View allAll Photos Tagged PHILOSOPHER
Another member of the group I posted earlier today, gathered at a small park overlooking Elliot Bay in Seattle, Washington.
its a sculpture in ( Imagining the Book Biennale 2007 ) in Bibliotheca Alexandrina.....
The idea of this year's event revolves on "Vegetal Memory", a term that philosopher Umberto Eco, mentioned in his lecture "Vegetal and Mineral Memory: The Future of Books", which was held at the BA two years ago.
~continued from here~
I was investigating some astronomical anomalies, when my servant knocked and announced that I had a visitor.
"Who is it at this hour?" I inquired, somewhat nonplussed at the interruption.
"It is a Philosopher, ma'am," he replied.
"Oh, bother! Show him in."
The man who strode into the room was tall and dark, with the long beard habitual to his vocation. Something stirred in my memory... "I know you!" I exclaimed.
He bowed and replied, "I had the pleasure of meeting you 400 years ago, Madame."
"Ahhhhhh! The one with the angel, who wanted a trade. Yes, yes! and what brings you again, pray tell?" I sensed prevarication in the way he drew back the corners of his mouth. He was trying to withhold something from me, but his excitement betrayed his thoughts. I saw... something broken, blood, feathers... he winced as I drew the images from his mind. He'd gotten stronger in the centuries since his last visit, and his head was crammed full of memories, but it was as easy as plucking blackberries to pick up his juicy secrets.
"That's damn rude!" he exclaimed, and I laughed and ran my fingers over my armillary, delighting in its intricate structure.
"So, you have something and believe that I want it enough to trade for it," I said, "Feeling your mortality creep up on you?" He shivered, suddenly cold. I wasn't bothering to contain my emotional aura, and it had a way of affecting mortals who wandered into its influence. "400 years wasn't long enough for you? Still haven't turned lead into gold?" I chortled, just to needle him. He frowned and crossed his arms over his chest, widening his stance as if he could brace himself against my barbs.
"It goes by quickly," he said, nonchalantly.
"One always needs more time..." I turned my hourglass over and watched the sand trickle through. "You have an angel, another of Jehovah's castoffs, and you wish to trade it for some of my blood. But there is something else..."
He pressed his hands to his head as I reached deeper, trammeling and tunneling through his memories. There was something more than greed for immortality underlying his request. It shadowed all of his thoughts with a different kind of longing. I saw a golden balance - what was it weighing? On one side, the years of life I could give him, the gift of time. On the other side... I saw the angel. She was beautiful, as angels are, rather feminine, even though angels, not having to breed, are unlike humans. I sensed pity weighing down her side of the equation.
"Poor, poor Alchemist, you've fallen in love! All your logic, your dispassionate rationality, deserts you at the glimpse of a pretty angel," I smiled wickedly. "So, you give her to me, and gain more time for your research, or you keep her and wither, and die and turn to dust. Hmmm, choices, choices..."
He looked extremely troubled. There was something else there. If he loved the angel and wanted to keep her, why had he come? There was something deep in his subconscious that he was barely aware of. It slipped through his mind like an immense, shadowy leviathan. I drove deeper, and he screamed in agony. Just before he slipped into unconsciousness, I caught a glimpse of what it was.
I needed backup.
I rang the bell for my servant, who came in immediately, glancing unsurprised at the slumped figure on the floor.
"Call Hell," I ordered, "Get Dingo up here, and don't listen to any of his excuses about smelly elevators and the queues of Damned politicians he needs to torture. And call Cerdwin, Nigel and Keeran! I need as many of them here as possible. We have caught a VERY LARGE FISH."
Historische und zeitgenössische Minifig-Philosophen. | Historical and contemporary minifig-philosophers.
