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My favourite urban griot, Gil Scott-Heron, is sorely missed. Here we find him in peak satire mode in the Deadwood saloon in the company of the embodiment of nostalgic myth-making, John Wayne, and the pale imitation of B-movie lore that America settled for, Ronald Reagan (or the Hollyweird Ronald the Ray-Gun as Gil would so quotably put it).

 

Dig The B movie theory:

 

"The idea concerns the fact that this country wants nostalgia.

 

They want to go back as far as they can – even if it’s only as far as last week. Not to face now or tomorrow, but to face backwards. And yesterday was the day of our cinema heroes riding to the rescue at the last possible moment. The day of the man in the white hat or the man on the white horse - or the man who always came to save America at the last moment – someone always came to save America at the last moment – especially in "B" movies. And when America found itself having a hard time facing the future, they looked for people like John Wayne. But since John Wayne was no longer available, they settled for Ronald Reagan – and it has placed us in a situation that we can only look at – like a "B" movie..."

 

I put it this way four years ago at the height of the George W. Bush years:

 

We are living in a moment where nostalgia is key, we're anesthetizing ourselves with cowboy politics, selective amnesia and worse, when we'd rather have John Wayne. And Baghdad and New Orleans are not the only ones who can testify to that insight.

 

Gil Scott-Heron is one the great satirists, punctuating his critique with a melodious line and a soulful groove. It's uncanny how he does it, that you can't help but nod your head, tap your feet and laugh out loud even as you want to cry at what he is saying. His body of work is heroic, his prescience altogether scary.

 

But it is hard living as a canary in a mineshaft, if no one is listening and home is where the hatred is, can it be a surprise if there only remain fractured pieces of a man? Dig: I too might drown myself in fugitive spirits.

 

Anyway let's kick some urban griot poetry around this joint. Or should we call it soul food?

 

THE QUALITY OF THIS PICTURE IS NOT AS GOOD AS IT SHOULD BE BUT UNFORTUNATELY IT IS THE BEST THAT I COULD GET.

  

Note;_-

It is evident that this leaf and Ref 551 are from the same manuscript even though they are from different texts and written by different scribes. Both leaves are effectively the same size and the prickings for the rulings are the same distance from the edges of the leaves, and they both have 41 lines.

 

TEXT: -

Cicero's “De Republica” is a series of six books about politics and government.

 

This leaf is from Book Six of De Republica, “Somnium Scipionis” (The Dream of Scipio) and the text begins in paragraph 22 at “vel caucasum” and continues through to the end of that book (paragraph 29). The final written line on the verso “Explicit somnum Scopionis” advises us of that fact.

 

The size of the leaf is approx. 370mm x 262mm (14 6/10ins. x 10 3/10ins.).

 

The leaf is neither illuminated nor decorated. On the verso there is a space left for a one-line initial to be added but this was never completed.

 

PURCHASE DETAILS: -

Purchased 2019 from Libreria Antiquaria Dentis, Turin, Italy.

 

PROVENANCE: -

I have received advice that the leaf was probably produced c.1470-1480.

Whilst there are no endorsements on this leaf, the fact there is a central horizontal crease would indicate that it , like Ref 551, has been used as a file.

This leaf, together with Ref 551 were both in the same academic collection in Turin.

 

OVERALL CONDITION: -

As well as the horizontal crease through the centre, there is significant creasing in the bottom margin of the leaf (not affecting the text.) and to a lesser degree at the top (again not affecting the text). There is also a 25mm tear in the top margin at the outside edge. Other than these minor faults this is a nice, clean leaf with virtually nothing else in the way of age related wear.

  

GENERAL COMMENTS: -

Yet again, this is another magnificent addition to the collection. Most leaves relating to “Somnium Scipionis” are the commentary by Macrobius on it. To find a leaf containing part of the actual Cicero text from it is quite amazing.

 

Single leaves with humanistic script are uncommon because the texts of the books that they were once part of were generally retained within their bindings. A second leaf (Ref 551), whilst from a different Cicero text, is certainly from the same manuscript, and they both must be from a compendium of some sort.

 

MACRUS TILLIUS CICERO: -

Marcus Tullius Cicero, born 3rd. January 106 BC, died 7th. December 43 BC was a Roman statesman, orator, lawyer and philosopher, who served as consul in the year 63 BC. He came from a wealthy municipal family of the Roman equestrian order, and is considered one of Rome's greatest orators and prose stylists. Though he was an accomplished orator and successful lawyer, Cicero believed his political career was his most important achievement. Cicero has been traditionally considered the master of Latin prose and he was an energetic writer with an interest in a wide variety of subjects. Cicero was declared a "righteous pagan" by the early Catholic Church, and therefore many of his works were deemed worthy of preservation. Saint Augustine and others quoted liberally from his works "On the Commonwealth" (also known as "On the Republic") and "On the Laws," and it is due to this that we are able to recreate much of the work from the surviving fragments. (ex Wikipedia)

 

DE REPUBLICA – SOMNIUM SCIPIONIS: -

“De Republica” (“On the Commonwealth”) is a dialogue on Roman politics by Cicero, written in six books between 54 and 51 BC. The work does not survive in a complete state, and large parts are missing. The surviving sections derive from excerpts preserved in later works. Cicero uses the work to explain Roman constitutional theory. Written in imitation of Plato’s “Republic”, it takes the form of a Socratic dialoguein which Scepio Aemilianus takes the role of a wise old man.

