brothers and sisters of the painter Raphael Perez do? Answer: The elder brother David Peretz Perez was involved in the field of religious studies, the sister Hana Peretz Perez is involved in the field of education, a kindergarten teacher and child care, the brother Avi Peretz Perez who is in the United States today is a conservative rabbi but in the past was involved in education and therapy, the brother Asher Peretz Perez is involved in the fields of creativity and jewelry The twin brother Mickey Peretz Perez is a well-known industrial designer and seller. The younger sister Shlomit Peretz Perez works in a managerial position at Bezeq. Question: Tell me about the parents of the painter Raphael PerezAnswer: The painter Raphael Perez's parents are Shimon Perez Peretz and Eliza Alice Ben Yair, they were married in 1950 in Jerusalem, both were born in Morocco and immigrated to Israel in 1949, Shimon Peretz worked in a building in his youth and later as a receptionist at the Hadassah Ein Kerem Hospital, Eliza Alice Peretz dealt in child care Kindergarten, working in kindergartens and of course taking care of and raising her seven children
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ישראליים עכשוויים מודרניים האמנים הישראלים העכשוויים המודרניים האומנים הישראליים העכשוויים המודרניים יוצר הומו הומוסקסואל קווירי הומוסקסואליות באמנות הישראלית מגדר אומנות ומגדר אמנות ישראלית עכשווית מודרנית האמנות הישראלית העכשווית המודרנית
erotic gay art painting artist raphael perez pintura homossexual da arte de gomoseksual badiiy rasm гомосексуальний художній живопис pittura di arte omosessuale lukisan seni homoseksual listmálun samkynhneigðra péintéireacht ealaíne homaighnéasach pikturë arti homoseksual homoseksuaalne kunstimaal хомосексуална художествена живопис homoseksualno likovno slikarstvo жывапіс гомасэксуальнага мастацтва সমকামী আর্ট পেইন্টিং homoseksuel kunstmaleri homoszexuális művészeti festmény рассоми санъати гомосексуалӣ gomoseksual sungat suratkeşligi homoseksuālas mākslas glezniecība homoseksualaus meno tapyba homoseksuell kunstmaleri homoseksualno likovno slikarstvo
queer artworks paintings homoerotic painter lgbt artwork glbt artworks homo erotica man nude male naked men image images picture pictures homosexual homosexualiy artists painters artist body realism realistic famous
مثلي الجنس الفن الغريبة الأعمال الفنية معرض معرض رجل عارية لوحة رجال عراة صورة الجسم الإسرائيلي فنان رسام مثلى الفنانين الرسامين لوحات واقعية مثلي الجنس الشهير صورة كبيرة
arte homosexual queer obras de arte galería exposición hombre desnudo pintura hombres desnudos retrato cuerpo artista israelí pintor artistas gay pintores pinturas realistas homoerótico famoso imagen grande
гомосексуальное искусство квир произведения искусства галерея выставка мужчина ню живопись голые мужчины портрет тело израильский художник художник геи художники художники реалистичные картины гомоэротика знаменитый большое изображение
ομοφυλοφιλική τέχνη queer artworks γκαλερί έκθεση άντρας γυμνή ζωγραφική γυμνοί άντρες πορτραίτο ισραήλ καλλιτέχνης ζωγράφος γκέι καλλιτέχνες ζωγράφοι ρεαλιστικοί πίνακες ομοιορωτική διάσημη μεγάλη εικόνα
homosexuelle kunst queer kunstwerke galerie ausstellung mann nackt malerei nackte männer porträtkörper israelischer künstler maler schwule künstler maler realistische gemälde homoerotisch berühmtes großes bild
homoseksuele kunst queer kunstwerken galerie tentoonstelling man naakt schilderij naakte mannen portret lichaam Israëlische kunstenaar schilder homo kunstenaars schilders realistische schilderijen homo-erotisch beroemd groot beeld
art homosexuel queer oeuvres d'art galerie exposition homme peinture nue hommes nus portrait corps artiste israélien peintre artistes gais peintres peintures réalistes homoérotique célèbre grande image
homoseksualna sztuka queer dzieła galeria wystawa mężczyzna nago malarstwo nagi mężczyzna portret ciało izraelski artysta malarz homoseksualiści malarze realistyczni obrazy homoerotyk sławny duży obraz
Eşcinsel sanat queer sanat eseri galeri sergi adam çıplak boyama çıplak erkekler portre vücut İsrail sanatçı ressam eşcinsel sanatçılar ressamlar gerçekçi resim sergisi homoerotik ünlü büyük resim
समलैंगिक कला क्वीर कलाकृतियों गैलरी प्रदर्शनी आदमी नग्न पेंटिंग नग्न पुरुषों चित्र शरीर इजरायल कलाकार चित्रकार समलैंगिक कलाकारों चित्रकारों यथार्थवादी चित्रों समलैंगिक प्रसिद्ध बड़ी छवि
homoseksuell konst queer konstverk galleri utställning man nakenmålning nakna män porträtt kropp israelisk konstnär målare gay konstnärer målare realistiska målningar homoerotisk berömd stor bild
JSC2013-E-017269 (16 March 2013) --- The Soyuz TMA-06M spacecraft lies passively on its side March 16 after bringing home Expedition 34 Commander Kevin Ford of NASA, Soyuz Commander Oleg Novitskiy and Flight Engineer Evgeny Tarelkin to a landing northeast of Arkalyk, Kazakhstan following a one-day delay due to inclement weather in the area. The Soyuz initially landed upright before being tilted on its side for servicing after touching down to wrap up 144 days in space and 142 days for Ford, Novitskiy and Tarelkin at the International Space Station. The three crew members were flown by helicopter to Kustanai, Kazakhstan en route to their homes in Houston and Star City, Russia. Photo credit: Sergey Vigovskiy
Pride and Prejudice: on Raphael Perez's Artwork
Raphael Perez, born in 1965, studied art at the College of Visual Arts in Beer Sheva, and from 1995 has been living and working in his studio in Tel Aviv. Today Perez plays an important role in actively promoting the LGBT (lesbian, gay, bisexual and transsexual) art and culture in Tel Aviv, and the internet portal he set up helps artists from the community reach large audiences in Israel and abroad. Hundreds of his artworks are part of private collections in Israel and abroad, and his artworks were shown in several group exhibitions: in Tel Aviv Museum of Art, "Zman Le'Omanut" art gallery, Camera Obscura, The Open House in Jerusalem, Ophir Gallery, The Haifa Forum and other private businesses and galleries.
In 2003-4 his paintings and studio appeared in a full-length movie, three student films and two graduation films.
Raphael Perez is the first Israeli artist to express his lifestyle as a Gay. His life and the life of the LGBT community are connected and unfold over hundreds of artwork pieces. His art creation is rare and extraordinary by every Israeli and international artistic standard. His sources of inspiration are first and foremost life events intertwined in Jewish and Israeli locality as well as influences and quotes from art history (David Hockney, Matisse). This uniqueness has crossed international borders and has succeeded in moving the LGBT and art communities around the world.
This is the first time we meet an Israeli artist who expresses all of his emotions in a previously unknown strength. The subjects of the paintings are the everyday life of couples in everyday places and situations, along with the aspiration to a homosexual relationship and family, equality and public recognition. Perez's works bring forward to the cultural space and to the public discourse the truth about living as LGBT and about relationships, with all of their aspects – casual relationships and sex, the yearning for love, the everyday life and the mundane activities that exist in every romantic relationship – whether by describing two men in an intimate scene in the bathroom, the bedroom or the toilet, a male couple raising a baby or the homosexual version of the Garden of Eden, family dinners, relationship ups and downs, the complexity in sharing a life as well as mundane, everyday life competing with the aspiration to self realization – through Perez's life.
Perez's first artworks are personal diaries, which he creates at 14 years of age. He makes sure to hide these diaries, as in them he keeps a personal journal describing his life events in the most genuine way. In these journals he draws thousands of drawings and sketches, next to which he alternately writes and erases his so-called "problematic texts", texts describing his struggle with his sexual orientation. His diaries are filled with obsessive cataloging of details, daily actions, friends and work, as well as repeating themes, such as thoughts, exhibits he has seen, movies, television, books and review of his work.
When he is done writing, Perez draws on his diaries. Each layer is done from beginning to end all along the journal. In fact, the work on the diaries never ends.
This struggle never ends, and when the emotion is passed on to paper, and it ends its role and becomes meaningless in a way, the visual-graphic side becomes dominant, due to the need to hide the written text, according to Perez. In books and diaries this stands out even more – when he chooses to draw in a style influenced by children's drawings, the characters are cheerful, happy, naïve and do not portray any sexuality, and when he tries drawing as an adult the sketches became more depressed and somber. During these years Perez works with preschool children, teaching them drawing and movement games. Perez says that during this period he completely abandoned the search for a relationship, either with a woman or a man, and working with children has given him existential meaning. This creation continues over 10 years, and Perez creates about 60 books-personal journals in various sizes (notepads, old notebooks, atlases and even old art books).
In his early paintings (1998-1999) the transition from relationships with women to relationships with men can be seen, from restraint to emotional outburst in color, lines and composition. Some characters display strong emotional expression. The women are usually drawn in restraint and passiveness, while a happy and loving emotional outburst is expressed in the colors and style of the male paintings.
"I fantasized that in a relationship with a woman I could fly in the sky, love, fly. However, I felt I was hiding something; I was choked up, hidden behind a mask, as if there was an internal scream wanting to come out. I was frustrated, I felt threatened…"
His first romance with a man in 1999 has drawn out a series of naïve paintings dealing with love and the excitement of performing everyday actions together in the intimate domestic environment.
"The excitement from each everyday experience of doing things together and the togetherness was great, so I painted every possible thing I liked doing with him."
From the moment the self-oppression and repression stopped, Perez started the process of healing, which was expressed in a burst of artworks, enormous in their size, amount, content and vivid colors – red, pink and white.
In 2000 Perez starts painting the huge artworks describing the hangouts of the LGBT community (The Lake, The Pool) and the Tel Avivian balcony paintings describing the masculine world, which, according to him, becomes existent thanks to the painting. Perez has dedicated this year to many series of drawings and paintings of the experience of love, in which he describes his first love for his new partner, and during these months he paints from morning to night. These paintings are the fruit of a long dialogue with David Hockney, and the similarity can be seen both in subjects and in different gestures.
In 2001 Perez creates a series of artworks, "Portraits from The Community". Perez describes in large, photorealistic paintings over 20 portraits of active and well-known members of the LGBT community. The emphasis is on the achievements that reflect the community's strong standing in Tel Aviv.
As a Tel-Avivian painter, in the past two years Perez has been painting urban landscapes of central locations in his city. Perez wanders around the city and chooses familiar architectural and geographical landmarks, commerce and recreation, and historical sites, and paints them from a homosexual point of view, decorated with the rainbow flag, which provide a sense of belonging to the place. His artworks are characterized by a cheerful joie de vivre and colors, and they also describe encounters and meetings. The touristic nature of his paintings makes them a declaration of Tel Aviv's image as a place where cultural freedom prevails.
Perez's Tel Aviv is a city where young families and couples live and fill the streets, the parks, the beach, the houses and the balconies – all the city's spaces. The characters in his paintings are similar, which helps reinforcing the belonging to the LGBT community in Tel Aviv. The collective theme in Perez's artwork interacts with the work of the Israeli artist Yohanan Simon, who dealt with the social aspects of the Kibbutz. Simon, who lived and worked in a Kibbutz, expressed the human model of the Kibbutznik (member of a Kibbutz) and the uniqueness of the Kibbutz members as part of a group where all are equal. Simon's works, and now Perez's, have contributed to the Israeli society what is has been looking for endlessly, which is a sense of identity and belonging.
Perez maps his territory and marks his boundaries, and does not forget the historical sites. Unlike other Tel Avivian artists, Perez wishes to present the lives of the residents of the city and the great love in their hearts. By choosing the historical sites in Tel Aviv, he also pays tribute to the artist Nachum Gutman, who loved the city and lived in it his whole life. In his childhood Gutman experienced historical moments (lighting the first oil lamp, first concert, first pavement), and as an adult he recreated the uniqueness of those events while keeping the city's magic.
Like Gutman, Perez has also turned the city into an object of love, and it has started adorning itself in rich colors and supplying the energy of a city that wishes to be "the city that never sleeps", combining old and new. Perez meticulously describes the uniqueness and style of the Bauhaus houses and balconies along the modern glass and steel buildings, all from unusual angles in a rectangular format that wishes to imitate the panorama of a diverse city in its centennial celebrations.
Daniel Cahana-Levensohn, curator.
Interview with the painter Raphael Perez about his family artist book
An interview with the painter Raphael Perez about an artist's book he created about his family, the Peretz family from 6 Nissan St. Kiryat Yuval Jerusalem
Question: Raphael Perez, tell me about the family artist book you created
Answer: I created close to 40 artist books, notebooks, diaries, sketch books and huge books. I dedicated one of the books to my dear family, a book in which I took a childhood photograph of my family, my parents and brothers and sisters.. I pasted the photographs inside a book (the photograph is 10 percent of the total painting) and I drew with acrylic paints, markers and ink on the book and the photograph, so that the image of the photograph was an inspiration to me Build the story that includes page by page..
Question: Tell me when you were born, where, and a little about your family
Answer: I was born on March 4, 1965 in the Kiryat Yuval neighborhood in Jerusalem
I have a twin brother named Miki Peretz and we are seven brothers and sisters, five boys and two girls
Question: Tell us a little about your parents
Answer: My parents were new immigrants from Morocco, both immigrated young.
My mother's name before the wedding was Alice - Aliza ben Yair and my father's name was Shimon Peretz,
My mother was born in the Atlas Mountains and was orphaned at a young age and was later adopted by my father's family at the age of 10, so that my mother and father spent childhood and adolescence together....
They had a beautiful and happy relationship but sometimes when they argued my mother would say "even when she was a child she was like that..." This means that their acquaintance and relationship dates back to childhood..
Question: What did your parents Shimon and Aliza Peretz work for?
Answer: My father, Shimon Perez, born in 1928 - worked in a building in his youth and then for thirty years worked as a receptionist at Hadassah Ein Kerem Hospital in Jerusalem... My father's great love was actually art, he loved to draw as a hobby, write, read, solve crossword puzzles and research Regarding the issue of medicinal plants, as a breadwinner he could not fulfill his dream of becoming an artist, in order to support and feed seven children. But we are the next generation, his children are engaged in the world of creativity and education, a field in which both of my parents were engaged during their lives. My father died at the age of 69
My mother, Alice Aliza Perez, born in 1934, worked as an assistant to a kindergarten teacher, and later took care of a baby at home. She is a woman of wholehearted giving and caring for children and people, a warm, generous and humble woman.. and took care of us in our childhood for every emotional and physical deficiency.. My mother is right For the year 2023, the 89-year-old is partly happy and happy despite the difficulties of age.. May you have a long life..
My mother really loved gardening and nature and both of them together created a magnificent garden, my parents have a relatively large garden so they could grow many types of special and rare medicinal plants and my father even wrote a catalog (unpublished) of medicinal plants and we even had botany students come to us who were interested in the field... today they They also grow ornamental plants, and fruit trees...