TUYAUX - Nous devons avoir du respect pour nos plombiers et nos philosophes, sinon, comme nos tuyaux, nos théories prendraient l'eau. (Citations de John W. Gardner)
PIPE - We must have respect for our plumbers and philosophers otherwise, as our pipes, our theories would take water. (Quotes from John W. Gardner)
Black lava less than 3 days old contrasts against the first snow that has fallen on the upper slopes of Etna. In the background, the broad cone formed during the 2002-2003 eruption sits silently, its flanks skirted by the lava of the latest episode of lava fountaining (paroxysm) from the New Southeast Crater, which is out of this picture to the left. The flat ground to the left of the 2002-2003 cone was once the site of a building called "Torre del Filosofo" (the philosopher's tower); the building was buried by the fallout of the 2002-2003 eruption, leaving only the antenna on the roof poking out. However, tourists were brought to the site until a few weeks ago. Then, on 26 October 2013, Etna started to claim the terrain back, and lava from the New Southeast Crater buried a large portion of the site still called "Torre del Filosofo". The next paroxysm, on 11 November 2013, covered all that remained of the site, and the lower portion of the northern slope of the 2002-2003 cone. Finally, also the antenna of "Torre del Filosofo" vanished under the lava - the last symbol of what once was the presumptuous idea of bringing a sort of "civilzation" right to the very mouths of one of the most active volcanoes on Earth.
Photo taken during fieldwork with my colleagues of the INGV-Osservatorio Etneo on 14 November 2013
I saw this painted stone today on my way back home
Hi dear Flickr friends!!
I am writing to you from the Internet shop because my PC is not working :-(
This means I will not be on Flickr for some days and can also not comment.
When I am back I will try to catch up all your beautiful pics!
Have a good time ...so long!
Claudia
Busts of Greek philosophers from Socrates to Epicurus as seen in the British Museum, London.
This is part of a series I took today as I tried to play around with my lenses and understand how depth of field works...
From a cycle: Northern Tadmor
"Собака философ"
близ пляжа "Отрада", Одесса, Украина
декабрь 2015
из цикла: Северный Тадмор
Goofy is a cartoon character created by The Walt Disney Company. He is a tall, anthropomorphic dog who typically wears a turtle neck and vest, with pants, shoes, white gloves, and a tall hat originally designed as a rumpled fedora. Goofy is a close friend of Mickey Mouse and Donald Duck, and is Max Goof's father. He is normally characterized as hopelessly clumsy and dim-witted, yet this interpretation is not always definitive; occasionally, Goofy is shown as intuitive and clever, albeit in his own unique, eccentric way.
Goofy debuted in animated cartoons, starting in 1932 with Mickey's Revue as Dippy Dawg, who is older than Goofy would come to be. Later the same year, he was re-imagined as a younger character, now called Goofy, in the short The Whoopee Party. During the 1930s, he was used extensively as part of a comedy trio with Mickey and Donald. Starting in 1939, Goofy was given his own series of shorts that were popular in the 1940s and early 1950s. Two Goofy shorts were nominated for an Oscar: How to Play Football (1944) and Aquamania (1961). He also co-starred in a short series with Donald, including Polar Trappers (1938), where they first appeared without Mickey Mouse. Three more Goofy shorts were produced in the 1960s after which Goofy was only seen in television and Disney comics. He returned to theatrical animation in 1983 with Mickey's Christmas Carol. His most recent theatrical appearance was How to Hook Up Your Home Theater in 2007. Goofy has also been featured in television, most extensively in Goof Troop (1992), House of Mouse (2001–2003), Mickey Mouse Clubhouse (2006–2016), Mickey Mouse (2013–2019), Mickey and the Roadster Racers / Mickey Mouse Mixed-Up Adventures (2017–2021), and Mickey Mouse Funhouse (2021–present).
Originally known as Dippy Dawg, the character is more commonly known simply as "Goofy", a name used in his short film series. In his 1950s cartoons, he usually played a character called George G. Geef. Sources from the Goof Troop continuity give the character's full name as G. G. "Goofy" Goof, likely in reference to the 1950s name. In many other sources, both animated and comics, the surname Goof continues to be used. In other 2000s-era comics, the character's full name has occasionally been given as Goofus D. Dawg.