The work examines the type of government that had been established in Rome since the kings, and that was challenged by amongst others Julius Caesar. The development of the constitution is explained, and Cicero explores the different types of constitutions and the roles played by citizens in government. The work is also known for the “Dream of Scipio”, a fictional dream vision from the sixth book.

 

The dialogue, between a number of people, is portrayed as taking place in Scipio's estate, during three consecutive days. Each day is described in two books, with an introduction by Cicero preceding the dialogue of each book. A large part of the last book (the sixth) is taken by Scipio telling a dream he had: this passage is known as “Somnium Scipionis”, or "Scipio's dream".

 

Since not all of the work survives, some of the content is surmised from references by other ancient authors.

Book one: Contains a discussion between the protagonists of the political situation of their time. The theme of the work is given and some comments are made about the theory of constitutions.

Book two: An outline of Roman history and the development of the constitution.

Book three: The role of justice in government is examined, as are the different types of constitutions.

Book four: A discourse about education.

Book five: The characters converse about the qualities of the ideal citizen in government.

Book Six: Little of this book survives except the “Somnium Scipionis”, which functions as the conclusion to the work.

 

Large parts of the text are missing: especially from the 4th and the 5th book only minor fragments survived. All other books have at least some passages missing. ”Scorpoi's Dream, which is only a part from the 6th book, is nearly all that survives from that book. The “Somnium Scipionis”, as it is known, survives because it was the subject of a commentary by Macrobius, who excerpted large portions; both he and his readers in the Middle Ages and Renaissance were mainly interested in its discussion of astrology and astronomy, especially given the loss of the rest of the book. An enterprising copyist early in the textual tradition appended a copy of the “Somnium” to a copy of Macrobius's Commentary, but this copy appears to be inferior to the one Macrobius was reading. This text became so popular that its transmission was polluted by multiple copies; it has been impossible to establish a stemma or it. (ex Wikipedia)

 

(The part of Book six that survives begins in paragraph 9 of the text of “Somnium Scipionis” and continues through to the end.).

 

ENGLISH TRANSLATION OF THE TEXT

RECTO

SOMNIUM SCIPIONIS

 

22....... of the Caucasus here or crossed the waters of the Ganges there? Who in the other remote regions of the rising or the setting sun or of the North or South will hear your name? Yet, leaving these aside, you can certainly see in what a narrow field your human glory aspires to spread. Again, the very men who talk of you, how long will they talk?

23 Why, even if those generations of men to come should care to hand down, in succession from father to son, the glory of each one of us; yet, still, owing to the deluges and conflagrations of the earth, which must happen periodically, we cannot acquire a lasting, much less an eternal renown. Nay, what does it matter that mention should be made of you by those who shall be born hereafter, when there was none among those who were born before you? They were not fewer in number but were, at any rate, better men;

24 the more so, as, among those very men, by whom our name may possibly be heard, no one can secure his reputation for a single year. Men, to be sure, commonly measure the year by the return of the sun, that is of a single heavenly body: but when all the constellations together shall have returned to the same point from which they once started; and after long intervals shall have restored the order of the whole heaven as it was before, then can that really be called the year of revolution: in which I hardly dare to say how many generations of men are comprehended. For as at that time, when the soul of Romulus made its way into these heavenly regions, the sun appeared to men to disappear and to be darkened, so whenever, in the same quarter and at the same time, the sun is again eclipsed, then, all the constellations and stars having been restored to their original position, you can say that a year has been fulfilled. But of this year know that as yet not a twentieth part has come round.

25 So, should you have lost hope of return to this place, on whom great and illustrious men rest all their hopes, what then is your human glory worth, which can hardly affect a scanty portion of a single year? Therefore, if you will choose to look aloft and fix your gaze on this our resting-place and eternal home, nor ever enslave thyself to the rumours of the rabble, nor stake the hope of your life on the rewards of men: virtue must draw you by her own attraction to true glory; what others say of you, let that be their own concern; but still they will talk. However, all that talk of theirs is both confined within those narrow bounds, which you can see, and has never been of long continuance in the case of any. It is buried with the men themselves, and ends in the forgetfulness of posterity."

26 When he had ended: "For my part," said I, "Africanus, if indeed a pathway, as it were, is open to the gates of heaven for those who have deserved well of their native land; although I have not failed to do you honour, from my boyhood t reading in my father's footsteps and in yours, yet now, with so great a prize before me, much more watchfully will I strive."

"Strive indeed," said he, "and be persuaded of this: it is not you that are mortal, but this body. For you are not that which your bodily form presents to view, but it is the mind of any man that is the man, not that figure which can be pointed out by the finger. Know then that you are a god; since he is a god who possesses force, feeling, memory and prescience, who directs, governs, and moves that body, of which he is the master, just as much as the supreme God of all moves this universe. And as the universe which is in some degree perishable is moved by God, who is himself eternal, so is the frail body moved by an immortal soul.