Question: A book about the brothers and sisters
Answer: My elder brother David Perez repented in his mid-twenties.. He was a very sharp, opinionated, curious and very charismatic guy who brought many people back to repentance, and also helped people with problems through the yeshiva and the synagogue to return to the normal path of life, he died young at the age of 56
Hana Peretz: My lovely sister, raised eight children, worked in the field of education, a kindergarten teacher, and child care.
She has a very large extended family of grandchildren, great-grandchildren and great-great-grandchildren...
My brother Avi (Abraham) Peretz studied in Israel at the University of Philosophy and Judaism, he married a wonderful woman named Mira Drumi, a nurse by profession, and together they had three wonderful children, when they moved to the United States in their mid-twenties, where my brother Avi Peretz completed his master's degree in education, worked in the field Education and for the last twenty years is A conservative rabbi
The fourth brother is Asher Peretz - a great man of the world, very fond of traveling and has been to magical places all over the world, engaged in the creation of jewelry with two children.
I am Rafi Peretz english raphael perez the fifth and after fifteen minutes my twin brother was born
My mother still gets confused and can't remember who was born first :-)
My twin brother Miki micky - Michael Peretz, a beloved brother (everyone is beloved), a talented industrial designer, he has three children, his wife Revital Peretz Ben, who is a well-known art curator, active and responsible for the art field in Tel Aviv, they are a dynamic and talented couple, full of talents and action
The lovely little sister Shlomit Peretz - has been involved in the Bezeq telephone company for almost three decades, and is there in management positions, raising her lovely and beloved child.
The art book I dedicated to my family is colorful, rich in details, shows a very intense childhood, happy, cheerful, colorful, ... We were taught to be diligent and to be happy in our part and to see the glass half full in life, to have emotional intelligence and to put the relationship and love at the center with self-fulfillment in work that will interest you us and you will give us satisfaction.
Each of us is different in our life decisions and my family is actually a mosaic of the State of Israel that includes both religious and secular people from the entire political spectrum who understand that the secret to unity is mutual respect for each other... when my mother these days is also the family glue in everyone's gatherings on Shabbat and holidays..
The personification of the flower couple paintings by the Israeli painter Raphael Perez
Raphael Perez, also known as Rafi Peretz, is an Israeli painter who
explores his personal and sexual identity through his flower paintings. He created a series of flower paintings from 1995 to 1998, when he was in his early thirties and still in relationships with women, despite feeling gay. His flower paintings reflect his emotional turmoil and his struggle with his sexual orientation. He painted two flowers, one blooming and one wilting, to represent the contrast and conflict between his heterosexual relationships and his true self. He also painted single flowers or two flowers in their prime, to express his longing for a harmonious relationship that matches his nature. He chose sunflowers, white lilies, and red lilies as symbols of expression, purity, and joy, respectively. He painted from real flowers, using different styles and light to create drama and mood. Perez’s paintings of the flower couples are minimalist and focused on the theme of the complex relationship. He omitted any background or context, leaving only the canvas and the drawing of the flower couples. In some of the paintings, he added a very airy abstract surface with thin oil paints that give an atmosphere of watercolors. He also made drawings of flowers in ink, markers and gouache on paper. Later on, he created large acrylic paintings of flowers and still life. Perez’s flower paintings are not mere illustrations or decorations. They are autobiographical and psychological expressions of his inner state and his struggle with his sexuality. He wanted to reveal his loneliness, distress and concealment through these paintings, and to connect with people who are in a similar situation. He deliberately chose only two flowers and no more to intensify the engagement in the charged and complex relationship. Perez also painted and drew couples of men and women with charged psychological states, as well as states of desire for connection and realization of a heterosexual relationship that did not succeed. He used hyperrealism and expressive styles to convey his frozen and calculated state, as well as his mental stress. He used harsh lighting to create contrast and drama, with one side very bright and the other side darker. Perez was influenced by some of the famous artists who painted flowers, such as Van Gogh, who also used sunflowers as a symbol of expression. He also used white lilies and red lilies to convey freshness, cleanliness, purity, color, joy, movement, eruption, and splendor. Perez also painted some single flowers or two flowers in their prime, to show his aspiration for a future where he will have a harmonious relationship. Today, he is 58 years old and in a happy relationship for 10 years with his partner Assaf Henigsberg. He is surrounded by female friends and soulmates and not conflicted with heterosexual relationships as he used to be. He occasionally paints flowers in pots to symbolize home, stability, and peace. Sometimes I paint flowers in pots, which represent home, stability, and solid ground for me. I don’t paint just a couple of flowers, but pots full of flowers that overflow with life. This means that we also have a supportive network of family, friends, and peers around us. We live in a rich, supportive, and protective world. These paintings are a personification of my psychological state, when I had no words to express my feelings to myself. The painting began In 35 years of my creation (starting in 1998), you can read more about how my art and style evolved over time. Perez’s flower paintings are a unique and extraordinary artistic creation that reveals his personal journey and his sexual identity. His work is honest, expressive, and emotional, as well as beautiful and vibrant.
The characteristics of the naive painting of the painter Raphael Perez
A full interview with the Israeli painter Raphael Perez (Hebrew name: Rafi Peretz) about the ideas behind the naive painting, resume, personal biography and curriculum vitae Question: Raphael Perez Tell us about your work process as a naive painter? Answer: I choose the most iconic and famous buildings in every city and town that are architecturally interesting and have a special shape and place the iconic buildings on boulevards full of trees, bushes, vegetation, flowers. Question: How do you give depth in your naive paintings? Answer: To give depth to the painting, I build the painting with layers of vegetation, after those low famous buildings, followed by a tall avenue of trees, and behind them towers and skyscrapers, in the sky I sometimes put innocent signs of balloons, kites. A recurring motif in some of my paintings is the figure of the painter who is in the center of the boulevard and paints the entire scene unfolding in front of him, also there are two kindergarten teachers who are walking with the kindergarten children with the state flags that I paint, and loving couples hugging and kissing and family paintings of mother, father and child walking in harmony on the boulevard. Question: Raphael Perez, what characterizes your naive painting? Answer: Most naive paintings have the same characteristics (Definition as it appears in Wikipedia) • Tells a simple story to absorb from everyday life, usually with humans. • The representation of the painter's idealization to reality - the mapping of reality. • Failure to maintain perspective - especially details even in distant details. • Extensive use of repeating patterns - many details. • Warm and bright colors. • Sometimes the emphasis is on outlines. • Most of the characters are flat, lack volume • No interest in texture, expression, correct proportions • No interest in anatomy. • There is not much use of light and shade, the colors create a three-dimensional effect. I find these definitions to be valid for all my naive paintings Question: Raphael Perez, why do you choose the city of Tel Aviv? Answer: I was born in Jerusalem, the capital city which I love very much and also paint, I love the special Bauhaus buildings in Tel Aviv, the ornamental buildings that were built a century ago in the 1920s and 1930s, the beautiful boulevards, towers and modern skyscrapers give you the feeling of the hustle and bustle of a large metropolis and there are quite a few low and tall buildings that are architecturally fascinating in their form the special one Also, the move to Tel Aviv, which is the capital of culture, freedom, and secularism, allowed me to live my life as I chose, to live in a relationship with a man, Jerusalem, which is a traditional city, it is more complicated to live a homosexual life, also, the art world takes place mainly in the city of Tel Aviv, and it is possible that from a professional point of view, this allows I can support myself better in Tel Aviv than in any other city in Israel. Question: Raphael Perez, are the paintings of the city of Tel Aviv different from the paintings of the city of Jerusalem? Answer: Most of the paintings of Jerusalem have an emphasis on the color yellow, gold, the color of the old city walls, the subjects I painted in Jerusalem are mainly a type of idealization of a peaceful life between Jews and Arabs and paintings that deal with the Jewish religious world, a number of paintings depict all shades of the currents of Judaism today In contrast, the Tel Aviv paintings are more colorful, with skyscrapers, the sea, balloons and more secular motifs Question: Raphael Perez, tell me about which buildings and their architects you usually choose in your drawings of cities Answer: My favorite buildings are those that have a special shape that anyone can recognize and are the symbols of the city and you will give several examples: In the city of Tel Aviv, my favorite buildings are: the opera building with its unusual geometric shape, the Yisrotel tower with its special head, the Hail Bo Shalom tower that for years was the symbol of the tallest building in Tel Aviv, the Levin house that looks like a Japanese pagoda, the burgundy-colored Nordeau hotel with the special dome at the end of the building, A pair of Alon towers with the special structure of the sea, Bauhaus buildings typical of Tel Aviv with the special balconies and the special staircase, the Yaakov Agam fountain in Dizengoff square appears in a large part of the paintings, many towers that are in the stock exchange complex, the Aviv towers and other tall buildings on Ayalon, in some of the paintings I took plans An outline of future buildings that need to be built in the city and I drew them even before they were built in reality, In the paintings of Jerusalem, I mainly chose the area of the Old City and East Jerusalem, a painting of the walls of the Old City, the Western Wall, the Church of the Holy Sepulcher, the El Akchea Mosque, the Tower of David, most of the famous churches in the city, the right hand of Moses, in most of the paintings the Jew is wearing a blue shirt with a red male cord I was in the youth movement and the Arab with a galabia, and in the paintings of the religious public then, Jews with black suits and white shirts, tallitas, kippahs, special hats, synagogues and more I also created three paintings of the city of Haifa and one painting of Safed In the Haifa paintings I drew the university, the Technion, the famous Egged Tower, the Sail Tower, well-known hotels, of course the Baha'i Gardens and the Baha'i Temple, Haifa Port and the boats and other famous buildings in the city Question: Raphael Perez, have you created series of other cities from around the world? Answer: I created series of New York City with all the iconic and famous buildings such as: the Guggenheim Museum, the famous skyscrapers - the Chrysler Building, the Empire State Building, Lincoln Center, the famous synagogue in the city, the Statue of Liberty, the flags of the United States and other famous buildings Two paintings of London and all its famous sites, Big Ben, famous monuments, the Ferris wheel, Queen Elizabeth and her family, the double bus, the famous public telephone, palaces, famous churches, well-known monuments I created 4 naive paintings of cities in China, a painting of Shanghai, two paintings of the city of Suzhou and a painting of the World Park in the city of Beijing... I chose the famous skyline of Shanghai with all the famous towers, the famous promenade, temples and old buildings, two Paintings of the city of Suzhou with the famous canals, bridges, special gardens, towers and skyscrapers of the city Question: Raphael Perez What is the general idea that accompanies your paintings Answer: To create a good, beautiful, naive, innocent world in which we will see the innovation of the modern city through the skyscrapers in front of small and low buildings that bring the history and past of each country, all with an abundance of vegetation, boulevards, trees Resume, biography, CV of the painter Rafi Peretz and his family Question: When was Raphael Perez born in hebrew his name rafi peretz? Answer: Raphael Perez in Hebrew his name Rafi Peretz was born on March 4, 1965 Question: Where was Raphael Perez born? Answer: Raphael Perez was born in Jerusalem, Israel Question: What is the full name of Raphael Perez? Answer: His full name is Raphael Perez Question: Which art institution did Raphael Perez graduate from? Answer: Raphael Perez graduated from the Visual Arts Center in Be'er Sheva Question: When did Raphael Perez start painting? Answer: Raphael Perez started painting in 1989 Question: When did you start making a living selling art? Answer: Raphael Perez started making a living selling art in 1999 Question: Where does Raphael Perez live and work? Answer: Since 1995, Raphael Perez has been living and working from his studio in Tel Aviv Question: In which military framework did Raphael Perez serve in the IDF? Answer: Raphael Perez served in the artillery corps Question: Raphael Perez, what jobs did he work after his military service? Answer: Raphael Perez worked for 15 years in education in therapeutic settings for children and taught arts and movement Question: How many brothers and sisters does Raphael Perez, the Israeli painter, have? Answer: There are seven children in total, with the painter 5 sons and two daughters, that means the painter Raphael Perez has 4 more brothers and two sisters Question: What do the brothers and sisters of the painter Raphael Perez do? Answer: The elder brother David Peretz Perez was involved in the field of religious studies, the sister Hana Peretz Perez is involved in the field of education, a kindergarten teacher and child care, the brother Avi Peretz Perez who is in the United States today is a conservative rabbi but in the past was involved in education and therapy, the brother Asher Peretz Perez is involved in the fields of creativity and jewelry The twin brother Mickey Peretz Perez is a well-known industrial designer and seller. The younger sister Shlomit Peretz Perez works in a managerial position at Bezeq. Question: Tell me about the parents of the painter Raphael PerezAnswer: The painter Raphael Perez's parents are Shimon Perez Peretz and Eliza Alice Ben Yair, they were married in 1950 in Jerusalem, both were born in Morocco and immigrated to Israel in 1949, Shimon Peretz worked in a building in his youth and later as a receptionist at the Hadassah Ein Kerem Hospital, Eliza Alice Peretz dealt in child care Kindergarten, working in kindergartens and of course taking care of and raising her seven children
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רפי פרץ צייר אמן ישראלי עכשווי מודרני אמנים ישראלים אומנים
ישראליים עכשוויים מודרניים האמנים הישראלים העכשוויים המודרניים האומנים הישראליים העכשוויים המודרניים יוצר הומו הומוסקסואל קווירי הומוסקסואליות באמנות הישראלית מגדר אומנות ומגדר אמנות ישראלית עכשווית מודרנית האמנות הישראלית העכשווית המודרנית
erotic gay art painting artist raphael perez pintura homossexual da arte de gomoseksual badiiy rasm гомосексуальний художній живопис pittura di arte omosessuale lukisan seni homoseksual listmálun samkynhneigðra péintéireacht ealaíne homaighnéasach pikturë arti homoseksual homoseksuaalne kunstimaal хомосексуална художествена живопис homoseksualno likovno slikarstvo жывапіс гомасэксуальнага мастацтва সমকামী আর্ট পেইন্টিং homoseksuel kunstmaleri homoszexuális művészeti festmény рассоми санъати гомосексуалӣ gomoseksual sungat suratkeşligi homoseksuālas mākslas glezniecība homoseksualaus meno tapyba homoseksuell kunstmaleri homoseksualno likovno slikarstvo
queer artworks paintings homoerotic painter lgbt artwork glbt artworks homo erotica man nude male naked men image images picture pictures homosexual homosexualiy artists painters artist body realism realistic famous
مثلي الجنس الفن الغريبة الأعمال الفنية معرض معرض رجل عارية لوحة رجال عراة صورة الجسم الإسرائيلي فنان رسام مثلى الفنانين الرسامين لوحات واقعية مثلي الجنس الشهير صورة كبيرة
arte homosexual queer obras de arte galería exposición hombre desnudo pintura hombres desnudos retrato cuerpo artista israelí pintor artistas gay pintores pinturas realistas homoerótico famoso imagen grande
гомосексуальное искусство квир произведения искусства галерея выставка мужчина ню живопись голые мужчины портрет тело израильский художник художник геи художники художники реалистичные картины гомоэротика знаменитый большое изображение
ομοφυλοφιλική τέχνη queer artworks γκαλερί έκθεση άντρας γυμνή ζωγραφική γυμνοί άντρες πορτραίτο ισραήλ καλλιτέχνης ζωγράφος γκέι καλλιτέχνες ζωγράφοι ρεαλιστικοί πίνακες ομοιορωτική διάσημη μεγάλη εικόνα
homosexuelle kunst queer kunstwerke galerie ausstellung mann nackt malerei nackte männer porträtkörper israelischer künstler maler schwule künstler maler realistische gemälde homoerotisch berühmtes großes bild
homoseksuele kunst queer kunstwerken galerie tentoonstelling man naakt schilderij naakte mannen portret lichaam Israëlische kunstenaar schilder homo kunstenaars schilders realistische schilderijen homo-erotisch beroemd groot beeld
art homosexuel queer oeuvres d'art galerie exposition homme peinture nue hommes nus portrait corps artiste israélien peintre artistes gais peintres peintures réalistes homoérotique célèbre grande image
homoseksualna sztuka queer dzieła galeria wystawa mężczyzna nago malarstwo nagi mężczyzna portret ciało izraelski artysta malarz homoseksualiści malarze realistyczni obrazy homoerotyk sławny duży obraz
Eşcinsel sanat queer sanat eseri galeri sergi adam çıplak boyama çıplak erkekler portre vücut İsrail sanatçı ressam eşcinsel sanatçılar ressamlar gerçekçi resim sergisi homoerotik ünlü büyük resim
समलैंगिक कला क्वीर कलाकृतियों गैलरी प्रदर्शनी आदमी नग्न पेंटिंग नग्न पुरुषों चित्र शरीर इजरायल कलाकार चित्रकार समलैंगिक कलाकारों चित्रकारों यथार्थवादी चित्रों समलैंगिक प्रसिद्ध बड़ी छवि
homoseksuell konst queer konstverk galleri utställning man nakenmålning nakna män porträtt kropp israelisk konstnär målare gay konstnärer målare realistiska målningar homoerotisk berömd stor bild
The chassis was designed to permit passive steering using a physical link between the axle assemblies. As one axle turns due to the action of the neighbouring vehicle it forces the other axle to turn also.
lm317 style (3amp version) regulator, electrically insulated and thermally connected to the BAHS.
rubidium box is also screwed down to the BAHS.