Characteristics
In the comics and his pre-1992 animated appearances, Goofy was usually single and childless. Unlike Mickey and Donald, he did not have a steady girlfriend. The exception was the 1950s cartoons, in which Goofy played a character called George Geef who was married and at one point became the father of a kid named George Junior. In the Goof Troop series (1992–1993), however, Goofy was portrayed as a single father with a son named Max, and the character of Max made further animated appearances until 2004. This marked a division between animation and comics, as the latter kept showing Goofy as a single childless character, excluding comics taking place in the Goof Troop continuity. After 2004, Max disappeared from animation, thus removing the division between the two media. Goofy's wife was never shown, while George Geef's wife appeared—but always with her face unseen—in 1950s-produced cartoon shorts depicting the character as a "family man".
In the comics, Goofy usually appears as Mickey's sidekick, though he also is occasionally shown as a protagonist. Goofy lives in Mouseton in the comics and in Spoonerville in Goof Troop. In comics books and strips, Goofy's closest relatives are his smarter nephew Gilbert. and his grandmother, simply called Grandma Goofy. In Italian comics, he has been given several cousins, including adventurer Arizona Goof (original Italian name: Indiana Pipps), who is a spoof of the fictional archaeologist Indiana Jones.
Goofy's catchphrases are "gawrsh!" (which is his usual exclamation of surprise and his way of pronouncing "gosh"), along with "ah-hyuck!" (a distinctive chuckle) that is sometimes followed by a "hoo hoo hoo hoo!", and especially the Goofy holler. In the classic shorts, he would sometimes say "Somethin' wrong here" (first heard in Lonesome Ghosts) whenever he suspected something was not right about the situation he was currently in, or sing a few bars of "The World Owes Me a Livin'" from the Silly Symphonies cartoon The Grasshopper and the Ants (the first instance of Goofy singing this song is On Ice). In The Grasshopper and the Ants, the Grasshopper had an aloof character similar to Goofy and shared the same voice actor (Pinto Colvig) as him.
According to biographer Neal Gabler, Walt Disney disliked the Goofy cartoons, thinking they were merely "stupid cartoons with gags tied together" with no larger narrative or emotional engagement and a step backward to the early days of animation. As such, he threatened constantly to terminate the series, but only continued it to provide make-work for his animators. Animation historian Michael Barrier is skeptical of Gabler's claim, saying that his source did not correspond with what was written.
History
Goofy, anonymous in his debut cartoon, Mickey's Revue (1932)
The character of Goofy originated with his voice actor; a former circus and vaudville actor, comedian, clown and chalk talk artist Pinto Colvig, who began working as a story man for the Disney Studio in 1930.
According to Colvig, one day in 1931, he was having a conversation with Walt Disney and director Wilfred Jackson, and began to reminice about “…a grinny, half-baked village nitwit back in my hometown whose mannerisms I had copied and used for one of my former stage characters, The Oregon Appleknocker.” Colvig later identified this “village nitwit” as a local flagman that worked at Jacksonville, Oregon's main railroad crossing, who he described as a “...slow-minded guy who is the happiest fellow in the world. Each small town has one, and he always seems to hang around the depot... As a youngster I used to watch every train come in, and I knew all the details and peculiarities of that flagman's life. I impersonated that man for Disney, not in jest, but because I admired him and his simplicity. I always laughed with him rather than at him."