27 For that which moves all the time is eternal; but that which imparts motion to something else and itself receives its motion from some other source, must have a limit to its life because its motion can end. Therefore that only which moves of itself, because it never abandons itself so it never ceases to move. Moreover this is the source, this is the original cause of motion to all other things that move. ….........

 

Janssen Lab, La Jolla, CA

Melinda Richter, CEO - PreScience International, Executive Director - San Jose BioCenter

2016 Nisei Week President’s Award: The Rafu Shimpo

 

When the Japanese section of The Rafu Shimpo newspaper changed over to Mac computers from handset type in the 1990s, I grabbed a pile of lead letters, a random assortment of katakana and hiragana phonetic Japanese symbols with kanji characters. The shelves of type, considered dangerous because of its lead content if left unattended, would later be donated to a printing museum. As a result, I felt that my handful would not be missed. As someone who had worked at the newspaper first as a reporter and later as an editor of the English section for a total of 10 years, I needed some kind of physical memento of the history of the newspaper as it went through this transition.

 

The paper, which literally means “Los Angeles Newspaper,” has been an institution in both the Japanese American community and Southern California region for 113 years. When it was established in 1903, it was among a family of many Japanese-language news competitors. Today, it remains the only bilingual Japanese American newspaper in the whole nation published more than once a week. Sadly, its very survival is now in question as announced by the publisher, Michael Komai, earlier this year.

 

The Rafu Shimpo has remained the glue that connects the disparate pockets of Japanese Americans. Whether carefully read by Nisei in their 80s and 90s today or passed around in stacks to younger generations every few months, the newspaper has been an important record of community life, in the form of: obituaries, photographs of events, features on prominent leaders, crime stories with Japanese Americans as either victim or perpetrator, coverage of controversies and movements, personal essays, creative writing and historic lessons.

 

The English section was established in 1926, 23 years from its founding year, “for the Nisei, about the Nisei and by the Nisei.” I had the pleasure of meeting the first English editor, a Nisei woman named Louise Suski. Henry Toyosaku (H.T.) Komai, who acquired the newspaper in 1922, hired the then 20-year-old Suski, the daughter of his doctor, to launch stories in English. The first English section, published on February 21, 1926, was only a quarter of a page in size. From the English section’s very inception, the newspaper started a tradition of hiring very young adults who would both sharpen their editorial skills and expand their contacts with community leaders.

 

Later joining Suski as co-editor was another young ambitious Nisei, Togo Tanaka, who was also 20 years old at the time of his hiring. A brilliant student who graduated from Hollywood High School at age 16, he studied political science at UCLA and graduated with honors, but still was unable to land a civil servant job because of his Japanese ancestry. As he had some journalistic experience on UCLA’s Daily Bruin and Rafu’s competitor, Sei Fujii’s Kashu Mainichi, Tanaka was hired by The Rafu Shimpo, then the most popular Japanese American newspaper. He was assigned to translate articles from Japanese to English, which was a challenge because he never became fully bilingual. The other mandate given to him by H.T., “to give the newspaper American character,” was a more attainable goal.

 

After the bombing of Pearl Harbor, Tanaka was one of the few Nisei who was picked up and arrested. The newspaper ceased wartime publication on April 4, 1942 with a parting editorial titled, Itsuka mata omemoji no hi made (Until we meet again), and signed, “Before long, we will be ‘your Rafu Shimpo’ again.” H.T., in his prescience, hid all the type and printing equipment underneath the floorboards of the newspaper offices. Once staff members like Henry Mori, who took on editorial duties, returned from camp, they were ready to restart the newspaper on January 1, 1946.

 

After Mori came Ellen Endo, a mixed-race Japanese American who had grown up in Little Tokyo, as her parents ran a Skid Row residential hotel. She was only 19 years old when she assumed leadership of the English section. Endo’s battles in print with George “Horse” Yoshinaga, then the editor of the competing Kashu Mainichi, ensued at the time, captivating readers of both papers.

 

(Ironically, during my tenure, The Rafu Shimpo took on the “Horse’s Mouth” column after the Kashu Mainichi closed its doors in the 1990s. Later, when Endo returned to the Rafu as editor-in-chief, both former sparring partners worked under the same masthead.)

 

During a pivotal time in the 1970s and 80s, Dwight Chuman brought his strong idiosyncratic voice and progressive leanings to the pages of the newspaper as editor. In addition to general mainstream cultural shifts, this time period gave birth to deep explorations of Japanese American identity and civil rights.

 

Professor emeritus Don Hata described Chuman as “a gutsy Gardena Sansei who thrived on publishing stories that made the Nisei establishment uncomfortable.” Certainly, whether it was a series on Japanese American lesbians published as early as 1979 or investigation of resistance to the camp experience, Chuman seemed to relish in poking at prevailing conservative beliefs. In 1981, he helped co-found the Asian American Journalists Association in Los Angeles.