View from corridor to bedroom. Openings in the walls perforate the facade. Inside opening in the walls become built in-shelving and let the rooms share sunlight. This passive daylighting reduces the need for artificial lighting. Better on the eyes and the environment.
View from corridor to bedroom.
Project: Three Trees
Project Type: Remodel and Addition to a house
Location: Eagle Rock, California.
FirstGroup (Last Passive Ltd - Aircoach) Volvo B11R / Plaxton Panther 3 20904/C4 (141-D-27) on St. Patrick's Quay, Cork 11th April 2014, with a mega-rear for E-flow.
Inserting the sampling probe into the seafloor. Diver Brent Richmond, USEPA, inserts a passive sampler to its target depth in the seafloor to give project managers a picture of any contaminants where seafloor inhabitants might be exposed to them.
Sampling took place this week at the Wyckoff Superfund site in an area that may have unacceptable levels of contamination in the seafloor. The data will be one line of evidence for cleanup managers in deciding if cleanup is necessary. Evaluating cleanup at this site and making sure cleanups are working are one way EPA divers help project managers pitch into the overall Puget Sound cleanup effort!
For even more photos, visit facebook.com/EPADivers
For more information, see: www.epa.gov/region10/pdf/diveteam/wyckoff_superfund_site_... and
Built: 2017-2018. Two buildings, each with 28 flats. Energy efficient buildings with super insulation, primarily heated by radiated solar energy, heat produced by humans, household machinery, domestic electronic equipment and light fittings.
Each roof has 130 sqm solar cells. The localy produced electricity is used for elevators, shared laundry etc. One flat is also shared and is used for meetings, festivities etc.
i made a simple passive pop-free mic mute switch with ground lift and indicator LED, I found almost all parts in the drawer.
+++ DISCLAIMER +++
Nothing you see here is real, even though the conversion or the presented background story might be based historical facts. BEWARE!
Some Background:
The Lockheed F-94 Starfire was a first-generation jet aircraft of the United States Air Force. It was developed from the twin-seat Lockheed T-33 Shooting Star in the late 1940s as an all-weather, day/night interceptor.
The aircraft reached operational service in May 1950 with Air Defense Command, replacing the propeller-driven North American F-82 Twin Mustang in the all-weather interceptor role. The F-94 was the first operational USAF fighter equipped with an afterburner and was the first jet-powered all-weather fighter to enter combat during the Korean War in January 1953.
The initial production model was the F-94A, which entered operational service in May 1950. Its armament consisted of four 0.50 in (12.7 mm) M3 Browning machine guns mounted in the fuselage with the muzzles exiting under the radome. Two 165 US Gallon (1,204 litre) drop tanks, as carried by the F-80 and T-33, were carried on the wingtips. Alternatively, these could be replaced by a pair of 1,000 lb (454 kg) bombs under the wings, giving the aircraft a secondary fighter bomber capability. 109 were produced.
The subsequent F-94B, which entered service in January 1951, was outwardly virtually identical to the F-94A. The Allison J33 turbojet had a number of modifications made, though, which made it a very reliable engine. The pilot was provided with a more roomy cockpit and the canopy was replaced by a canopy with a bow frame in the center between the two crew members, as well as a new Instrument Landing System (ILS). 356 of these were built.
The following F-94C was extensively modified and initially designated F-97, but it was ultimately decided to treat it as a new version of the F-94. USAF interest was lukewarm, since aircraft technology developed at a fast pace in the Fifties, so Lockheed funded development themselves, converting two F-94B airframes to YF-94C prototypes for evaluation.
To improve performance, a completely new, much thinner wing was fitted, along with a swept tail surface. The J33 engine was replaced with a more powerful Pratt & Whitney J48, a license-built version of the afterburning Rolls-Royce Tay, which produced a dry thrust of 6,350 pounds-force (28.2 kN) and approximately 8,750 pounds-force (38.9 kN) with afterburning.
The fire control system was upgraded to the Hughes E-5 with an AN/APG-40 radar in a modified nose with an enlarged radome. The guns were removed and replaced with an all-rocket armament, which was – at that time – regarded as more effective against high-flying, subsonic bomber formations. The internal armament consisted of four flip-up panels in a ring around the nose, each containing six rockets. External pods on the wings augmented the offensive ordnance to 48 projectiles. Operational service began with six squadrons by May 1954.
According to test pilot Tony LeVier, the F-94C was capable of supersonic flight, but Lockheed felt that the straight wing limited the airframe's potential, esp. with the uprated engine. Besides, the earlier F-94 variants already saw the end of their relatively brief operational life, already being replaced in the mid-1950s by the Northrop F-89 Scorpion and North American F-86D Sabre interceptor aircraft in front-line service and relegated to National Guard service. Therefore, Lockheed launched another update program for the F-94 in 1953, again as a private venture.
The resulting F-94E (the F-94D was a proposed fighter bomber variant which made it to prototype staus) was another, evolutionary modification of the basic concept, which, in the meantime, had almost nothing left in common with its F-80/T-33 ancestry.
It was based on the F-94C, most obvious change was the introduction of swept wings for supersonic capability in level flight. This change also necessitated other aerodynamic adjustments, including a new, deeper fin with increased area and a modified landing gear that would better cope with the increased AUW.
Under the hood, the F-94E was constructed around the new Hughes MG-3 fire control system, similar to the early F-102, but kept the AN/APG-40, even though it was coupled with an enlarged antenna. The respective new radome now covered the complete nose cross section. Furthermore, the F-94 E introduced innovations like a Texas Instruments infrared search/tracking system (IRST), which allowed passive tracking of heat emissions, mounted in a canoe fairing under the nose, passive radar warning receivers, transponders as well as backup artificial horizons.
With this improved equipment the interceptor was now able to deploy semi-active radar homing GAR-1s and/or infrared GAR-2s (later re-designated AIM-4A/B Falcon), operating at day and night as well as under harsh weather conditions.
All missiles were carried externally on underwing pylons. Beside the original main wet hardpoints outside the landing gear (typically a pair of 165 US Gallon (1,204 litre) drop tank, that were carried on the wing tips on the former versions), two additional pairs of lighter pylons were added under the wing roots and the outer wings.
Typically, a pair of SARH- and IR-guided AIM-4s were carried, one per pylon, plus a pair of drop tanks. Alternatively, the F-94E could carry up to 4.000 lb (1,816 kg) of ordnance, including up to six streamlined pods, each holding nineteen 2 ¾” in (70 mm) Mk 4/Mk 40 Folding-Fin Aerial Rockets. Any internal armament was deleted.
The F-94E's new wings allowed a top speed of 687mph at sea level and a top speed of 693 mph (1,115 km/h) at height – compared with the F-94C’s 640 mph (556 kn, 1,030 km/h) a rather mild improvement. But the enlarged wing area resulted in a considerably improved rate of climb as well as good maneuverability at height. The F-94E's performance was overall on par with the F-86D, with the benefit of a second crew member, while its weapon capability was comparable with the much bigger (but slower) F-89.
Both of these types were already introduced, so the Air Force's interest was, once more, less than enthusiastic. Eventually the F-94's proven resilience to harsh climate conditions, esp. in the Far North, earned Lockheed in 1955 a production contract for 72 F-94Es for interceptor squadrons based in Alaska, New Foundland, Greenland and Iceland.
These production machines arrived to the Northern theatre of operations in summer 1956 and featured an improved weapon capability: on the wet wing hardpoints, a pair of MB-1 Genie (formerly known as ‘Ding Dong’ missile, later re-coded AIR-2) nuclear unguided rockets could be carried.
For the missile pylons under the wing roots, twin launch rails were introduced so that the F-94E could theoretically carry a total of up to eight AIM-4 missiles, even though the wet pylons were typically occupied with the drop tanks and only two pairs of AIM-4A and B were carried under the wing roots. The J48 engine was slightly uprated, too: the F-94E’s P-9 variant delivered now 6,650 lbf (29.5 kN) dry thrust and 10,640 lbf (47.3 kN) at full afterburner.
Keflavik Airport, Iceland, although controlled by Military Air Transport Service (MATS), was the first base to be equipped with F-94Es as part of the 82d Fighter-Interceptor Squadron in early 1957, where the machines replaced F-94Bs and F-89Cs.
The type was popular among the crews, because it coupled a relatively high agility (compared with the F-89 Scorpion) with the psychological benefit of a two men crew, not to be underestimated during operations in the Far North as well as over open water.
The F-94's career didn't last long, though, the aircraft soon became outdated. The last F-94E was already retired from USAF front-line service in November 1962, only three years after the last F-94C Starfires were phased out of ANG service. Eventually, the fighters were replaced by the F-101, F-102 and the F-106.
General characteristics:
Crew: 2
Length: 44 ft 11 in (13.71 m)
Wingspan: 39 ft 10 in (12.16 m)
Height: 14 ft 6 in (4.43 m)
Wing area: 313.4 sq ft (29.11 m²)
Empty weight: 12,708 lb (5,764 kg)
Loaded weight: 18,300 lb (8,300 kg)
Max. takeoff weight: 24,184 lb (10,970 kg)
Powerplant:
1× Pratt & Whitney J48-P-9 turbojet, rated at 6,650 lbf (29.5 kN) dry thrust
and 10,640 lbf (47.3 kN) at full afterburner.
Performance:
Maximum speed: 693 mph (1,115 km/h) at height and in level flight
Range: 805 mi (700 nmi, 1,300 km) in combat configuration with four AAMs and two drop tanks
Ferry range: 1,275 mi (1,100 nmi, 2,050 km)
Service ceiling: 51,400 ft (15,670 m)
Rate of climb: 12,150 ft/min (61.7 m/s)
Wing loading: 78.6 lb/ft² (384 kg/m²)
Thrust/weight: 0.48
Armament:
Six underwing pylons for a mix of AIM-4 Falcon AAMs (IR- and SARH-guided),
pods with unguided 19× 2.75” (70 mm) Mk 4/Mk 40 Folding-Fin Aerial Rockets,
a pair of 165 gal. drop tanks or a pair of unguided nuclear MB-1 Genie air-to-air missiles
The kit and its assembly:
Another entry for the Cold War GB at whatifmodelers.com. This build was originally inspired by profiles of a P-80/F-86 hybrid, and respective kitbashings from other modelers. An elegant, though fictional, aircraft! Nevertheless, I wanted to build one, too, and take the original idea a step further. So I chose the F-94 as an ingredient for the kit mix – a rather overlooked aircraft, and getting hands on a donation kit took some time, since there are not many options.
I wanted to use the F-94C as starting point, which is already considerably different from the F-80/T-33. Adding swept wings (from a Hobby Boss F-86F, with larger “6-3” wings) changed this look even more. So much that I decided to modify the fin, which did not look appropriate anymore.
The fin and the spine’s rear end was replaced with the fin of a Kangnam/Revell Yak-38. In order to unify shapes and make the donation less obvious, the Yak-38 fin’s characteristic, pointed tip was clipped and replaced by a more conventional design, scratched from a piece of 1.5mm styrene sheet. In the wake of this modification, the round elevator tips were clipped, too.
Using the F-94’s landing gear wells as benchmarks, the F-86 wings (which had to be cut off of the Hobby Boss kit’s integral, lower fuselage part) were sanded into shape and simply glued into a proper position.
This worked so well that a completely new and plausible main landing gear installation was created. As a consequence, I used the F-86’s landing gear struts - they are much better detailed than the Emhar F-94C’s parts. The front wheel strut (it’s a single piece) was transplanted too, even though the suspension was switched 180°.
The Emhar F-94C’s cockpit is pretty good (esp. the seats) and were taken OOB. I just covered some gaps in the cockpit walls and under the windscreen with paper tissue, soaked with white glue.
The nose was replaced by a bigger radome, taken from an Armstrong Whitworth Meteor NF.14 (Matchbox kit). Its diameter and shape fit almost perfectly onto the F-94C’s front end, and the result reminds a lot of the EF-94C photo reconnaissance test aircraft! Under the nose, a shallow fairing for the IR sensor was added, and all four air brakes were mounted in open position.
The underwing pylons come from the scrap box (one pair from an Airfix A-1 Skyraider, another from an ESCI Kamow Ka-34 ‘Hokum’ which also provide the launch rails for the ordnance). The drop tanks come probably from an Italeri F-16 (not certain) while the four AIM-4s come from a Hasegawa USAF air-to-air weapons set.
Painting and markings:
This was supposed to become a classic USAF aircraft of the late Fifties, since the F-94 had never been exported. I was actually tempted to add Red Stars, though, because the overall shape has a certain Soviet look to it - esp. the nose, which reminds a lot of the contemporary Yak-25 interceptor?
But the original USAF idea won, with an all-metal finish. In order to brighten things up I chose a squadron that served with the Northeast or Alaskan Air Command, which added orange-red high-viz markings to wings and fuselage.