Walt Disney was captivated by Colvig's impersonation, and eager to expand his cast of recognizable cast of characters,[16] decided to develop a new character around Colvig’s former stage routine for Mickey’s ever growing roster of supporting players. The next day, Colvig went in front of a microphone and camera and started acting out “the loose ungangly mannerisms” of his Oregon Appleknocker persona, while animator Tom Palmer sketched out a character based on his performance. “Thus ‘Goofy, the Guy with a Silly Laugh’ was hatched” as Colvig would later declair with pride.[14]
The character first appeared in Mickey's Revue, released on May 27, 1932. Directed by Jackson, the short features Mickey Mouse, Minnie Mouse, Horace Horsecollar and Clarabelle Cow performing a song and dance show: a typical Mickey cartoon of the time. What set this short apart was the appearance of a new character - a dog-like member of the audience who as a running gag, constantly irritates his fellow spectators by noisily crunching peanuts and laughing loudly, (the laugh being provided by Colvig) until two of those fellow spectators knocked him out with their mallets, before revealing they have the same exact laugh.
This early version of Goofy was named Dippy Dawg by Disney artist Frank Webb[citation needed] - and was depicted as an old man with a white beard, a puffy tail, and no trousers, shorts, or undergarments. A considerably younger and more refined version of the Dippy Dawg character next appeared in The Whoopee Party (released on September 17, 1932) this time as a party guest and a friend of Mickey and his gang.
Dippy Dawg made a total of six appearances between 1932 and 1933, but most of them were mere cameos. By his seventh appearance, in Orphan's Benefit (released on August 11, 1934), he gained the new name "Goofy", but was still considered a minor character.
The Trio Years and Development under Art Babbitt
Inspired by popular comedy trio acts of the era - such as The Three Stooges and The Marx Brothers - Walt Disney and his storymen decided to team Mickey, Goofy and the newly popular character of Donald Duck together in a cartoon entitled Mickey's Service Station: directed by Ben Sharpsteen and eventually released on March 16, 1935.
In mid-1934, Walt held a story meeting for Mickey's Service Station where he and Sharpsteen began assigning animators to specific sequences. One of the animators assigned to the short, Art Babbitt, took a particular liking to a sequence with Goofy. "I had to fight for that..." Babbitt rememebred years later:
"... in it [Mickey's Service Station] there’s a small sequence of Goofy on this cylinder block of a car. And he reaches down in one of the holes of the cylinder block and his own hand comes up behind him. God, I wanted that... Walt was in this story meeting and I said, “Gee I want that.” [Walt said] “Nah, I’ve got you scheduled to do Pete, Pegleg Pete". I said “I’ll do Pegleg Pete, but give me Goofy, too.” And so that was the final deal, I’d do Pegleg Pete and get Goofy for dessert. Goofy was originally a sort of stock character in mob scenes, so on, but nobody attempted to do anything with him, so I can’t say that I created Goofy, but I was the first that made him into a character. I liked the character, there was all sorts of possibilities."
Babbitt’s scene with Goofy was originally timed to be 7 feet of film (just over 4 seconds), however Babbitt padded his scene adding additional bits of comic business, with the final scene being 57 feet (38 seconds) long. Sharpsteen was furious that Babbitt had gone over his allotted time without permission, but Walt was impressed by Babbitt's work and approved his scene.
Upon completing his sequence with Goofy in Mickey’s Service Station, Babbitt - who had been studying Konstantin Stanislavski's theories of method acting - not only redesigned Goofy from his earlier ganglier appearance to a more ovular streamlined version - but also psychoanalyzed the character: something no other animator had done before. Babbitt wrote a two-and-a-half page character bible of Goofy, entitled Character Analysis of the Goof that circulated the studio in late 1934. Some of what Babbitt wrote included:
In my opinion the Goof, hitherto, has been a weak cartoon character because both his physical and mental make-up were indefinite and intangible. His figure was a distortion, not a caricature, and if he was supposed to have a mind or personality, he certainly was never given sufficient opportunity to display it... In the case of the Goof, the only characteristic which formerly identified itself with him was his voice. No effort was made to endow him with appropriate business to do, a set of mannerisms or a mental attitude...