 

The Rafu Shimpo was especially important in the developing movement to gain redress and reparation for those incarcerated in American concentration camps during World War II. From early debates to final payments to eligible incarcerees, the paper played a vital and necessary role, perhaps its most significant legacy.

 

Due to language barriers, the Nisei and subsequent generations have been unaware of the contributions of the Japanese section. Recently, however, English-language readers, through Andrew Leong’s translated work of the Rafu serial in Lament in the Night, can gain insight on what life was for immigrants in the 1920s.

 

As in other special events, the Nisei Week Japanese Festival has always been faithfully chronicled in the pages of The Rafu Shimpo. It is difficult to imagine a future festival without the photographers and reporters of The Rafu Shimpo covering it, from the most mundane exhibit to the coronation and the parade.

 

As the Japanese American community has evolved, it still remains vibrant, just as Nisei Week has continued. The community needs a story-gatherer. My hope, and the hope of the Nisei Week Foundation in honoring the newspaper with a very special President’s Award, is that it continues to be our Rafu Shimpo.

 

***

 

This story was written by Naomi Hirahara, who was a reporter from 1984-1987 and then editor of The Rafu Shimpo from 1990-1996. Hirahara is the Edgar Award-winning author of two mystery series. Her Mas Arai novels have been translated in Japanese, Korean and French, and the first one, Summer of the Big Bachi, is currently being developed as an independent feature film. For more information, go to www.naomihirahara.com.

 

Source: Nisei Week Foundation

 

The Grand Parade is one of the many events that take place during the Nisei Week Japanese Festival. Visit the Festival's official website for more information about one of the nation's longest running cultural festivals.

The Monotooth was in the skilled hands of the royal physicians, the Servatori were on guard around its room, the body of Ch’Voga was being…tended to by the family servants, Amisbhake didn’t know if embalming was the word anymore. What does one do with a dried corpse, especially one which had begun to rot again when the Monotooth carried it into slightly more humid climes? How long had the undead cyborg walked among the people? A corpse carrying a corpse, it gave Amisbhake a shiver to consider. The Sun would not rise for a few hours yet but no one was looking for his bed. The day had begun. The Viceroy led them back to the council room, which the uncanny staff in their vigilant prescience had lit and prepared for them.

 

“So,” this most unique of all morning meetings began with the calming familiar, the Viceroy pouring the first cups of coffee for each of them himself and placing the first question to his advisors, “What do you make of this?”

 

“Verily,” C’Yashi’s gravely purr was the first heard, also familiar, though possibly not reassuringly so. “You do not want to know what I think, sire.”

 

“Probably not, but pretending for a moment it is early and my better judgment slept in, indulge me.”

 

“Very well. I think I for one have never been party to so vulgar an act as I have just witnessed in all my years! And may I never be again should I live a thousand more!”

 

The Viceroy finished pouring, sat in his throne at the head and adopted a listening posture. “Indeed. Do tell?” They all sat in their places, two divans for the six advisors on either side of the central charcoal.

 

“In my long years of service to Milord, I have almost become inured to the battering of my liege’s shocking displays and erratic decisions. But this! This, by far, is the most irrational, preposterous and outright irresponsible of them all!”

 

“It would seem since we’re beginning the meeting early today,” Amisbhake said, “we will be treated to longer preambles.”

 

“Pre-rambles, you mean,” Moche chuckled.

 

“Peace counselors,” the Viceroy chastened, “The source of your outrage, C’Yashi?”

 

“Is this, Milord: the Regent embracing his son’s very murderer? It is indecent! Extravagant to the point of forgetting, nay! Flogging justice, to say nothing of your beloved son’s memory and honor. Does he not deserve justice? But! Milord’s soft-hearted forgiveness and mercy are legendary so one could almost, almost I say, swallow this bitter lozenge. But to call the very… abomination your son! To name it your heir! Have you gone mad, Milord? I do hope your better judgment awakes and joins us soon!” Amisbhake always had a violent itch to draw his sword after C’Yashi spoke. Some low murmurs and hard looks around the council told him he was not alone in the sentiment.

 

“Should I not honor my son’s last wish?”

 

“How do we know it was his wish?”

 

“We have his will. Written in his own hand or I’m not his Father, sealed with his ring.”

 

“But what state was your son in, Milord?” the emphasis on ‘your son’ could not be missed. “Alone, most probably injured or dehydrated, captured by this vile devil,” which, Amisbhake translated in his head, is not your son, “and being dragged back to its lair. He very well could have been delirious.”

 

“Yet was coherent enough to instruct a member of a hostile race that to my knowledge, no one has ever managed to communicate with,” Amisbhake countered, “giving him specific instructions on how to get here, how to get in contact with the Viceroy himself, write a legible, credible will and testament and seal it. A high cognitive delirium indeed.”

 

“The cyborg had the ring.”

 

“And knew what it was for?”

 

“Conceded. However it could be a joke! Not to be crass, Milord but Ch’Voga was famous for his dry wit. Never expecting the creature to make the journey here, much less survive, he could have written it only to amuse himself.”

 

“Pretty risky,” Moche said, “giving a Monotooth directions to the capitol for a joke.”

 

“What is it you fear, C’Yashi?” Amisbhake asked.