The NMF sections were primed with a base coat of Revell’s acrylic Aluminum. On top of that, single panels and details were painted with Alu Plate and Steel Metallizer from Modelmaster.
The International Orange markings were created with Humbrol 132, slightly shaded with orange (Humbrol 18).
Part of the nose section and the spine were painted in ADC Grey (FS 16473, Modelmaster), just for some diversity. Cockpit interior and landing gear wells received a coat of US Cockpit Green (Humbrol 226), while the interior of the air brakes was painted in Zinc Primer (Humbrol 81), according to pictures of operational F-94s.
The landing gear struts and the inside of their covers became Aluminum (Humbrol 56). The anti glare panel in front of the cockpit was done with dark olive drab (Humbrol 66), the radome flat black and weathered with wet-in-wet streaks of sand brown.
Operational F-94s show serious weathering on their di-electric noses, so this detail was taken over to the kit. Other weathering with paint, beyond a basic black ink wash and some shading on the orange areas, was not done.
The drop tanks were painted with Steel Metallizer, for a different metallic shade from the fuselage, and the AIM-4’s received a typical outfit in white and bright red with different seeker heads.
Primary decals come from a Heller F-94B kit, which have the benefit of a silver background – even though this does not match 100% with the paint. Squadron markings come from an Xtradecal F-102 sheet, tailored to the kit. Most stencils come from the Emhar OOB sheet, plus some more from the aforementioned F-102 sheet.
After some soot stains around the exhaust were added with graphite, the kit was sealed under a coat of semi-glossy acrylic varnish. The anti glare panel and the radome were kept matt, though.
A pretty result. Mixing parts from a Shooting Star and a Sabre (a Shooting Sabre, perhaps?) results in a very elegant aircraft. And while the F-94 lost much of its original, elegant appeal, the combo still works with this later interceptor variant of the F-80. Very plausible, IMHO.
The weekend of the sailboat cruisers festival in Puerto Escondido, a group of local high school age dancers came out to entertain with a few different performances. After two costum changes, I decided to photograph Juan-Carlos and Leilani because of the passive-agressive dynamic notable between the two as they danced. Puerto Escondido, Baja California Sur, MEXICO
Ducati is best known for high performance motorcycles characterized by large capacity four-stroke, L-twin (90° twin-cylinder)[11] engines featuring a desmodromic valve design.[12] Modern Ducatis remain among the dominant performance motorcycles available today partly because of the desmodromic valve design, which is nearing its 50th year of use. Desmodromic valves are closed with a separate, dedicated cam lobe and lifter instead of the conventional valve springs used in most internal combustion engines in consumer vehicles. This allows the cams to have a more radical profile, thus opening and closing the valves more quickly without the risk of valve-float, which causes a loss of power, that is likely when using a "passive" closing mechanism under the same conditions.
While most other manufacturers utilize wet clutches (with the spinning parts bathed in oil)[13] Ducati uses multiplate dry clutches in many of their current motorcycles. The dry clutch eliminates the power loss from oil viscosity drag on the engine even though the engagement may not be as smooth as the oil bath versions, and the clutch plates can wear more rapidly.
Ducati also extensively uses the Trellis Steel Frame configuration, although Ducati's MotoGP project broke with this tradition by introducing a revolutionary carbon fibre frame for the Ducati Desmosedici GP9.
LA MUSICA di Charles Baudelaire
Spesso la musica m'afferra come
un mare! Verso la mia stella pallida,
sotto una volta di bruma o in un cielo
spazioso, io dispiego la mia vela;
col petto in fuori ed i polmoni gonfi
come fossero tela, scalo il dorso
dei flutti accavallati che la notte
mi nasconde; sento vibrare in me
le passioni d'un vascello che soffre;
venti propizi, convulse tempeste,
mi cullano sul baratro infinito,
ed altre volte, invece, la bonaccia,
immenso specchio del mio disperare!
Gateway Camp Verse
(Pin1) Ging1 Mahn4
Isaiah 62:10
What Dale instructed about going out of our way to treat the Mainland Chinese well resonated within me. To be sure, just as the Koreans have gone out of their way to bless me so I must step out to bless and to love my Mainland brethren.
After the first meeting, Ed and I wandered off campus and found inside a shopping mall a cha chaan teng where we had a late-night snack. And hardly had we tucked into our meals when in walked several dozen volunteers, all locals, who were overcome, it seemed, by the same munchies that infected Ed and me. It’s surprising how such a primal urge, at such a time, drives everyone to no less than the same, impossibly far location.
I thus far have met so many people that, had I not brought along my iPod, I would have already lost track of the multitudinous names flying around like fireflies at night, sparkling luminously one moment and then disappearing the next. And this is only the beginning: more and more people will arrive both today and tomorrow so I had better stay awake, alert, and writing.
I am working with a partner who really challenges me, and indeed that is why I chose to work with him. From the first words that came streaming out of his mouth, I knew he would be a special one, and as if to conifrm my conjecture, indeed, the more he spoke, the more confused I became. The challenge, I have realized after much ruminating, isn’t so much the pace of his speech as his choice of words, which fall outside a normal lexical range; that is, at least with me, when he talks, he doesn’t use familiar collocations to communicate; besides, he has an uncanny Tin Shui Wai accent; those, along with his amazing resistance to Chinglish, which impresses me, by the way, have made our communication tedious, since I am bombarded by peculiar lexical constructions that I generally never encounter in Cantonese conversation and must therefore stop our flow to clarify his speech. It’s too bad that he doesn’t speak English as I would love to hear how he structures ideas in my native language to determine whether or not this strange lexis has spilled over into his other modes of communication.
Regardless, in being with him, I have learned to be patient, and if I am truly to walk away from resentment, I must continue rather to engage him than to keep him at arm’s length. It helps us, then, that he is a congenial fellow, prone more to expressing love, much in the same way that I do by warmly grabbing a forearm or a shoulder, than to venting his frustration, which with me could certainly be great. He is verily a good guy, and so long as the Lord keeps him — I am sure Daddy will — Tin Shui Wai, that small patch of concrete moon colony, is in capable, faithful human hands.
Sau2 muhn6 je2
Mihng6 dihng6
Kyuhn4 lihk6
Lihk6 leuhng6
Chong3 yi3 adjective
Chong3 jouh6 verb
Romans 5:3-5
Not only so, but we rejoice in our sufferings, because we know that suffering produces perseverance; perseverance, character; and character, hope. And hope does not disappoint us, because God has poured out his love into our hearts by the Holy Spirit, whom He has given us.
I cried this morning when I read these words, because they are true, and comfort my soul as water to a dry, parched land. However many times I’ve lamented this place and its people, I am still inextricably tied to this rock, per God’s will for my life; and God really is faithful in providing a way out not from this place but from these spiritual hindrances. These past few days, what with communication failures and fatigue setting in, I could have more easily give into my rationality, in defense of my weaknesses, than resisted this bait of satan. Thank God, hence, for the words which are like fuel for the refiner’s fire that burns up all my expectations, my pride and my flesh. I can survive, nay, rejoice, indeed, because of God, who, in me, day by day teaches me to suffer long with a smile.
This is what the gateway is all about, I believe: jumping head-first out of my comfort zone to confront the nations, for my brothers and sisters and I must face each other if we are to raise the banners together. Battling through enemy strongholds of mistrust ad resentment, we demolish carnal thoughts and dig deep in the Spirit for the unity that shall overcome as much language as culture; God, after all, is bigger, even, than the battlefield. In these ways can my brethren and I love each other as ourselves, as we shall be one in the Father, with audacious power and boldness laying hands on His kingdom which advances, in this kairos moment, over all of China, including, no doubt, Hong Kong. No longer will there be curses thrown upon the nations; but rather the river of life will flow through the city, and the leaves of the tree on each side of the river will be for the healing of the nations.
1) Welcoming the Father
2) Unifying the body
3) Partnering with the Chinese
4) Serving the city
5) Supporting the Chinese
Isaac and I have worked quite hard this morning, putting up signs all over campus, and as if to reward me for my assiduity, he offered to buy me a drink, an offer which I took up. Indeed, this man’s care and concern for others, genuine, doubtlessly, fills me with joy, for, to be sure, the joy of the lord is his strength. My friend is indefatigable, always encouraging and never slighting, no matter the circumstances, rain (that has happened a lot today) or shine. Praise God!
Much like my relationship with Isaac, my relationships with my other team members have improved considerably since, even, this morning’s briefing during which, the code-switching, happening too fast and too furiously for my comfort, vexed me so terribly that if Isaac had not put a generous arm around my shoulder immediately afterwards, I surely would have blown my top in frustration at the perplexing language option. Thankfully, my team and I settled our language arrangements: Isaac, Dorcas and I will intractably speak Cantonese to each other whereas my other group mates and I will use English with as little code-switching as possible; and I, along with Ed, no doubt, am satisfied. It’s best to avoid misunderstandings.
Lihng4 Mahn4 (soul)
Sihng4 jeung2
Muhng6 Seung2 (dreams)
The Lord’s mercies are new everyday. Just now, during the morning rally, by His Spirit, hundreds of brothers and sisters received a new anointing, to be spiritual mothers and fathers of a new generation so as to minister to the next. This outpouring of the Spirit was sudden, and so captivated me that when the call came to reap, I rushed to the front to ask my father for this anointing, and naturally, my life was transformed. In the same way, the pastor called up a new generation of spiritual children to receive the love, care and support of these new parents; and likewise, so many young men and women heeded this call that verily, the pit in front of the stage was soon awash in hugs and tears between generations that, once lost, were now found. Indeed, no sooner did these people embrace their father than Dad immediately swept them up in his strong arms and showered them with audacious encouragement and support. Praise God!
An Outburst
I was angry this morning during our team time. I temporarily lost my ability to be merciful and to live in God’s grace. When my team leader began to address me in English, yet again, I couldn’t help but berate him for doing so when Cantonese, I argued, would be a more economical medium of delivery. And then I compounded this already incendiary situation by ranting about the hypocrisy of Hong Kong being a gateway to China but not a gateway into its own neighborhoods teeming with Chinese people, 97% of whom, according to one of the pastors at this camp, do not know the Lord Jesus. Cantonese will matter, I posit, if anyone dares to take on the onerous mission in this vexing place.
To be sure, even my brother announced that language was a prohibitive barrier to closer relationships with these local people, and therefore, since he neither speaks Cantonese nor is going to give learning the language a go, he is relegated to the outer walls of the gates into Hong Kong.
In hindsight, I thought I cared enough about God’s purposes for me in Hong Kong, but I realize now that I still care a lot about myself, and resentment. Though I have prayed and declared boldly that God is bigger than language and culture, I know I don’t believe it; and that’s upsetting. For the time being, I don’t verily believe in my heart that I can have deeper, closer relationships with Chinese people without the benefit of language and culture, patterns of action.
OK. This is actually an opportune start for my spiritual parentship, for now I have an opportunity to put aside my very compelling arguments for the necessity of language and culture in deep and close relationships, these conclusions born out of my reason, and to step out in faith, to trust in the Lord who, I pray, will show me deep and close relationships sans language and culture, and with whom my deep and close relationship shall obviously be the key to this victory.
I’m thinking about events at this camp that heretofore demonstrated loving relationships without language and culture, and I recalled two acts: the first happened yesterday when I spontaneously joined a line of ushers to high-five and to cheer the audience as they flooded out of the auditorium, the morning rally having scarcely finished; and the second, this was my meeting Yao, a man from the Ivory Coast, whom I befriended in those first, fleeting, if not frantic moments before the opening rally on Friday evening. That encounter was immediate and sudden, neither words nor habits needed; Yao and I simply high-fived, hugged and sat beside each other; and wow, that was terrific companionship — praise God!
Finally, however hard my diatribe may have struck my team members’ hearts, my merciful group mates still forgave me, not only on an personal level, but also, as I had sought forgiveness on behalf of all foreigners who have ever cursed locals or stood passively outside the gateway, on a corporate level, thereby releasing countless non-Chinese people into the freedom of these Hong Kong people’s forgiveness; just as brothers and sisters had so recently been reconciled to each other in my church, so local and non-local people have received the others’ freedom of forgiveness; more than a homecoming, that, indeed, is a breakthrough.
In listening to this morning’s sermon, I hear such verses as I know God is speaking to me through His word. 2Corinthians 4:16-18, this scripture in particular carries a buoyant, hopeful currency in my heart. My spirit soaks in this divine revelation as a sponge soaks in water and thus becomes malleable, able to be formed and shaped according to its holder’s will: Therefore we do not lose heart. Though outwardly we are wasting away, yet inwardly we are being renewed day by day. For our light and momentary troubles are achieving for us an eternal glory that far outweighs them all. So we fix our eyes not on what is seen, but on what is unseen. For what is seen is temporary, but what is unseen is eternal.
Disagreeable
I don’t know why my brother and I undermine each others’ comments; why we no more know consensus than the deaf music. Our interactions have been especially abrasive recently since we have spent so much time together without the benefit of our other brother to act as a natural, vociferous buffer; and as a result we argue like pieces of sand paper being rubbed against flesh, which inevitably leads to significant soreness. I feel sore now.
I think back to my outburst this morning and can appreciate my role in this evening’s embarrassing outcome; I am certainly not without fault, for I choose these days not only to venture my opinions but to do so passionately, if not emotionally. People consequently who otherwise are phlegmatic at best are put in a discomfiting position by my impassioned pleas. Besides, I recall Interrupting my brother prolifically, which understandably would not make him a happy camper; just as a hyperactive child doesn’t know when to stop pestering his sibling, so I don’t know nowadays when to hold my tongue. Indeed, I would rather not respond at all to my brother, even after he has fired off his rejoinder, than to strike him down in mid-speech.
In view of this latest incident, I have resolved to take the former course of action. To be sure, I simply stopped our petty dispute about a stupid basketball game by, awkward as it was, taking out my book and perusing it as fixedly as my tattered mind would allow. I will try my best to stay away from my brother for a spell, to create physical and spiritual space between us, so hopefully, in this way at least one of us will be able to come to his senses about this matter; better yet, now would be an opportune time for our father in his mercy to reveal to us the fault lines in our flesh so that we could surrender these tremulous spots in our soul, crucifying them to the father for our healing and the redemption of our relationship. I will pray about this.
…Praise God. If I had not separated myself from my brother’s presence, I wouldn’t have been sitting at that bench at the exact moment when Isaac came over to me in a plaintive mood. Obviously upset, he had been so recently wronged, he lamented on the verge of tears. And at that, mercy swept over my countenance, for my brother felt as aggrieved as I did earlier; and this appointment, per God’s unfailing, obstinate love, had at last come for me, convicting me to be very, very agreeable, sympathetic and kind to my fellow long-suffering brother. In this instance, thank God, language did not matter so much as empathy, carrying each others’ burdens and thus fulfilling the rule of Christ. We prayed and blessed each other in Jesus’ name, and then boldly went forward into the rally.