... Think of the Goof as a composite of an everlasting optimist, a gullible Good Samaritan, a half-wit, a shiftless, good-natured colored boy and a hick... He can move fast if he has to, but would rather avoid any over-exertion, so he takes what seems the easiest way. He is a philosopher of the barber shop variety. No matter what happens, he accepts it finally as being for the best or at least amusing. He is willing to help anyone and offers his assistance even where he is not needed and just creates confusion. He very seldom, if ever, reaches his objective or completes what he has started. His brain being rather vapoury, it is difficult for him to concentrate on any one subject. Any little distraction can throw him off his train of thought and it is extremely difficult for the Goof to keep to his purpose. Yet the Goof is not the type of half-wit that is to be pitied. He doesn’t dribble, drool or shriek. He is a good-natured, dumb bell who thinks he is pretty smart. He laughs at his own jokes because he can’t understand any others. If he is a victim of a catastrophe, he makes the best of it immediately and his chagrin or anger melts very quickly into a broad grin. If he does something particularly stupid he is ready to laugh at himself after it all finally dawns on him. He is very courteous and apologetic and his faux pas embarrass him, but he tries to laugh off his errors. He has music in his heart even though it be the same tune forever, and I see him humming to himself while working or thinking. He talks to himself because it is easier for him to know what he is thinking if he hears it first.
Babbitt's Character Analysis was considered highly influential within the studio, and character bibles were quickly adopted for all the Disney's major stars; including Mickey, Donald and Pluto.
Mickey's Service Station also set the template for a series of films where Mickey, Donald and Goofy attempted to perform a certain task, with each character being separated early on, and attempting to solve a problem in their own way and with their distinct style of comedy, before reuniting at the end - often resulting failure rather than success.
While other animators would also animate also the character of Goofy in these "trio" shorts (such as in Mickey's Fire Brigade, released in August 1935, where an earlier Pre-Babbitt version of Goofy was animated by Wolfgang Reitherman) - Art Babbitt became the Goofy specialist at the Disney studio and the authority on the character.
Babbitt continued to develop the character of Goofy when he next animated him in On Ice (released in September 1935). Here he developed a technique he called "breaking the joints" - where Goofy's arms, legs, feet and other appendages would bend the wrong way for a few frames before popping back into the correct position. This gave the character a lot more loose and unpredictable movements - emphasising his stupid personality.
Babbitt finally crystalized the character of Goofy with his third time animating the character in Moving Day (released in June 1936), where he was tasked to animate a scene of Goofy attempting to move a piano onto a truck. For this scene Babbitt created another first for animation: using his recently acquired 16mm camera, he filmed Pinto Colvig performing Goofy's movements in his Oregon Appleknocker persona - making Babbitt the first animator to use live-action reference.
As animation historian Michael Barrier wrote of this scene: "Babbitt’s Moving Day animation was by far his most ambitious... Babbitt’s Goofy was the first Disney character after [Norm] Ferguson’s Pluto to have a visible inner life and Goofy, stupid though he was, was clearly more complex than Pluto. For the most part, Pluto simply reacted; Goofy schemed and planned, however dimly."
Ben Sharpsteen directed the majority of the Mickey, Donald and Goofy trio cartoons. Clock Cleaners and Lonesome Ghosts (released on both October 15 and December 24, 1937 respectively), are considered the highlights of this series, with the former being voted Number 27 in the book The 50 Greatest Cartoons.
Progressively during the series, Mickey's part diminished in favor of Donald, Goofy, and Pluto. The reason for this was simple: between the easily frustrated Donald and Pluto and the always-living-in-a-world-of-his-own Goofy, Mickey—who became progressively gentler and more laid-back—seemed to act as the straight man of the trio. The studio's artists found that it had become easier coming up with new gags for Goofy or Donald than Mickey, to a point that Mickey's role had become unnecessary.
Polar Trappers, released on June 17, 1938, was the first film to feature Goofy and Donald as a duo. Mickey would return in The Whalers, released on August 19, 1938, but this and Tugboat Mickey, released on April 26, 1940, would be the last two shorts to feature all three characters as a team.