 

“Assassins, large dogs, the laundry staff losing his imported robes,” Melchizadek quipped.

 

“Perhaps,” Moche added, “he fears the assassin is here for him, Ch’Voga’s last joke, as it were.”

 

C’Yashi waited for the chuckles to settle, “Sire, I apologize for starting this line,” C’Yashi said to the Viceroy. To Moche he hissed, “Have you no shame? We have not even buried him!” All eyes shifted to the empty place on the Viceroy’s throne where the heir sat.

 

Moche, abashed, also apologized. “I meant no disrespect, Milord. I loved him as my own.”

 

“I know, Moche. Fear not, Ch’Voga would be the first to complain if we were dour on his account. The time will come to mourn, to grieve, but we who knew him in this council, may speak as he would have had us speak,” Chofa rumbled with only an extra softness to his distant thunder rumble to betray the pain he must be feeling. “And I do not believe for a second he would send anyone to assassinate his favorite foil.” C’Yashi’s smile was wan. “So what is it that has you so concerned, C’Yashi?”

 

“Your highness, I do not trust what I do not understand. A barely sentient cyborg killing machine I understand. One here in the capitol, in the very palace infirmary, this I do not understand. Ch’Voga naming it like a pet; that I could understand. Like his own child, I do not. Wanting a connection while he is alone, someone to belong to, even this I could attempt to understand. Showing it the way here so it could sit in that very place at the council fire,” he gestured to Ch’Voga’s empty seat, “and someday yours, Milord, that I most certainly do not understand! Nor can I certify it as wise.”

 

“What would you have me do?”

 

C’Yashi waved his hand, “It is not my place to say…”

 

“What would you do, C’Yashi? If you were Viceroy, what would you do with this pitiable creature?”

 

C’Yashi met his eye. “Kill it, Milord. For the sake of our posterity. For the sake of all that’s holy. And for Ch’Voga, your beloved son, I say, kill it.”

 

My book for sale.        Email me.

A great advocate of warm woolies ("even in July it can go off a bit chilly on your arms in the evenings"), my mother has had the prescience to pack a sensible cardy against the Alpine chill. Again I don't know where this is, but my father became very fond of Austria and Switzerland and took my rather unwilling mother to those countries repeatedly.

Janssen Lab, La Jolla, CA

Melinda Richter, CEO - PreScience International, Executive Director - San Jose BioCenter

My favourite urban griot, Gil Scott-Heron, is sorely missed. Here we find him in peak satire mode in the Deadwood saloon in the company of the embodiment of nostalgic myth-making, John Wayne, and the pale imitation of B-movie lore that America settled for, Ronald Reagan (or the Hollyweird Ronald the Ray-Gun as Gil would so quotably put it).

 

Dig The B movie theory:

 

"The idea concerns the fact that this country wants nostalgia.

 

They want to go back as far as they can – even if it’s only as far as last week. Not to face now or tomorrow, but to face backwards. And yesterday was the day of our cinema heroes riding to the rescue at the last possible moment. The day of the man in the white hat or the man on the white horse - or the man who always came to save America at the last moment – someone always came to save America at the last moment – especially in "B" movies. And when America found itself having a hard time facing the future, they looked for people like John Wayne. But since John Wayne was no longer available, they settled for Ronald Reagan – and it has placed us in a situation that we can only look at – like a "B" movie..."

 

I put it this way four years ago at the height of the George W. Bush years:

 

We are living in a moment where nostalgia is key, we're anesthetizing ourselves with cowboy politics, selective amnesia and worse, when we'd rather have John Wayne. And Baghdad and New Orleans are not the only ones who can testify to that insight.

 

Gil Scott-Heron is one the great satirists, punctuating his critique with a melodious line and a soulful groove. It's uncanny how he does it, that you can't help but nod your head, tap your feet and laugh out loud even as you want to cry at what he is saying. His body of work is heroic, his prescience altogether scary.

 

But it is hard living as a canary in a mineshaft, if no one is listening and home is where the hatred is, can it be a surprise if there only remain fractured pieces of a man? Dig: I too might drown myself in fugitive spirits.

 

Anyway let's kick some urban griot poetry around this joint. Or should we call it soul food?

 

When Sir John Gladstone removed to Scotland, fine houses began to rise in Seaforth as Liverpool’s merchants moved in. One of the new and wealthier residents of Seaforth was James Muspratt. Muspratt was born in Dublin in 1793, but had moved to Liverpool in 1823 to set up a factory to manufacture alkali. He came to be known as “the father of the alkali industry (i.e. chemical industry) in Lancashire”, although in the 1851 census he describes himself more modestly as a “manufacturing chemist”.

 

Muspratt had long desired to erect at Seaforth what his son called “a house of noble dimensions and classic style”, although it wasn’t until 1845 that he was able to purchase the twenty acres he needed. William Bower Forwood hints that Muspratt got a bargain:

 

“Mr Muspratt...had the prescience to see that the sandhills, which he bought for a nominal price, would some day become a part of Liverpool.”