I suspect the enemy has infiltrated our team what with my outbursts and Isaac’s failing out as evidence. My group mates and I must be more vigilant in prayer and in digging deep into the Father’s word if we are to overcome the spies in our camp that have planted incendiary devices in our mouths and in our hearts. We certainly need such encouragement as the Lord provides for the edification and encouragement of each other, even more so, in fact, in the face of adversity, despite our fatigue and other physical ills that befall us like a hail of arrows. In faith, I’m sure, faith will see us through; and per what the pastors exhorted at the rally, we will become as if the smooth stone in David’s sling, ready to fly into the air to crush the Goliath in this world.
Sihng4 jauh6 achievement
Ngwuih misunderstanding
Nggaai2 to misunderstand
Yuhn4 leuhng6 forgive
Gaan2syun2 chosen
The Security Guard
At the morning rally, a security guard left an indelible impression on my heart what with her showing of unconditional support and her proffering of words of encouragement, which like a waterfall fell in force and power over my friends and me. To my amazement, I first saw her out of the corner of my eye stepping out of her role as a security guard to pray as a spiritual parent to two spiritual children during the morning rally’s prayer time; there she was, clad in her blue uniform, laying hands on those weeping kids; finally, I had witnessed someone courageous enough to step out of that rule of law, her boundary in Hong Kong, to be bound to that which is ethereal, the rule of Christ to carry each others’ burdens. Later, as the audience passed through the exit, I had time to confirm her love for the Lord and at that, we broke into a torrent of encouragement and followed this with a flurry of picture-taking. Indeed, never have I stumbled upon such good will from a dragon security guard in HK so I am hopeful, therefore, that this is but the the start of a greater movement within that particular demon-worshipping core, that at this time, God is opening up the heavenly armory and placing his prayer warriors inside that particular stronghold in Hong Kong to demolish every pretension that sets itself up against the knowledge of God and placing in its stead a profusion of love, gentleness and kindness. I look forward to the day when wisdom, and not languid stares, shall emanate from all the people who man the facilities in these universities.
Reconciliation
This is special. No sooner had Isaac and I stepped into the auditorium than we heard the plaintive cry of the mainland Chinese on the stage forgiving the Hong Kong people for their trespasses against their brethren from the north. A flurry of hugs, replete with a few tears, ensued. That was, as Dale announced from the stage, a delicious moment. Jesus must have been breaking out the good champagne in heaven for a rousing celebration in view of this victory.
Sex Talk – Part One
The kids finally received the sex talk this morning; a fiery pastor delivered the message which was as much shocking as informative; and gasps and wincing abounded in the audience.
While I have recently heard the sex talk at the men’s retreat, and have furthermore by God’s grace been inoculated against this particular area of struggle, it was nonetheless refreshing to hear the news, as shocking and as sensational as it was. I am willing, in addition, to believe that some of the atrocious acts that the pastor referenced, such as gruesome abortions and bizarre sexual acts, are more prevalent than my reason will believe, because my scope is limited by experience, but as the Father witnesses everything, if the Spirit has convicted this man and has told him that the world is heading closer and closer into the mouth of Jezebel in this way, I accept this. In fact, believing this is important if I am to be a good spiritual parent who will not only protect but educate the new generation from the prowling enemy that lurks these days, even, in our computers.
Prayer
The Holy Spirit fell over me this morning during my group’s team time. He convicted me to pray in Cantonese for the first time, and so I did without fear, those Chinese words pouring out of me as if perfume from an alabaster jar. Praise God: he is good; and this was the moment I have been waiting for.
I think about what happened, and am amazed at the Father’s favor; despite my critiques against this culture, and in spite of my recent lamentations, the Lord, ever faithfully, provided a way out under which I could stand and by which I could be protected from the bait of Satan. Little did I know that the escape route would, in fact, ironically, direct me to the very thing that heretofore has stood as an obstruction, a spiritual roadblock, in my mind.
A missionary on the stage just spoke into my life when she said about her experience learning Putonghua in China: the difficult part was not learning the language but learning to love those people as Jesus loves them. This will always be my mission, no matter where I am.
Keuhng4 jong3
Lai1 hei2 (pull up)
In the afternoon, my team had a reconciliation meeting during which, in small groups, each team member at last was given an opportunity to share alternately their joys and struggles. At that time, though having staved off an open rebuke for several days, I could no longer hold back this challenge to my small group: to step out in faith to be a gateway to the nations; and second, per the morning’s message, to on their guard against the sexually explicit, insidious media. I laid out my argument with much cogency, and such a response as I saw fit knocked my group mates into a stupor, because they certainly didn’t have much to say afterwards.
Oscillate between…and…
Vacillate…
Equivocated
Prevaricate
Sex Talk – Part Two
1) Jesus came to show us the Father; John1:18
2) Grace First, Truth Second; John 1:24:25; 16-18
Pahn4 mohng6 (hope)
Do you believe that Jesus can heal you? Then lay hands.
Dale and I are men who have shared similar struggles. His testimony is riveting.
Suddenly, I realized that this rally is, in fact, a continuation of yesterday morning’s sex talk, because we ended the previous rally praying more against the shame of abortion than against personal sexual immorality. Notionally, what is being discussed will enable people to really experience the love of the Father such that to change permanently our behavior. So when we are tempted:
1) Call for help; Romans 10:13
2) Escape Plan; 1Corinthians 10:13
Remember not to stand and rebuke the enemy with your own strength; move physically from the situation.
3) Run Away; 2Timothy 2:22
4) Into the Father’s Arms; Hebrews 4:14
I like this talk. This might be the first time that these young people get straight sex talk from their leaders; and there is no better time than now for these young people to break through in this particular area of struggle, just as the young men of SP broke through these obstinate barriers during our men’s retreat.
5) Confess and be Healed; James 5:16
I hope these young people find faithful accountability brothers and sisters in this service.
6) Walk in Transparent Accountable Relationships; 1John 1:7
7) Resist the Enemy; James 4:7
With an estimated 19 percent of the world’s energy resources going to heating, ventilating and cooling buildings, integrating solar chimneys into new builds and retrofitting to existing structures offers great potential for reducing this massive environmental cost.
The ventilation system of a regular earthship.
Dogtrot houses are designed to maximise natural ventilation.
Passive ventilation is the process of supplying air to and removing air from an indoor space without using mechanical systems. It refers to the flow of external air to an indoor space as a result of pressure differences arising from natural forces. There are two types of natural ventilation occurring in buildings: wind driven ventilation and buoyancy-driven ventilation. Wind driven ventilation arises from the different pressures created by wind around a building or structure, and openings being formed on the perimeter which then permit flow through the building. Buoyancy-driven ventilation occurs as a result of the directional buoyancy force that results from temperature differences between the interior and exterior.[1] Since the internal heat gains which create temperature differences between the interior and exterior are created by natural processes, including the heat from people, and wind effects are variable, naturally ventilated buildings are sometimes called "breathing buildings".
The static pressure of air is the pressure in a free-flowing air stream and is depicted by isobars in weather maps. Differences in static pressure arise from global and microclimate thermal phenomena and create the air flow we call wind.
The impact of wind on a building affects the ventilation and infiltration rates through it and the associated heat losses or heat gains. Wind speed increases with height and is lower towards the ground due to frictional drag.
The impact of wind on the building form creates areas of positive pressure on the windward side of a building and negative pressure on the leeward and sides of the building. Thus, the building shape and local wind patterns are crucial in creating the wind pressures that will drive air flow through its apertures. In practical terms wind pressure will vary considerably creating complex air flows and turbulence by its interaction with elements of the natural environment (trees, hills) and urban context (buildings, structures). Vernacular and traditional buildings in different climatic regions rely heavily upon natural ventilation for maintaining thermal comfort conditions in the enclosed spaces.[citation needed]
Design[edit]
Design guidelines are offered in building regulations and other related literature and include a variety of recommendations on many specific areas such as:
Building location and orientation
Building form and dimensions
Indoor partitions and layout
Window typologies, operation, location, and shapes
Other aperture types (doors, chimneys)
Construction methods and detailing (infiltration)
External elements (walls, screens)
Urban planning conditions
The following design guidelines are selected from the Whole Building Design Guide, a program of the National Institute of Building Sciences:[3]
Maximize wind-induced ventilation by siting the ridge of a building perpendicular to the summer winds
Widths of naturally ventilated zone should be narrow (max 13.7 m [45 feet])
Each room should have two separate supply and exhaust openings. Locate exhaust high above inlet to maximize stack effect. Orient windows across the room and offset from each other to maximize mixing within the room while minimizing the obstructions to airflow within the room.
Window openings should be operable by the occupants
Consider the use of clerestories or vented skylights.
Wind driven ventilation[edit]
Wind driven ventilation can be classified as cross ventilation and single-sided ventilation. Wind driven ventilation depends on wind behavior, on the interactions with the building envelope and on openings or other air exchange devices such as inlets or windcatchers.
For rooms with single opening, the calculation of ventilation rate is more complicated than cross-ventilation due to the bi-directional flow and strong turbulent effect. The ventilation rate for single-sided ventilation can be accurately predicted by combining different models for mean flow, pulsating flow and eddy penetration.[5]
The mean flow rate for single-sided ventilation is determined by
Q
¯
=
C
d
l
C
p
∫
z
0
h
−
2
Δ
P
(
z
)
ρ
d
z
z
r
e
f
1
/
7
U
¯
{\bar {Q}}={\frac {C_{{d}}\;l\;{\sqrt {Cp}}\;\int \limits _{{z_{{0}}}}^{h}{\sqrt {-{\frac {2\;\Delta \;P(z)}{\rho }}}}\,{\mathrm {d}}z}{z_{{ref}}^{{1/7}}}}\;{\bar {U}}
where
l = width of the window;
h = elevation of the top edge of the window;
z0 = elevation of neural level (where inside and outside pressure balance);
zref = reference elevation where the wind velocity is measured (at 10 m) and
U
¯
{\bar {U}} = mean wind velocity at the reference elevation.
The knowledge of the urban climatology i.e. the wind around the buildings is crucial when evaluating the air quality and thermal comfort inside buildings as air and heat exchange depends on the wind pressure on facades. As we can see in the equation (1), the air exchange depends linearly on the wind speed in the urban place where the architectural project will be built. CFD (Computational Fluid Dynamics) tools and zonal modelings are usually used to design naturally ventilated buildings. Windcatchers are able to aid wind driven ventilation by directing air in and out of buildings.
Some of the important limitations of wind driven ventilation:
Unpredictability and difficulties in harnessing due to speed and direction variations
The quality of air it introduces in buildings may be polluted for example due to proximity to an urban or industrial area
May create a strong draught, discomfort.
Buoyancy-driven ventilation[edit]
(For more details on displacement buoyancy-driven ventilation (rather than mixing type buoyancy-driven ventilation), see Stack effect)
Buoyancy driven ventilation arise due to differences in density of interior and exterior air, which in large part arises from differences in temperature. When there is a temperature difference between two adjoining volumes of air the warmer air will have lower density and be more buoyant thus will rise above the cold air creating an upward air stream. Forced upflow buoyancy driven ventilation in a building takes place in a traditional fireplace. Passive stack ventilators are common in most bathrooms and other type of spaces without direct access to the outdoors.
In order for a building to be ventilated adequately via buoyancy driven ventilation, the inside and outside temperatures must be different. When the interior is warmer than the exterior, indoor air rises and escapes the building at higher apertures. If there are lower apertures then colder, denser air from the exterior enters the building through them, thereby creating upflow displacement ventilation. However, if there are no lower apertures present, then both in- and out-flow will occur through the high level opening. This is called mixing ventilation. This latter strategy still results in fresh air reaching to low level, since although the incoming cold air will mix with the interior air, it will always be more dense than the bulk interior air and hence fall to the floor. Buoyancy-driven ventilation increases with greater temperature difference, and increased height between the higher and lower apertures in the case of displacement ventilation. When both high and low level openings are present, the neutral plane in a building occurs at the location between the high and low openings at which the internal pressure will be the same as the external pressure (in the absence of wind). Above the neutral plane, the internal air pressure will be positive and air will flow out of any intermediate level apertures created. Below the neutral plane the internal air pressure will be negative and external air will be drawn into the space through any intermediate level apertures. Buoyancy-driven ventilation has several significant benefits: {See Linden, P Annu Rev Fluid Mech, 1999}
Does not rely on wind: can take place on still, hot summer days when it is most needed.
Stable air flow (compared to wind)
Greater control in choosing areas of air intake
Sustainable method
Limitations of buoyancy-driven ventilation:
Lower magnitude compared to wind ventilation on the windiest days
Relies on temperature differences (inside/outside)
Design restrictions (height, location of apertures) and may incur extra costs (ventilator stacks, taller spaces)
The quality of air it introduces in buildings may be polluted for example due to proximity to an urban or industrial area (although this can also be a factor in wind-driven ventilation)
Natural ventilation in buildings can rely mostly on wind pressure differences in windy conditions, but buoyancy effects can a) augment this type of ventilation and b) ensure air flow rates during still days. Buoyancy-driven ventilation can be implemented in ways that air inflow in the building does not rely solely on wind direction. In this respect, it may provide improved air quality in some types of polluted environments such as cities. For example, air can be drawn through the backside or courtyards of buildings avoiding the direct pollution and noise of the street facade. Wind can augment the buoyancy effect, but can also reduce its effect depending on its speed, direction and the design of air inlets and outlets. Therefore, prevailing winds must be taken into account when designing for stack effect ventilation.
Assessing performance[edit]
One way to measure the performance of a naturally ventilated space is to measure the air changes per hour in an interior space. In order for ventilation to be effective, there must be exchange between outdoor air and room air. A common method for measuring ventilation effectiveness is to use a tracer gas.[6] The first step is to close all windows, doors, and openings in the space. Then a tracer gas is added to the air. The reference, American Society for Testing and Materials (ASTM) Standard E741: Standard Test Method for Determining Air Change in a Single Zone by Means of a Tracer Gas Dilution, describes which tracer gases can be used for this kind of testing and provides information about the chemical properties, health impacts, and ease of detection.[7] Once the tracer gas has been added, mixing fans can be used to distribute the tracer gas as uniformly as possible throughout the space. To do a decay test, the concentration of the tracer gas is first measured when the concentration of the tracer gas is constant. Windows and doors are then opened and the concentration of the tracer gas in the space is measured at regular time intervals to determine the decay rate of the tracer gas. The airflow can be deduced by looking at the change in concentration of the tracer gas over time. For further details on this test method, refer to ASTM Standard E741.[7]
While natural ventilation eliminates electrical energy consumed by fans, overall energy consumption of natural ventilation systems is often higher than that of modern mechanical ventilation systems featuring heat recovery. Typical modern mechanical ventilation systems use as little as 2000 J/m3 for fan operation, and in cold weather they can recover much more energy than this in the form of heat transferred from waste exhaust air to fresh supply air using recuperators.
Ventilation heat loss can be calculated as: theta=Cp*rho*dT*(1-eta).
Where:
Theta is ventilation heat loss in W
Cp is specific heat capacity of air (~1000 J/(kg*K))
Rho is air density (~1.2 kg/m3)
dT is the temperature difference between inside and outside air in °K or °C
Eta is the heat recovery efficiency - (typically around 0.8 with heat recovery and 0 if no heat recovery device is used).