Solo series
Goofy next starred at his first solo cartoon Goofy and Wilbur directed by Dick Huemer, first released on March 17, 1939. The short featured Goofy fishing with the help of Wilbur, his pet grasshopper.
The How to... series
Jack Kinney would take over the Goofy cartoons with the second short Goofy's Glider (1940). Kinney's Goofy cartoons would feature zany, fast-paced action and gags similar to those being made at Warner Bros and MGM, and possibly influenced by Tex Avery. Kinney found Goofy to be "a nice long, lean character that you could move; you could get poses out of him, crazy poses". A sports fan, he would place Goofy in How to... themed shorts in which Goofy would demonstrate, poorly, how to perform certain sports.
How to Ride a Horse, a segment in the 1941 film The Reluctant Dragon, would establish the tone and style of future shorts like The Art of Skiing (1941), How to Fish (1942), How to Swim (1942) and How to Play Golf (1944). Cartoon shorts like How to Play Baseball (1942), How to Play Football (1944) and Hockey Homicide (1945) would feature Goofy not as a single character but multiple characters playing the opposing teams. Animation historian Paul Wells considers Hockey Homicide to be the "peak" of the sports cartoons. Some of the later sports-theme cartoons, like Double Dribble (1946) and They're Off (1948) would be directed by Jack Hannah.
Pinto Colvig had a falling out with Disney in 1937 and left the studio, leaving Goofy without a voice. Kinney recalls "so we had to use whatever was in the library; you know, his laugh and all those things. But he did have a hell of a library, of different lines of dialogue". In addition, the studio had voice artist Danny Webb record new dialog. Kinney also paired Goofy with a narrator voiced by John McLeish: "He had this deep voice, just a great voice, and he loved to recite Shakespeare. So I suggested, my God, we'll get McLeish for a narrator, and don't tell him that he's not doing it straight. Just let him play it". Colvig returned to Disney in 1941 and resumed the voice until 1967.
The Everyman years
Disney had started casting Goofy as a suburban everyman in the late 1940s. And with this role came changes in depiction. Goofy's facial stubble and his protruding teeth were removed to give him a more refined look. His clothing changed from a casual style to wearing business suits. He began to look more human and less dog-like, with his ears hidden in his hat. By 1951, Goofy was portrayed as being married and having a son of his own. Neither the wife nor the son was portrayed as dog-like. The wife's face was never seen, but her form was human. The son lacked Goofy's dog-like ears. One notable short made during this era is Motor Mania (1950). Kinney disliked making most of these later shorts, stating "...those pictures were disasters, because I didn't fight it hard enough". Goofy would also be given a formal name in these cartoons, George Geef.
Christopher P. Lehman connects this depiction of the character to Disney's use of humor and animal characters to reinforce social conformity. He cites as an example Aquamania (1961), where everyman Goofy drives to the lake for a boat ride. During a scene depicting a pile-up accident, every car involved has a boat hitched to its rear bumper. Goofy is portrayed as one of the numerous people who had the same idea about how to spend their day. Every contestant in the boat race also looks like Goofy. Lehman does not think that Disney used these aspects of the film to poke fun at conformity. Instead, the studio apparently accepted conformity as a fundamental aspect of the society of the United States. Aquamania was released in the 1960s, but largely maintained and prolonged the status quo of the 1950s. The decade had changed but the Disney studio followed the same story formulas for theatrical animated shorts it had followed in the previous decade. And Lehman points that Disney received social approval for it. Aquamania itself received a nomination for the Academy Award for Best Animated Short Film.