 

On this land, consisting of treeless sandhills (according to his son), Muspratt built himself a house -– Seaforth Hall -- which was much admired at the time. Bower Forwood calls it “one of the finest houses about Liverpool.”

 

In order to keep a close eye on the building, Muspratt moved into the house which later became the parsonage, where he kept a close eye on progress, as well as planting trees and laying out the pleasure grounds. Muspratt’s grand-daughter (and Edmund’s daughter) Hildegarde Gordon Brown, described the house as having fine views over the Wirral peninsula to the Welsh mountains. The house itself was designed by James Picton (more famous as the architect who completed St. George’s Hall).

 

For a long time the Hall was known as “Muspratt’s Folly”. When the Muspratts moved into Seaforth Hall there were still comparatively few other houses in the vicinity. Muspratt’s son, Edmund, remembers its isolation – as a child he would ride his pony along the shore to a small cottage they called “The World’s End”, as it was “the last house till you came top Southport”.

 

Standing solitary near the shore, as it did then, Seaforth Hall was a very noticeable building and was apparently used as a landmark for the passengers from New York. Ellen Terry, the famous actress, once told Edmund Muspratt how much she looked forward to the sight of the Greek mansion which stood on the banks of the Mersey as the first sight of home.

 

 

6 février 1985 / 2h 20min / Fantastique, Science fiction, Action

De David Lynch

Avec Kyle MacLachlan, Jürgen Prochnow, Francesca Annis

Nationalité américain

 

Synopsis et détails

L'empereur Shaddam IV règne sur l'univers. Se sentant menacé par le pouvoir mystérieux des Atréides, il extermine sur la planète Dune ce peuple fier et valeureux. Paul, héritier des Atréides, échappe au massacre.

 

Dune est un film de science-fiction américain écrit et réalisé par David Lynch, sorti en 1984. Il s'agit de la première adaptation du roman du même nom (paru en 1965), premier volume du Cycle de Dune de l’écrivain Frank Herbert.

 

Le film, sévèrement critiqué à sa sortie, est un échec commercial. Lynch prendra ses distances vis-à-vis du film, déclarant que la pression des producteurs et des financiers ont restreint son contrôle artistique et qu'il n'est pas l'auteur du « final cut » (montage définitif) du film.

 

Au moins trois versions du film ont été réalisées. Dans certaines versions du montage, le nom de Lynch est remplacé dans le générique par « Alan Smithee », pseudonyme utilisé par les réalisateurs qui souhaitent ne pas être associés à un film pour lequel ils seraient normalement crédités. Les versions longues et télévisées du film créditent en outre le scénariste David Lynch en tant que « Judas Booth ».

 

Le film est devenu « culte » au fil du temps, mais les opinions varient parmi les fans du roman de Herbert et les fans des films de Lynch.

 

Dune is a 1984 American epic science fiction film written and directed by David Lynch and based on the 1965 Frank Herbert novel of the same name. The film stars Kyle MacLachlan (in his film debut) as young nobleman Paul Atreides, and includes an ensemble of well-known American and European actors in supporting roles. It was filmed at the Churubusco Studios in Mexico City and included a soundtrack by the rock band Toto, as well as Brian Eno.

 

Set in the distant future, the film chronicles the conflict between rival noble families as they battle for control of the extremely harsh desert planet Arrakis, also known as "Dune". The planet is the only source of the drug melange—also called "the spice"—which allows prescience and is vital to space travel, making it the most essential and valuable commodity in the universe. Paul Atreides is the scion and heir of a powerful noble family, whose inheritance of control over Arrakis brings them into conflict with its former overlords, House Harkonnen. Paul is also a candidate for the Kwisatz Haderach, a messianic figure in the Bene Gesserit religion. Besides MacLachlan, the film features a large ensemble cast of supporting actors, including Patrick Stewart, Brad Dourif, Dean Stockwell, Virginia Madsen, José Ferrer, Sting, Linda Hunt, and Max von Sydow, among others.

 

After the novel's initial success, attempts to adapt Dune as a film began in 1971. A lengthy process of development followed throughout the 1970s, during which Arthur P. Jacobs, Alejandro Jodorowsky, and Ridley Scott unsuccessfully tried to bring their visions to the screen. In 1981, executive producer Dino De Laurentiis hired Lynch as director.

 

The film was a box-office failure, grossing $30.9 million from a $40 million budget, and was negatively reviewed by critics, which heavily criticized the screenwriting, lack of faith to the source material, the pacing, direction and editing, although the visual effects, musical score, acting and action sequences were praised. Upon release, Lynch disowned the final film, stating that pressure from both producers and financiers restrained his artistic control and denied him final cut privilege. At least three versions have been released worldwide. In some cuts, Lynch's name is replaced in the credits with the name Alan Smithee, a pseudonym used by directors who wish not to be associated with a film for which they would normally be credited. The extended and television versions additionally credit writer Lynch as Judas Booth. The film has developed a cult following over time, but opinion varies among fans of the novel and fans of Lynch's films.

 

Went on a tour of the American air base at "RAF" Lakenheath yesterday. Rather fewer photo ops than I would have liked, and those mostly when the light was becoming poor. Luckily I had had the prescience to bring my tripod. While Mrs B admired the young pilots in their flying suits, I contended with manual focus and white balance, failing to notice that I was on 800 ISO, which has made the picture a little "noisy".