The temperature differential needed between indoor and outdoor air for mechanical ventilation with heat recovery to outperform natural ventilation in terms of overall energy efficiency can therefore be calculated as:
dT=SFP/(Cp*Rho*(1-eta))
Where:
SFP is specific fan power in Pa, J/m^3, or W/(m^3/s)
Under typical comfort ventilation conditions with a heat recovery efficiency of 80% and a SFP of 2000 J/m3 we get:
dT=2000/(1000*1.2*(1-0.8))=8.33 K
In climates where the mean absolute difference between inside and outside temperatures exceeds ~10K the energy conservation argument for choosing natural over mechanical ventilation might therefore be questioned. It should however be noted that heating energy might be cheaper and more environmentally friendly than electricity. This is especially the case in areas where district heating is available.
To develop natural ventilation systems with heat recovery two inherent challenges must first be solved:
Providing efficient heat recovery at very low driving pressures.
Physically or thermally connecting supply and exhaust air streams. (Stack ventilation typically relies on supply and exhaust being placed low and high respectively, while wind driven natural ventilation normally relies on openings being placed on opposing sides of a building for efficient cross ventilation.)
Research aiming at the development of natural ventilation systems featuring heat recovery have been made as early as 1993 where Shultz et al.[8] proposed and tested a chimney type design relying on stack effect while recovering heat using a large counterflow recuperator constructed from corrugated galvanized iron. Both supply and exhaust happened through an unconditioned attic space, with exhaust air being extracted at ceiling height and air being supplied at floor level through a vertical duct.
The device was found to provide sufficient ventilation air flow for a single family home and heat recovery with an efficiency around 40%. The device was however found to be too large and heavy to be practical, and the heat recovery efficiency too low to be competitive with mechanical systems of the time.[8]
Later attempts have primarily focused on wind as the main driving force due to its higher pressure potential. This however introduces an issue of there being large fluctuations in driving pressure.
With the use of wind towers placed on the roof of ventilated spaces, supply and exhaust can be placed close to each other on opposing sides of the small towers.[9] These systems often feature finned heat pipes although this limits the theoretical maximum heat recovery efficiency.[10]
Liquid coupled run around loops have also been tested to achieve indirect thermal connection between exhaust and supply air. While these tests have been somewhat successful, liquid coupling introduces mechanical pumps that consume energy to circulate the working fluid.[11][12]
While some commercially available solutions have been available for years,[13][14] the claimed performance by manufacturers has yet to be verified by independent scientific studies. This might explain the apparent lack of market impact of these commercially available products claiming to deliver natural ventilation and high heat recovery efficiencies.
A radically new approach to natural ventilation with heat recovery is currently being developed at Aarhus University, where heat exchange tubes are integrated into structural concrete slabs between building floors.[15]
While some commercially available solutions have been available for years,[13][14] the claimed performance by manufacturers has yet to be verified by independent scientific studies. This might explain the apparent lack of market impact of these commercially available products claiming to deliver natural ventilation and high heat recovery efficiencies.
Standards[edit]
For standards relating to ventilation rates, in the United States refer to ASHRAE Standard 62.1-2010: Ventilation for Acceptable Indoor Air Quality.[16] These requirements are for "all spaces intended for human occupancy except those within single-family houses, multifamily structures of three stories or fewer above grade, vehicles, and aircraft."[16] In the revision to the standard in 2010, Section 6.4 was modified to specify that most buildings designed to have systems to naturally condition spaces must also "include a mechanical ventilation system designed to meet the Ventilation Rate or IAQ procedures [in ASHRAE 62.1-2010]. The mechanical system is to be used when windows are closed due to extreme outdoor temperatures noise and security concerns".[16] The standard states that two exceptions in which naturally conditioned buildings do not require mechanical systems are when:
Natural ventilation openings that comply with the requirements of Section 6.4 are permanently open or have controls that prevent the openings from being closed during period of expected occupancy, or
The zone is not served by heating or cooling equipment.
Also, an authority having jurisdiction may allow for the design of conditioning system that does not have a mechanical system but relies only on natural systems.[16] In reference for how controls of conditioning systems should be designed, the standard states that they must take into consideration measures to "properly coordinate operation of the natural and mechanical ventilation systems."[16]
Another reference is ASHRAE Standard 62.2-2010: Ventilation and Acceptable Indoor Air Quality in low-rise Residential Buildings.[17] These requirements are for "single-family houses and multifamily structures of three stories or fewer above grade, including manufactured and modular houses," but is not applicable "to transient housing such as hotels, motels, nursing homes, dormitories, or jails."[17]
For standards relating to ventilation rates, in the United States refer to ASHRAE Standard 55-2010: Thermal Environmental Conditions for Human Occupancy.[18] Throughout its revisions, its scope has been consistent with its currently articulated purpose, “to specify the combinations of indoor thermal environmental factors and personal factors that will produce thermal environmental conditions acceptable to a majority of the occupants within the space.”[18] The standard was revised in 2004 after field study results from the ASHRAE research project, RP-884: developing an adaptive model of thermal comfort and preference, indicated that there are differences between naturally and mechanically conditioned spaces with regards to occupant thermal response, change in clothing, availability of control, and shifts in occupant expectations.[19] The addition to the standard, 5.3: Optional Method For Determining Acceptable Thermal Conditions in Naturally Ventilated Spaces, uses an adaptive thermal comfort approach for naturally conditioned buildings by specifying acceptable operative temperature ranges for naturally conditioned spaces.[18] As a result, the design of natural ventilation systems became more feasible, which was acknowledged by ASHRAE as a way to further sustainable, energy efficient, and occupant-friendly design.[18]
5-room apartments in 2 storeys. The porches has two doors each to prevent cold air from blowing inside in the winter.
27 apartments for rent, from 2-room to 5-room apartments, all with an own carport. Built: 2007. Architect: Contekton. Builder: Skanska. Owner: Uddevallahem.
For a Passive House in a cold climate no radiators or under-floor heating are necessary. The building is superinsulated and airtight and has therefore only minor transmission and ventilation losses. It is primarily heated by radiated solar energy, heat produced by humans, household machinery, domestic electronic equipment and light fittings.
really? glasses and a plastic bone? who dresses their dog like this unless they're seeking some sort of attention...
Shiva, meaning "The Auspicious One"), also known as Mahadeva ("Great God"), is a popular Hindu deity. Shiva is regarded as one of the primary forms of God. He is the Supreme God within Shaivism, one of the three most influential denominations in contemporary Hinduism. He is one of the five primary forms of God in the Smarta tradition, and "the Destroyer" or "the Transformer" among the Trimurti, the Hindu Trinity of the primary aspects of the divine.
Shiva has many benevolent and fearsome forms. At the highest level Shiva is limitless, transcendent, unchanging and formless. In benevolent aspects, he is depicted as an omniscient Yogi who lives an ascetic life on Mount Kailash, as well as a householder with wife Parvati and his two children, Ganesha and Kartikeya and in fierce aspects, he is often depicted slaying demons. Shiva is also regarded as the patron god of yoga and arts.
The main iconographical attributes of Shiva are the third eye on his forehead, the snake Vasuki around his neck, the crescent moon adorning, the holy river Ganga flowing from his matted hair, the trishula as his weapon and the damaru as his instrument.
Shiva is usually worshiped in the aniconic form of Lingam. Temples of Lord Shiva are called shivalayam.
ETYMOLOGY & OTHER NAMES
The Sanskrit word Shiva (Devanagari: शिव, śiva) comes from Shri Rudram Chamakam of Taittiriya Samhita (TS 4.5, 4.7) of Krishna Yajurveda. The root word śi means auspicious. In simple English transliteration it is written either as Shiva or Siva. The adjective śiva, is used as an attributive epithet not particularly of Rudra, but of several other Vedic deities.
The other popular names associated with Shiva are Mahadev, Mahesh, Maheshwar, Shankar, Shambhu, Rudra, Har, Trilochan, Devendra (meaning Chief of the gods) and Trilokinath (meaning Lord of the three realms).
The Sanskrit word śaiva means "relating to the God Shiva", and this term is the Sanskrit name both for one of the principal sects of Hinduism and for a member of that sect. It is used as an adjective to characterize certain beliefs and practices, such as Shaivism. He is the oldest worshipped Lord of India.
The Tamil word Sivan, Tamil: சிவன் ("Fair Skinned") could have been derived from the word sivappu. The word 'sivappu' means "red" in Tamil language but while addressing a person's skin texture in Tamil the word 'Sivappu' is used for being Fair Skinned.
Adi Sankara, in his interpretation of the name Shiva, the 27th and 600th name of Vishnu sahasranama, the thousand names of Vishnu interprets Shiva to have multiple meanings: "The Pure One", or "the One who is not affected by three Gunas of Prakrti (Sattva, Rajas, and Tamas)" or "the One who purifies everyone by the very utterance of His name."Swami Chinmayananda, in his translation of Vishnu sahasranama, further elaborates on that verse: Shiva means "the One who is eternally pure" or "the One who can never have any contamination of the imperfection of Rajas and Tamas".
Shiva's role as the primary deity of Shaivism is reflected in his epithets Mahādeva ("Great God"; mahā "Great" and deva "god"), Maheśvara ("Great Lord"; mahā "great" and īśvara "lord"), and Parameśvara ("Supreme Lord").
There are at least eight different versions of the Shiva Sahasranama, devotional hymns (stotras) listing many names of Shiva. The version appearing in Book 13 (Anuśāsanaparvan) of the Mahabharata is considered the kernel of this tradition. Shiva also has Dasha-Sahasranamas (10,000 names) that are found in the Mahanyasa. The Shri Rudram Chamakam, also known as the Śatarudriya, is a devotional hymn to Shiva hailing him by many names.
The worship of Shiva is a pan-Hindu tradition, practiced widely across all of India, Nepal and Sri Lanka.
ASSIMILATION OF TRADITIONS
The figure of Shiva as we know him today was built up over time, with the ideas of many regional sects being amalgamated into a single figure. How the persona of Shiva converged as a composite deity is not well documented. According to Vijay Nath:
Visnu and Siva [...] began to absorb countless local cults and deities within their folds. The latter were either taken to represent the multiple facets of the same god or else were supposed to denote different forms and appellations by which the god came to be known and worshipped. [...] Siva became identified with countless local cults by the sheer suffixing of Isa or Isvara to the name of the local deity, e.g., Bhutesvara, Hatakesvara, Chandesvara."
Axel Michaels the Indologist suggests that Shaivism, like Vaishnavism, implies a unity which cannot be clearly found either in religious practice or in philosophical and esoteric doctrine. Furthermore, practice and doctrine must be kept separate.
An example of assimilation took place in Maharashtra, where a regional deity named Khandoba is a patron deity of farming and herding castes. The foremost center of worship of Khandoba in Maharashtra is in Jejuri. Khandoba has been assimilated as a form of Shiva himself, in which case he is worshipped in the form of a lingam. Khandoba's varied associations also include an identification with Surya and Karttikeya.
INDUS VALLEY ORIGINS
Many Indus valley seals show animals but one seal that has attracted attention shows a figure, either horned or wearing a horned headdress and possibly ithyphallic figure seated in a posture reminiscent of the Lotus position and surrounded by animals was named by early excavators of Mohenjo-daro Pashupati (lord of cattle), an epithet of the later Hindu gods Shiva and Rudra. Sir John Marshall and others have claimed that this figure is a prototype of Shiva and have described the figure as having three faces seated in a "yoga posture" with the knees out and feet joined.
This claim has been criticised, with some academics like Gavin Flood and John Keay characterizing them as unfounded. Writing in 1997 Doris Srinivasan said that "Not too many recent studies continue to call the seal's figure a 'Proto-Siva'", rejecting thereby Marshall's package of proto-Siva features, including that of three heads. She interprets what John Marshall interpreted as facial as not human but more bovine, possibly a divine buffalo-man. According to Iravatham Mahadevan symbols 47 and 48 of his Indus script glossary The Indus Script: Texts, Concordance and Tables (1977), representing seated human-like figures, could describe Hindu deity Murugan, popularly known as Shiva and Parvati's son.
INDO-EUROPEAN ORIGINS
Shiva's rise to a major position in the pantheon was facilitated by his identification with a host of Vedic deities, including Purusha, Rudra, Agni, Indra, Prajāpati, Vāyu, and others.
RUDRA
Shiva as we know him today shares many features with the Vedic god Rudra, and both Shiva and Rudra are viewed as the same personality in Hindu scriptures. The two names are used synonymously. Rudra, the god of the roaring storm, is usually portrayed in accordance with the element he represents as a fierce, destructive deity.
The oldest surviving text of Hinduism is the Rig Veda, which is dated to between 1700 and 1100 BCE based on linguistic and philological evidence. A god named Rudra is mentioned in the Rig Veda. The name Rudra is still used as a name for Shiva. In RV 2.33, he is described as the "Father of the Rudras", a group of storm gods. Furthermore, the Rudram, one of the most sacred hymns of Hinduism found both in the Rig and the Yajur Vedas and addressed to Rudra, invokes him as Shiva in several instances, but the term Shiva is used as an epithet for the gods Indra, Mitra and Agni many times. Since Shiva means pure, the epithet is possibly used to describe a quality of these gods rather than to identify any of them with the God Shiva.
The identification of Shiva with the older god Rudhra is not universally accepted, as Axel Michaels explains:
Rudra is called "The Archer" (Sanskrit: Śarva), and the arrow is an essential attribute of Rudra. This name appears in the Shiva Sahasranama, and R. K. Sharma notes that it is used as a name of Shiva often in later languages.
The word is derived from the Sanskrit root śarv-, which means "to injure" or "to kill", and Sharma uses that general sense in his interpretive translation of the name Śarva as "One who can kill the forces of darkness". The names Dhanvin ("Bowman") and Bāṇahasta ("Archer", literally "Armed with arrows in his hands") also refer to archery.
AGNI
Rudra and Agni have a close relationship. The identification between Agni and Rudra in the Vedic literature was an important factor in the process of Rudra's gradual development into the later character as Rudra-Shiva. The identification of Agni with Rudra is explicitly noted in the Nirukta, an important early text on etymology, which says, "Agni is also called Rudra." The interconnections between the two deities are complex, and according to Stella Kramrisch:
The fire myth of Rudra-Śiva plays on the whole gamut of fire, valuing all its potentialities and phases, from conflagration to illumination.
In the Śatarudrīya, some epithets of Rudra, such as Sasipañjara ("Of golden red hue as of flame") and Tivaṣīmati ("Flaming bright"), suggest a fusing of the two deities. Agni is said to be a bull, and Lord Shiva possesses a bull as his vehicle, Nandi. The horns of Agni, who is sometimes characterized as a bull, are mentioned. In medieval sculpture, both Agni and the form of Shiva known as Bhairava have flaming hair as a special feature.
INDRA
According to Wendy Doniger, the Puranic Shiva is a continuation of the Vedic Indra. Doniger gives several reasons for his hypothesis. Both are associated with mountains, rivers, male fertility, fierceness, fearlessness, warfare, transgression of established mores, the Aum sound, the Supreme Self. In the Rig Veda the term śiva is used to refer to Indra. (2.20.3, 6.45.17, and 8.93.3.) Indra, like Shiva, is likened to a bull. In the Rig Veda, Rudra is the father of the Maruts, but he is never associated with their warlike exploits as is Indra.