Later appearances
After the 1965 educational film Goofy's Freeway Troubles, Goofy was mostly retired except for cameos because of the cartoons' fading popularity and the death of voice actor Pinto Colvig. Goofy had an act in the 1969 tour show Disney on Parade with costar Herbie the Love Bug. His profile began to rise again after his appearance in Mickey's Christmas Carol as the ghost of Jacob Marley. After that, he appeared in Sport Goofy in Soccermania, a 1987 television special. He made a brief appearance in Disney/Amblin's Academy Award-winning film Who Framed Roger Rabbit, in which the titular character, Roger Rabbit, says of Goofy: "Nobody takes a wallop like Goofy! What timing! What finesse! What a genius!". He later appears at the end of the film with the other characters.
In the 1990s, Goofy got his own TV series called Goof Troop. In the show, Goofy lives with his son Max and his cat Waffles, and they live next door to Pete and his family. Goof Troop eventually led to Goofy and Max starring in their own movies: A Goofy Movie (in 1995) and An Extremely Goofy Movie (in 2000); as well as starring in their own segments of Mickey's Once Upon a Christmas (in 1999) and Mickey's Twice Upon a Christmas (in 2004). While Goofy is clearly depicted as a single custodial parent in all of these appearances, by the end of An Extremely Goofy Movie he begins a romance with the character Sylvia Marpole, Max being grown and in college by this point.
In one episode of Bonkers, Goofy has an off-screen cameo whose distinctive laugh is "stolen" by a disgruntled toon. In another episode, both he and Pete cameo as actors who film cartoons at Wackytoon Studios. And in a third episode, Goofy cameos as part of a group of civilians held hostage in a bank robbery.
Goofy returned to his traditional personality in Mickey Mouse Works and appeared as a head waiter in House of Mouse (2001 to 2003). Goofy's son Max also appeared in House of Mouse as the nightclub's valet, so that Goofy juggled not only his conventional antics but also the father-role displayed in Goof Troop and its aforementioned related media. In both Mickey Mouse Works and House of Mouse, Goofy also seemed to have a crush on Clarabelle Cow, as he asks her on a date in the House of Mouse episode "Super Goof" and is stalked by the bovine in the Mickey Mouse Works cartoon "How To Be a Spy". Though Clarabelle was noted as Horace Horsecollar's fiancé in early decades, comics from the 1960s and 1970s and in later cartoons like the aforementioned House of Mouse and Mickey Mouse Works, as well as Mickey, Donald, Goofy: The Three Musketeers, imply some mutual affections between Goofy and Clarabelle; perhaps as an attempt for Disney to give Goofy a more mainstream girlfriend to match his two male co-stars.
On Toontown Online, an interactive website for kids, Goofy previously ran his own neighborhood called Goofy Speedway until the close of Toontown. Goofy Speedway was a place where players could race cars and enter the Grand Prix. Tickets were exclusively spent on everything there, instead of the usual jellybean currency. The Grand Prix only came on "Grand Prix Monday" and "Silly Saturday". Goofy's Gag Shop was also found in almost every part of Toontown' except Cog HQs, Goofy Speedway, or Chip & Dale's Acorn Acres. At Goofy's Gag Shop, Toons could buy gags.
Goofy also appears in the children's television series, Mickey Mouse Clubhouse, with his trademark attire and personality. Goofy appeared in The Lion King 1½. Goofy starred in a new theatrical cartoon short called How to Hook Up Your Home Theater, that premiered at the Ottawa International Animation Festival. The short received a positive review from animation historian Jerry Beck and then had a wide release on December 21, 2007, in front of National Treasure: Book of Secrets and has aired on several occasions on the Disney Channel.
In 2011, Goofy appeared in a promotional webtoon advertising Disney Cruise Line. He is also a main character on Mickey and the Roadster Racers. He has also appeared in the third season of the 2017 DuckTales TV series; based on his Goof Troop incarnation. Guest starring in the episode, "Quack Pack", Goofy appears as the Duck family's wacky neighbor after Donald accidentally wished them into a '90s sitcom. Donald hires him to be the photographer for a family photo, but after the Ducks realize what Donald did, Goofy helps him understand that "normal" does not necessarily mean the same thing between families; using the relationship he has with his son Max as an example.