Speaking of noise, this is a McDonnell Douglas F-15 fighter in what I think is called a "hush house", used for testing engines in situ. There is another facility for putting engines through their paces outside the aeroplane. The hush house is constructed from sound-proofing materials. Blast from the engines escapes from the building by a baffle-lined opening behind the aeroplane and is then deflected upwards.

Friday evening we worked yet more on inflexions with Niko, Lin having stayed up the night before struggling with a detailed chart showing all the variations of 'at' and 'in'. Looking at 'Χούντα στην πλατεία Συντάγματος' - a YouTube clip of mayhem in Syntagma Square he tested us on inflected prepositions.

youtu.be/S20_JuaX8gg

"Did you see the την? (pointing at 0.03 on the screen) Why?"

Linda "Because πλατεία, plateia, is female"

"Bravo"

We continued working on the different versions of 'in' and 'at' and 'from' checking with our workbook exchanges; doing a little test. As well as our exchanges with Nikos we have been using Κλεάνθης Αρβανιτάκης και Φρόσω Αρβανιτάκη, Επικοινωνήστε Ελληνικά 1 - Kleanthis Arvanitakis and Phroso Arvanitaki, Epikoinoniste Ellinika 1: Communicate in Greek 1, which comes with a CD I've downloaded to my computer for easy playback. Nikos stayed on after the lesson as Lin cooked supper. He introduced me to a blog by Toddler and pointed out how PASOK's logo had been altered to read 'μπατσόκ, ΜΠΑΤΣΟΚ' - in English - 'copper'.

pitsirikos.net/

"What do you think is going to happen?" he asked

"I don't know. Tolstoy's best on that question. It's a test of global capitalism? It's kids on the block with slogans? What's later forged - in both senses of the word - into history was, while it went on, fraught with confusion, speculation, incomprehension, contested explanation. Flawed memory and self-justifying egotism will have many commentators claiming prescience. In retrospect. And history never stops being rewritten."

"It will all come out at the post mortem - η νεκροψία" said Niko as he left.

   

democracystreet.blogspot.com/2011/07/phone-by-bed-woke-me...

My book for sale.        Email me.

Melinda Richter, CEO PreScience International, Executive Director BioExec Institute

My book for sale.        Email me.

Janssen Lab, La Jolla, CA

Melinda Richter, CEO - PreScience International, Executive Director - San Jose BioCenter

OPINION

 

Guardian.co.uk | The Observer

 

November 2, 2008

 

'The election of Obama would, at a stroke, refresh our country's spirit'

It has been an epic campaign for the American Presidency and one which has been scrutinised at close quarters by the US's finest writers on the New Yorker magazine - the country's leading journal of politics and culture. Here, in their leader column ahead of the election, the editors of the magazine offer a brilliant analysis of the choice facing America, deconstruct the strengths and weaknesses of the candidates and finish with a powerful endorsement of Barack Obama as the man best suited to answer the grave challenges facing the next President

   

Never in living memory has an election been more critical than the one fast approaching - that's the quadrennial cliché, as expected as the balloons and the bombast. And yet when has it ever felt so urgently true? When have so many Americans had so clear a sense that a presidency has - at the levels of competence, vision and integrity - undermined the country and its ideals?

 

The incumbent administration has distinguished itself for the ages. The presidency of George W Bush is the worst since Reconstruction, so there is no mystery about why the Republican party - which has held dominion over the executive branch of the federal government for the past eight years and the legislative branch for most of that time - has little desire to defend its record, domestic or foreign. The only speaker at the convention in St Paul who uttered more than a sentence or two in support of the President was his wife, Laura. Meanwhile, the nominee, John McCain, played the part of a vaudeville illusionist, asking to be regarded as an apostle of change after years of embracing the essentials of the Bush agenda with ever-increasing ardour.

 

The Republican disaster begins at home. Even before taking into account whatever fantastically expensive plan eventually emerges to help rescue the financial system from Wall Street's long-running pyramid schemes, the economic and fiscal picture is bleak. During the Bush administration, the national debt, now approaching $10 trillion, has nearly doubled. Next year's federal budget is projected to run a $500bn deficit, a precipitous fall from the $700bn surplus that was projected when Bill Clinton left office. Private-sector job creation has been a sixth of what it was under President Clinton. Five million people have fallen into poverty. The number of Americans without health insurance has grown by seven million, while average premiums have nearly doubled. Meanwhile, the principal domestic achievement of the Bush administration has been to shift the relative burden of taxation from the rich to the rest. For the top 1 per cent of us, the Bush tax cuts are worth, on average, about a thousand dollars a week; for the bottom fifth, about a dollar and a half. The unfairness will only increase if the painful, yet necessary, effort to rescue the credit markets ends up preventing the rescue of our healthcare system, our environment and our physical, educational and industrial infrastructure.