The Vedic beliefs and practices of the pre-classical era were closely related to the hypothesised Proto-Indo-European religion, and the Indo-Iranian religion. According to Anthony, the Old Indic religion probably emerged among Indo-European immigrants in the contact zone between the Zeravshan River (present-day Uzbekistan) and (present-day) Iran. It was "a syncretic mixture of old Central Asian and new Indo-European elements", which borrowed "distinctive religious beliefs and practices" from the Bactria–Margiana Culture. At least 383 non-Indo-European words were borrowed from this culture, including the god Indra and the ritual drink Soma. According to Anthony,
Many of the qualities of Indo-Iranian god of might/victory, Verethraghna, were transferred to the adopted god Indra, who became the central deity of the developing Old Indic culture. Indra was the subject of 250 hymns, a quarter of the Rig Veda. He was associated more than any other deity with Soma, a stimulant drug (perhaps derived from Ephedra) probably borrowed from the BMAC religion. His rise to prominence was a peculiar trait of the Old Indic speakers.
LATER VEDIC LITERATURE
Rudra's transformation from an ambiguously characterized deity to a supreme being began in the Shvetashvatara Upanishad (400-200 BCE), which founded the tradition of Rudra-Shiva worship. Here they are identified as the creators of the cosmos and liberators of souls from the birth-rebirth cycle. The period of 200 BCE to 100 CE also marks the beginning of the Shaiva tradition focused on the worship of Shiva, with references to Shaiva ascetics in Patanjali's Mahabhasya and in the Mahabharata.
Early historical paintings at the Bhimbetka rock shelters, depict Shiva dancing, Shiva's trident, and his mount Nandi but no other Vedic gods.
PURANIC LITERATURE
The Shiva Puranas, particularly the Shiva Purana and the Linga Purana, discuss the various forms of Shiva and the cosmology associated with him.
TANTRIC LITERATURE
The Tantras, composed between the 8th and 11th centuries, regard themselves as Sruti. Among these the Shaiva Agamas, are said to have been revealed by Shiva himself and are foundational texts for Shaiva Siddhanta.
POSITION WITHIN HINDUISM
SHAIVISM
Shaivism (Sanskrit: शैव पंथ, śaiva paṁtha) (Kannada: ಶೈವ ಪಂಥ) (Tamil: சைவ சமயம்) is the oldest of the four major sects of Hinduism, the others being Vaishnavism, Shaktism and Smartism. Followers of Shaivism, called "Shaivas", and also "Saivas" or "Saivites", revere Shiva as the Supreme Being. Shaivas believe that Shiva is All and in all, the creator, preserver, destroyer, revealer and concealer of all that is. The tantric Shaiva tradition consists of the Kapalikas, Kashmir Shaivism and Shaiva Siddhanta. The Shiva MahaPurana is one of the purāṇas, a genre of Hindu religious texts, dedicated to Shiva. Shaivism is widespread throughout India, Nepal, and Sri Lanka, mostly. Areas notable for the practice of Shaivism include parts of Southeast Asia, especially Malaysia, Singapore, and Indonesia.
PANCHAYATANA PUJA
Panchayatana puja is the system of worship ('puja') in the Smarta sampradaya of Hinduism. It is said to have been introduced by Adi Shankara, the 8th century CE Hindu philosopher. It consists of the worship of five deities: Shiva, Vishnu, Devi, Surya and Ganesha. Depending on the tradition followed by Smarta households, one of these deities is kept in the center and the other four surround it. Worship is offered to all the deities. The five are represented by small murtis, or by five kinds of stones, or by five marks drawn on the floor.
TRIMURTI
The Trimurti is a concept in Hinduism in which the cosmic functions of creation, maintenance, and destruction are personified by the forms of Brahmā the creator, Vishnu the maintainer or preserver and Śhiva the destroyer or transformer. These three deities have been called "the Hindu triad" or the "Great Trinity", often addressed as "Brahma-Vishnu-Maheshwara."
ICONOGRAPHY AND PROPERTIES
ATTRIBUTES
Shiva's form: Shiva has a trident in the right lower arm, and a crescent moon on his head. He is said to be fair like camphor or like an ice clad mountain. He wears five serpents and a garland of skulls as ornaments. Shiva is usually depicted facing the south. His trident, like almost all other forms in Hinduism, can be understood as the symbolism of the unity of three worlds that a human faces - his inside world, his immediate world, and the broader overall world. At the base of the trident, all three forks unite.
Third eye: (Trilochana) Shiva is often depicted with a third eye, with which he burned Desire (Kāma) to ashes, called "Tryambakam" (Sanskrit: त्र्यम्बकम् ), which occurs in many scriptural sources. In classical Sanskrit, the word ambaka denotes "an eye", and in the Mahabharata, Shiva is depicted as three-eyed, so this name is sometimes translated as "having three eyes". However, in Vedic Sanskrit, the word ambā or ambikā means "mother", and this early meaning of the word is the basis for the translation "three mothers". These three mother-goddesses who are collectively called the Ambikās. Other related translations have been based on the idea that the name actually refers to the oblations given to Rudra, which according to some traditions were shared with the goddess Ambikā. It has been mentioned that when Shiva loses his temper, his third eye opens which can destroy most things to ashes.
Crescent moon: (The epithets "Chandrasekhara/Chandramouli")- Shiva bears on his head the crescent moon. The epithet Candraśekhara (Sanskrit: चन्द्रशेखर "Having the moon as his crest" - candra = "moon"; śekhara = "crest, crown") refers to this feature. The placement of the moon on his head as a standard iconographic feature dates to the period when Rudra rose to prominence and became the major deity Rudra-Shiva. The origin of this linkage may be due to the identification of the moon with Soma, and there is a hymn in the Rig Veda where Soma and Rudra are jointly implored, and in later literature, Soma and Rudra came to be identified with one another, as were Soma and the moon. The crescent moon is shown on the side of the Lord's head as an ornament. The waxing and waning phenomenon of the moon symbolizes the time cycle through which creation evolves from the beginning to the end.
Ashes: (The epithet "Bhasmaanga Raaga") - Shiva smears his body with ashes (bhasma). The ashes are said to represent the end of all material existence. Some forms of Shiva, such as Bhairava, are associated with a very old Indian tradition of cremation-ground asceticism that was practiced by some groups who were outside the fold of brahmanic orthodoxy. These practices associated with cremation grounds are also mentioned in the Pali canon of Theravada Buddhism. One epithet for Shiva is "inhabitant of the cremation ground" (Sanskrit: śmaśānavāsin, also spelled Shmashanavasin), referring to this connection.
Matted hair: (The epithet "Jataajoota Dhari/Kapardina") - Shiva's distinctive hair style is noted in the epithets Jaṭin, "the one with matted hair", and Kapardin, "endowed with matted hair" or "wearing his hair wound in a braid in a shell-like (kaparda) fashion". A kaparda is a cowrie shell, or a braid of hair in the form of a shell, or, more generally, hair that is shaggy or curly. His hair is said to be like molten gold in color or being yellowish-white.
Blue throat: The epithet Nīlakaṇtha (Sanskrit नीलकण्ठ; nīla = "blue", kaṇtha = "throat"). Since Shiva drank the Halahala poison churned up from the Samudra Manthan to eliminate its destructive capacity. Shocked by his act, Goddess Parvati strangled his neck and hence managed to stop it in his neck itself and prevent it from spreading all over the universe, supposed to be in Shiva's stomach. However the poison was so potent that it changed the color of his neck to blue. (See Maha Shivaratri.)
Sacred Ganges: (The epithet "Gangadhara") Bearer of Ganga. Ganges river flows from the matted hair of Shiva. The Gaṅgā (Ganges), one of the major rivers of the country, is said to have made her abode in Shiva's hair. The flow of the Ganges also represents the nectar of immortality.
Tiger skin: (The epithet "Krittivasana").He is often shown seated upon a tiger skin, an honour reserved for the most accomplished of Hindu ascetics, the Brahmarishis.
Serpents: (The epithet "Nagendra Haara" or 'Vasoki"). Shiva is often shown garlanded with a snake.
Deer: His holding deer on one hand indicates that He has removed the Chanchalata of the mind (i.e., attained maturity and firmness in thought process). A deer jumps from one place to another swiftly, similar to the mind moving from one thought to another.
Trident: (Trishula): Shiva's particular weapon is the trident. His Trisul that is held in His right hand represents the three Gunas— Sattva, Rajas and Tamas. That is the emblem of sovereignty. He rules the world through these three Gunas. The Damaru in His left hand represents the Sabda Brahman. It represents OM from which all languages are formed. It is He who formed the Sanskrit language out of the Damaru sound.
Drum: A small drum shaped like an hourglass is known as a damaru (ḍamaru). This is one of the attributes of Shiva in his famous dancing representation known as Nataraja. A specific hand gesture (mudra) called ḍamaru-hasta (Sanskrit for "ḍamaru-hand") is used to hold the drum. This drum is particularly used as an emblem by members of the Kāpālika sect.
Axe: (Parashu):The parashu is the weapon of Lord Shiva who gave it to Parashurama, sixth Avatar of Vishnu, whose name means "Rama with the axe" and also taught him its mastery.
Nandī: (The epithet "Nandi Vaahana").Nandī, also known as Nandin, is the name of the bull that serves as Shiva's mount (Sanskrit: vāhana). Shiva's association with cattle is reflected in his name Paśupati, or Pashupati (Sanskrit: पशुपति), translated by Sharma as "lord of cattle" and by Kramrisch as "lord of animals", who notes that it is particularly used as an epithet of Rudra. Rishabha or the bull represents Dharma Devata. Lord Siva rides on the bull. Bull is his vehicle. This denotes that Lord Siva is the protector of Dharma, is an embodiment of Dharma or righteousness.
Gaṇa: The Gaṇas (Devanagari: गण) are attendants of Shiva and live in Kailash. They are often referred to as the bhutaganas, or ghostly hosts, on account of their nature. Generally benign, except when their lord is transgressed against, they are often invoked to intercede with the lord on behalf of the devotee. Ganesha was chosen as their leader by Shiva, hence Ganesha's title gaṇa-īśa or gaṇa-pati, "lord of the gaṇas".
Mount Kailāsa: Mount Kailash in the Himalayas is his traditional abode. In Hindu mythology, Mount Kailāsa is conceived as resembling a Linga, representing the center of the universe.
Varanasi: Varanasi (Benares) is considered to be the city specially loved by Shiva, and is one of the holiest places of pilgrimage in India. It is referred to, in religious contexts, as Kashi.
LINGAM
Apart from anthropomorphic images of Shiva, the worship of Shiva in the form of a lingam, or linga, is also important. These are depicted in various forms. One common form is the shape of a vertical rounded column. Shiva means auspiciousness, and linga means a sign or a symbol. Hence, the Shivalinga is regarded as a "symbol of the great God of the universe who is all-auspiciousness". Shiva also means "one in whom the whole creation sleeps after dissolution". Linga also means the same thing—a place where created objects get dissolved during the disintegration of the created universe. Since, according to Hinduism, it is the same god that creates, sustains and withdraws the universe, the Shivalinga represents symbolically God Himself. Some scholars, such as Monier Monier-Williams and Wendy Doniger, also view linga as a phallic symbol, although this interpretation is disputed by others, including Christopher Isherwood, Vivekananda, Swami Sivananda, and S.N. Balagangadhara.
JYOTIRLINGA
The worship of the Shiva-Linga originated from the famous hymn in the Atharva-Veda Samhitâ sung in praise of the Yupa-Stambha, the sacrificial post. In that hymn, a description is found of the beginningless and endless Stambha or Skambha, and it is shown that the said Skambha is put in place of the eternal Brahman. Just as the Yajna (sacrificial) fire, its smoke, ashes, and flames, the Soma plant, and the ox that used to carry on its back the wood for the Vedic sacrifice gave place to the conceptions of the brightness of Shiva's body, his tawny matted hair, his blue throat, and the riding on the bull of the Shiva, the Yupa-Skambha gave place in time to the Shiva-Linga. In the text Linga Purana, the same hymn is expanded in the shape of stories, meant to establish the glory of the great Stambha and the superiority of Shiva as Mahadeva.
The sacred of all Shiva linga is worshipped as Jyotir linga. Jyoti means Radiance, apart from relating Shiva linga as a phallus symbol, there are also arguments that Shiva linga means 'mark' or a 'sign'. Jyotirlinga means "The Radiant sign of The Almighty". The Jyotirlingas are mentioned in Shiva Purana.
SHAKTI
Shiva forms a Tantric couple with Shakti [Tamil : சக்தி ], the embodiment of energy, dynamism, and the motivating force behind all action and existence in the material universe. Shiva is her transcendent masculine aspect, providing the divine ground of all being. Shakti manifests in several female deities. Sati and Parvati are the main consorts of Shiva. She is also referred to as Uma, Durga (Parvata), Kali and Chandika. Kali is the manifestation of Shakti in her dreadful aspect. The name Kali comes from kāla, which means black, time, death, lord of death, Shiva. Since Shiva is called Kāla, the eternal time, Kālī, his consort, also means "Time" or "Death" (as in "time has come"). Various Shakta Hindu cosmologies, as well as Shākta Tantric beliefs, worship her as the ultimate reality or Brahman. She is also revered as Bhavatārini (literally "redeemer of the universe"). Kālī is represented as the consort of Lord Shiva, on whose body she is often seen standing or dancing. Shiva is the masculine force, the power of peace, while Shakti translates to power, and is considered as the feminine force. In the Vaishnava tradition, these realities are portrayed as Vishnu and Laxmi, or Radha and Krishna. These are differences in formulation rather than a fundamental difference in the principles. Both Shiva and Shakti have various forms. Shiva has forms like Yogi Raj (the common image of Himself meditating in the Himalayas), Rudra (a wrathful form) and Natarajar (Shiva's dance are the Lasya - the gentle form of dance, associated with the creation of the world, and the Tandava - the violent and dangerous dance, associated with the destruction of weary worldviews – weary perspectives and lifestyles).
THE FIVE MANTRAS
Five is a sacred number for Shiva. One of his most important mantras has five syllables (namaḥ śivāya).
Shiva's body is said to consist of five mantras, called the pañcabrahmans. As forms of God, each of these have their own names and distinct iconography:
Sadyojāta
Vāmadeva
Aghora
Tatpuruṣha
Īsāna
These are represented as the five faces of Shiva and are associated in various texts with the five elements, the five senses, the five organs of perception, and the five organs of action. Doctrinal differences and, possibly, errors in transmission, have resulted in some differences between texts in details of how these five forms are linked with various attributes. The overall meaning of these associations is summarized by Stella Kramrisch:
Through these transcendent categories, Śiva, the ultimate reality, becomes the efficient and material cause of all that exists.
According to the Pañcabrahma Upanishad:
One should know all things of the phenomenal world as of a fivefold character, for the reason that the eternal verity of Śiva is of the character of the fivefold Brahman. (Pañcabrahma Upanishad 31)
FORMES AND ROLES
According to Gavin Flood, "Shiva is a god of ambiguity and paradox," whose attributes include opposing themes.[168] The ambivalent nature of this deity is apparent in some of his names and the stories told about him.