Comics
Comic strips first called the character Dippy Dawg, but his name changed to Goofy by 1936. In the early years, the other members of Mickey Mouse's gang considered him a meddler and a pest but eventually warmed up to him.
The Mickey Mouse comic strip drawn by Floyd Gottfredson was generally based on what was going on in the Mickey Mouse shorts at the time, but when Donald Duck's popularity led to Donald Duck gaining his own newspaper strip, Disney decided that he was no longer allowed to appear in Gottfredson's strips. Accordingly, Goofy remained alone as Mickey's sidekick, replacing Horace Horsecollar as Mickey's fellow adventurer and companion. Similarly in comics, the Mickey Mouse world with Goofy as Mickey's sidekick was usually very separate from the Donald Duck world and crossovers were rare. Goofy also has a characteristic habit of holding his hand in front of his mouth, a trademark that was introduced by Paul Murry.
A character called "Glory-Bee" was Goofy's girlfriend for some years.
In 1990, when Disney was publishing their own comics, Goofy starred in Goofy Adventures, that featured him starring in various parodies. Perhaps because of poor sales, Goofy Adventures was the first of the company's titles to be canceled by the Disney Comics Implosion, ending at its 17th issue.
"The Refutation Of The Pseudo-philosophers " was painted by Ludwig Seitz as part of his 'Thomas Aquinas' series on the ceiling of the Gallery of the Candelabra.
The painting depicts Angels correcting the errors of the pseudo-philosophers by showing them the works of St Thomas Aquinas. The book held up by the central Angel is "Summa contra Gentiles", originally written as four books. It is said to be Thomas Aquinas' best known treatise on the truth of the Catholic faith.
Pio Clementino Museum, Vatican Museums; July 2019
Rheinisches Landesmuseum, Trier
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Nikon AF Nikkor 28-105mm 1:3.5-4.5D
DSC_3143 Anx2 1600h Q90 0.5k-1.5k
Magnum Opus means “Great Work” and derives from the legendary alchemist search for the Philosopher’s Stone. The Philosopher’s Stone was said to be the key element needed to turn lead into gold or attain great wisdom and longevity.
The way the light strikes this stone reminded me of that fable.
Philosopher's Tree
Had an unbelievable experience in Hokkaido recently. It felt nothing like Japan - so removed from the noise, constant torrent of rules, so completely free. I can't recommend it enough.
This shot was from the 2nd time we visited Biei's Philosopher's Tree. First visit was near noon which may provide some interesting BW compositions, but we woke up at 3AM to catch the sunrise the following day.
Getting up at maddening hours has become the norm when I'm traveling for photography. Once shooting starts all sense of exhaustion fades, the mind is locked, only the subject is present.
Follow me:
This view ofPhilosopher Falls is the reward for the 90 min return walk. Depending on level of fitness and weather. This view is only made possible by the incredible efforts of our Wildlife and National Parks Teams.
Welche Philosophen sind oben zu sehen? | Which philosophers are shown above?
Um das Rätsel zu knacken: Kommentare oder Tags lesen. | In order to crack the riddle: Read the comments or tags.
We have passed this pub on many an many an occasion and often wondered about its name. This time I took a photo and 'googled' it on our return home. It has a very interesting history.
For those who wish to know - here you go...........CHEERS!
www.tipplingphilosopher.com/history/
Think you might like this one Cynthia:-))
Past this building many a time and always wanted to photograph it.
It's on private ground but I was granted permission to take these shots under the conditions I wouldn't be selling them. Hence the watermark......I've had images stolen in the past and used. But it's something I've never let worry me too much, if I was trying to make money out of this I would be a little more careful on the quality of the images I post and would put the watermark in a much harder place to clone out.
Any way back to the tower.......it belongs to the Earl of Shaftesbury family. It was thought the 3rd Earl was a philosopher and spent many a time thinking here.
I know I could ponder quite happily here watching the gorgeous sunrises.
( When we get them that is! )