DESTROYER AND BENEFACTOR
In the Yajurveda, two contrary sets of attributes for both malignant or terrific (Sanskrit: rudra) and benign or auspicious (Sanskrit: śiva) forms can be found, leading Chakravarti to conclude that "all the basic elements which created the complex Rudra-Śiva sect of later ages are to be found here". In the Mahabharata, Shiva is depicted as "the standard of invincibility, might, and terror", as well as a figure of honor, delight, and brilliance. The duality of Shiva's fearful and auspicious attributes appears in contrasted names.
The name Rudra (Sanskrit: रुद्र) reflects his fearsome aspects. According to traditional etymologies, the Sanskrit name Rudra is derived from the root rud-, which means "to cry, howl". Stella Kramrisch notes a different etymology connected with the adjectival form raudra, which means "wild, of rudra nature", and translates the name Rudra as "the wild one" or "the fierce god". R. K. Sharma follows this alternate etymology and translates the name as "terrible". Hara (Sanskrit: हर) is an important name that occurs three times in the Anushasanaparvan version of the Shiva sahasranama, where it is translated in different ways each time it occurs, following a commentorial tradition of not repeating an interpretation. Sharma translates the three as "one who captivates", "one who consolidates", and "one who destroys". Kramrisch translates it as "the ravisher". Another of Shiva's fearsome forms is as Kāla (Sanskrit: काल), "time", and as Mahākāla (Sanskrit: महाकाल), "great time", which ultimately destroys all things. Bhairava (Sanskrit: भैरव), "terrible" or "frightful", is a fierce form associated with annihilation.
In contrast, the name Śaṇkara (Sanskrit: शङ्कर), "beneficent" or "conferring happiness" reflects his benign form. This name was adopted by the great Vedanta philosopher Śaṇkara (c. 788 - 820 CE), who is also known as Shankaracharya. The name Śambhu (Sanskrit: शम्भु), "causing happiness", also reflects this benign aspect.
ASCETIC AND HOUSEHOLDER
He is depicted as both an ascetic yogi and as a householder, roles which have been traditionally mutually exclusive in Hindu society.[185] When depicted as a yogi, he may be shown sitting and meditating. His epithet Mahāyogi ("the great Yogi: Mahā = "great", Yogi = "one who practices Yoga") refers to his association with yoga. While Vedic religion was conceived mainly in terms of sacrifice, it was during the Epic period that the concepts of tapas, yoga, and asceticism became more important, and the depiction of Shiva as an ascetic sitting in philosophical isolation reflects these later concepts. Shiva is also depicted as a corpse below Goddess Kali, it represents that Shiva is a corpse without Shakti. He remains inert. While Shiva is the static form, Mahakali or Shakti is the dynamic aspect without whom Shiva is powerless.
As a family man and householder, he has a wife, Parvati and two sons, Ganesha and Kartikeya. His epithet Umāpati ("The husband of Umā") refers to this idea, and Sharma notes that two other variants of this name that mean the same thing, Umākānta and Umādhava, also appear in the sahasranama. Umā in epic literature is known by many names, including the benign Pārvatī. She is identified with Devi, the Divine Mother; Shakti (divine energy) as well as goddesses like Tripura Sundari, Durga, Kamakshi and Meenakshi. The consorts of Shiva are the source of his creative energy. They represent the dynamic extension of Shiva onto this universe. His son Ganesha is worshipped throughout India and Nepal as the Remover of Obstacles, Lord of Beginnings and Lord of Obstacles. Kartikeya is worshipped in Southern India (especially in Tamil Nadu, Kerala and Karnataka) by the names Subrahmanya, Subrahmanyan, Shanmughan, Swaminathan and Murugan, and in Northern India by the names Skanda, Kumara, or Karttikeya.
Some regional deities are also identified as Shiva's children. As one story goes, Shiva is enticed by the beauty and charm of Mohini, Vishnu's female avatar, and procreates with her. As a result of this union, Shasta - identified with regional deities Ayyappa and Ayyanar - is born. Shiva is also mentioned in some scriptures or folktales to have had daughters like the serpent-goddess Manasa and Ashokasundari. Even the demon Andhaka is sometimes considered a child of Shiva.
NATARAJA
he depiction of Shiva as Nataraja (Tamil: நடராஜா,Kannada: ನಟರಾಜ, Telugu: నటరాజు, Sanskrit: naṭarāja, "Lord of Dance") is popular. The names Nartaka ("dancer") and Nityanarta ("eternal dancer") appear in the Shiva Sahasranama. His association with dance and also with music is prominent in the Puranic period. In addition to the specific iconographic form known as Nataraja, various other types of dancing forms (Sanskrit: nṛtyamūrti) are found in all parts of India, with many well-defined varieties in Tamil Nadu in particular. The two most common forms of the dance are the Tandava, which later came to denote the powerful and masculine dance as Kala-Mahakala associated with the destruction of the world. When it requires the world or universe to be destroyed, Lord Śiva does it by the tāṇḍavanṛtya. and Lasya, which is graceful and delicate and expresses emotions on a gentle level and is considered the feminine dance attributed to the goddess Parvati. Lasya is regarded as the female counterpart of Tandava. The Tandava-Lasya dances are associated with the destruction-creation of the world.
DAKSHINAMURTHY
Dakshinamurthy, or Dakṣiṇāmūrti (Tamil:தட்சிணாமூர்த்தி, Telugu: దక్షిణామూర్తి, Sanskrit: दक्षिणामूर्ति), literally describes a form (mūrti) of Shiva facing south (dakṣiṇa). This form represents Shiva in his aspect as a teacher of yoga, music, and wisdom and giving exposition on the shastras. This iconographic form for depicting Shiva in Indian art is mostly from Tamil Nadu. Elements of this motif can include Shiva seated upon a deer-throne and surrounded by sages who are receiving his instruction.
ARDANARISHVARA
An iconographic representation of Shiva called (Ardhanārīśvara) shows him with one half of the body as male and the other half as female. According to Ellen Goldberg, the traditional Sanskrit name for this form (Ardhanārīśvara) is best translated as "the lord who is half woman", not as "half-man, half-woman". According to legend, Lord Shiva is pleased by the difficult austerites performed by the goddess Parvati, grants her the left half of his body. This form of Shiva is quite similar to the Yin-Yang philosophy of Eastern Asia, though Ardhanārīśvara appears to be more ancient.
TRIRUPANTAKA
Shiva is often depicted as an archer in the act of destroying the triple fortresses, Tripura, of the Asuras. Shiva's name Tripurantaka (Sanskrit: त्रिपुरान्तक, Tripurāntaka), "ender of Tripura", refers to this important story.[216] In this aspect, Shiva is depicted with four arms wielding a bow and arrow, but different from the Pinakapani murti. He holds an axe and a deer on the upper pair of his arms. In the lower pair of the arms, he holds a bow and an arrow respectively. After destroying Tripura, Tripurantaka Shiva smeared his forehead with three strokes of Ashes. This has become a prominent symbol of Shiva and is practiced even today by Shaivites.
OTHER FORMS, AVATARS IDENTIFICATIONS
Shiva, like some other Hindu deities, is said to have several incarnations, known as Avatars. Although Puranic scriptures contain occasional references to "ansh" avatars of Shiva, the idea is not universally accepted in Saivism. The Linga Purana speaks of twenty-eight forms of Shiva which are sometimes seen as avatars. According to the Svetasvatara Upanishad, he has four avatars.
In the Hanuman Chalisa, Hanuman is identified as the eleventh avatar of Shiva and this belief is universal. Hanuman is popularly known as “Rudraavtaar” “Rudra” being a name of “Shiva”. Rama– the Vishnu avatar is considered by some to be the eleventh avatar of Rudra (Shiva).
Other traditions regard the sage Durvasa, the sage Agastya, the philosopher Adi Shankara, as avatars of Shiva. Other forms of Shiva include Virabhadra and Sharabha.
FESTIVALS
Maha Shivratri is a festival celebrated every year on the 13th night or the 14th day of the new moon in the Shukla Paksha of the month of Maagha or Phalguna in the Hindu calendar. This festival is of utmost importance to the devotees of Lord Shiva. Mahashivaratri marks the night when Lord Shiva performed the 'Tandava' and it is the day that Lord Shiva was married to Parvati. The holiday is often celebrated with special prayers and rituals offered up to Shiva, notably the Abhishek. This ritual, practiced throughout the night, is often performed every three hours with water, milk, yogurt, and honey. Bel (aegle marmelos) leaves are often offered up to the Hindu god, as it is considered necessary for a successful life. The offering of the leaves are considered so important that it is believed that someone who offers them without any intentions will be rewarded greatly.
BEYOND HINDUISM
BUDDHISM
Shiva is mentioned in Buddhist Tantra. Shiva as Upaya and Shakti as Prajna. In cosmologies of buddhist tantra, Shiva is depicted as active, skillful, and more passive.
SIKHISM
The Japuji Sahib of the Guru Granth Sahib says, "The Guru is Shiva, the Guru is Vishnu and Brahma; the Guru is Paarvati and Lakhshmi." In the same chapter, it also says, "Shiva speaks, the Siddhas speak."
In Dasam Granth, Guru Gobind Singh have mentioned two avtars of Rudra: Dattatreya Avtar and Parasnath Avtar.
OTHERS
The worship of Lord Shiva became popular in Central Asia through the Hephthalite (White Hun) Dynasty, and Kushan Empire. Shaivism was also popular in Sogdiana and Eastern Turkestan as found from the wall painting from Penjikent on the river Zervashan. In this depiction, Shiva is portrayed with a sacred halo and a sacred thread ("Yajnopavita"). He is clad in tiger skin while his attendants are wearing Sodgian dress. In Eastern Turkestan in the Taklamakan Desert. There is a depiction of his four-legged seated cross-legged n a cushioned seat supported by two bulls. Another panel form Dandan-Uilip shows Shiva in His Trimurti form with His Shakti kneeling on her right thigh. It is also noted that Zoroastrian wind god Vayu-Vata took on the iconographic appearance of Shiva.
Kirant people, a Mongol tribe from Nepal, worship a form of Shiva as one of their major deity, identifying him as the lord of animals. It is also said that the physical form of Shiva as a yogi is derived from Kirants as it is mentioned in Mundhum that Shiva took human form as a child of Kirant. He is also said to give Kirants visions in form of a male deer.
In Indonesia, Shiva is also worshiped as Batara Guru. His other name is "Sang Hyang Jagadnata" (king of the universe) and "Sang Hyang Girinata" (king of mountains). In the ancient times, all kingdoms were located on top of mountains. When he was young, before receiving his authority of power, his name was Sang Hyang Manikmaya. He is first of the children who hatched from the eggs laid by Manuk Patiaraja, wife of god Mulajadi na Bolon. This avatar is also worshiped in Malaysia. Shiva's other form in Indonesian Hindu worship is "Maharaja Dewa" (Mahadeva). Both the forms are closely identified with the Sun in local forms of Hinduism or Kebatinan, and even in the genie lore of Muslims. Mostly Shiva is worshipped in the form of a lingam or the phallus.
WIKIPEDIA
Construction at the new $52 million Urlas townhouses located in Ansbach,Germany is approximately at the half way point. These energy efficient Passivhauser or passive homes are German designed. When complete, each of the 22 homes will use approximately one-fourth the energy demands of a standard German home. To the Soldier living in them, there will be little visual different with the expection of a solar panel on each roof. The real difference is on the walls and in the windows. Extra thick insulation, triple-paned glass and innovative HVAC system makes these townhomes the most energy efficient homes in the Department of the Defense. (U.S. Army Corps of Engineers photo by Carol E. Davis)
Construction at the new $52 million Urlas townhouses located in Ansbach,Germany is approximately at the half way point. These energy efficient Passivhauser or passive homes are German designed. When complete, each of the 22 homes will use approximately one-fourth the energy demands of a standard German home. To the Soldier living in them, there will be little visual different with the expection of a solar panel on each roof. The real difference is on the walls and in the windows. Extra thick insulation, triple-paned glass and innovative HVAC system makes these townhomes the most energy efficient homes in the Department of the Defense. (U.S. Army Corps of Engineers photo by Carol E. Davis)
©GERES
Titre : Maison solaire passive
Results of this project (2010):
- 7,000 direct beneficiaires and 300,000 indirect beneficiaires
- 2.49 tonnes CO2 equivalent saved per household and per year
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Résultats du projet (2010) :
- 7 000 bénéficiaires directs et 300 000 bénéficiaires indirects
- 2,49 tonnes équivalent CO2 économisées par foyer et par an
The Konica C35 AF is listed at number 9 in Jason Sneider's Top 20 Cameras Of All-Time on Shutterbug.
Camerapedia: The Konica C35 AF (nicknamed "Jasupin") is a milestone camera in that it was the world's first production autofocus camera. Launched in November 1977, it used the "Visitronic" AF system developed and produced by Honeywell. This was a "passive" rather than the subsequently more popular "active" system (which Canon utilized in the AF35M eighteen months after the C35 AF)
Shutterbug: This is the first autofocus still camera in the world, and it sired legions of point-and-shoot AF 35mm cameras produced by virtually every manufacturer of 35mm cameras. The C35AF uses the patented Honeywell Visitronic autofocus system, basically a passive, dual-image comparator linked to the lens’ focusing mechanism by an electromechanical system. As you wind the advance lever to cock the shutter, the lens moves completely forward to a ready position. When you press the shutter release, the lens begins to move backward under spring tension until it receives an electrical signal indicating proper focus. At that instant, a claw engages a toothed rack affixed to the internal lens barrel and locks the lens in proper focus position. The signal is generated by the Visitronic module, in effect, a photoelectric rangefinder that compares the subject details detected by stationary and moving photocells. When the details in both cells are identical, the moving photocell stops, and the focus-locking signal is generated.
The Visitronic system is relatively primitive compared to the active infrared AF ranging systems used in most current point-and-shoots, and the vastly improved passive systems used in most AF SLRs. However, it was good enough to provide decent AF performance with the 38mm f/2.8 Hexanon lens of the Konica C35AF, and to inspire hordes of competitors to enter the fray, creating an entirely new camera category. About a year and a half later, Canon brought forth the C35AF (familiarly known as the Sure Shot), which added auto wind, motorized rewind, easy loading, and active AF to the mix. The Canon Sure Shot, a best seller, was the first modern auto-everything point-and-shoot 35, lacking only a DX auto film speed setting and fully automatic rewind (you had to push a button).
Other features of the Konica C35AF include electronically-programmed apertures from f/2.8 to f/22; electronically-programmed shutter speeds of 1/60, 1/125, and 1/250 sec; direct optical viewfinder with parallax-compensation markings and “use flash” LED; ASA settings 25-400; built-in manual pop-up auto flash; single-stroke film-wind lever; manual rewind; hinged back; and manual film loading. The approximate camera-set autofocus distance is read out on a little scale to the left of the lens. The C35AF was rather expensive ($283) for a camera of such modest specs, but it was a good picture-taker and it sold very well on the basis of its groundbreaking technology.