 

At the same time, 150,000 American troops are in Iraq and 33,000 are in Afghanistan. There is still disagreement about the wisdom of overthrowing Saddam Hussein and his horrific regime, but there is no longer the slightest doubt that the Bush administration manipulated, bullied and lied the American public into this war and then mismanaged its prosecution in nearly every aspect. The direct costs, besides an expenditure of more than $600bn, have included the loss of more than 4,000 Americans, the wounding of 30,000, the deaths of tens of thousands of Iraqis and the displacement of four and a half million men, women and children. Only now, after American forces have been fighting for a year longer than they did in the Second World War, is there a glimmer of hope that the conflict in Iraq has entered a stage of fragile stability.

 

The indirect costs, both of the war in particular and of the administration's unilateralist approach to foreign policy in general, have also been immense. The torture of prisoners, authorised at the highest level, has been an ethical and a public diplomacy catastrophe. At a moment when the global environment, the global economy and global stability all demand a transition to new sources of energy, the United States has been a global retrograde, wasteful in its consumption and heedless in its policy. Strategically and morally, the Bush administration has squandered the American capacity to counter the example and the swagger of its rivals. China, Russia, Iran, Saudi Arabia and other illiberal states have concluded, each in its own way, that democratic principles and human rights need not be components of a stable, prosperous future. At recent meetings of the United Nations, emboldened despots like Mahmoud Ahmadinejad of Iran came to town sneering at our predicament and hailing the 'end of the American era'.

 

The election of 2008 is the first in more than half a century in which no incumbent President or Vice-President is on the ballot. There is, however, an incumbent party and that party has been lucky enough to find itself, apparently against the wishes of its 'base', with a nominee who evidently disliked George W Bush before it became fashionable to do so. In South Carolina, in 2000, Bush crushed John McCain with a sub rosa primary campaign of such viciousness that McCain lashed out memorably against Bush's Christian Right allies. So profound was McCain's anger that in 2004 he flirted with the possibility of joining the Democratic ticket under John Kerry. Bush, who took office as a 'compassionate conservative', governed immediately as a rightist ideologue. During that first term, McCain bolstered his reputation, sometimes deserved, as a 'maverick' willing to work with Democrats on such issues as normalising relations with Vietnam, campaign finance reform and immigration reform. He co-sponsored, with John Edwards and Edward Kennedy, a patients' bill of rights. In 2001 and 2003 he voted against the Bush tax cuts. With John Kerry, he co-sponsored a bill raising auto fuel efficiency standards and, with Joseph Lieberman, a cap-and-trade regime on carbon emissions. He was one of a minority of Republicans opposed to unlimited drilling for oil and gas off America's shores.

 

Since the 2004 election, however, McCain has moved remorselessly rightwards in his quest for the Republican nomination. He paid obeisance to Jerry Falwell and preachers of his ilk. He abandoned immigration reform, eventually coming out against his own bill. Most shockingly, McCain, who had repeatedly denounced torture under all circumstances, voted in February against a ban on the very techniques of 'enhanced interrogation' that he himself once endured in Vietnam - as long as the torturers were civilians employed by the CIA.

 

On almost every issue, McCain and the Democratic party's nominee, Barack Obama, speak the generalised language of 'reform', but only Obama has provided a convincing, rational and fully developed vision. McCain has abandoned his opposition to the Bush-era tax cuts and has taken up the demagogic call - in the midst of recession and Wall Street calamity, with looming crises in social security, Medicare and Medicaid - for more tax cuts. Bush's expire in 2011. If McCain, as he has proposed, cuts taxes for corporations and estates, the benefits once more would go disproportionately to the wealthy.

 

In Washington the craze for pure market triumphalism is over. Treasury Secretary Henry Paulson arrived in town (via Goldman Sachs) a Republican, but it seems that he will leave a Democrat. In other words, he has come to see that the abuses that led to the current financial crisis - not least, excessive speculation on borrowed capital - can be fixed only with government regulation and oversight. McCain, who has never evinced much interest in, or knowledge of, economic questions, has had little of substance to say about the crisis. His most notable gesture of concern - a melodramatic call to suspend his campaign and postpone the first presidential debate until the government bail-out plan was ready - soon revealed itself as an empty diversionary tactic.

 

By contrast, Obama has made a serious study of the mechanics and the history of this economic disaster and of the possibilities of stimulating a recovery. Last March, in New York, in a speech notable for its depth, balance and foresight, he said: 'A complete disdain for pay-as-you-go budgeting, coupled with a generally scornful attitude towards oversight and enforcement, allowed far too many to put short-term gain ahead of long-term consequences.' Obama is committed to reforms that value not only the restoration of stability but also the protection of the vast majority of the population, which did not partake of the fruits of the binge years. He has called for greater and more programmatic regulation of the financial system; the creation of a National Infrastructure Reinvestment Bank, which would help reverse the decay of our roads, bridges and mass-transit systems and create millions of jobs; and a major investment in the green-energy sector.

 

On energy and global warming, Obama offers a set of forceful proposals. He supports a cap-and-trade programme to reduce America's carbon emissions by 80 per cent by 2050 - an enormously ambitious goal, but one that many climate scientists say must be met if atmospheric carbon dioxide is to be kept below disastrous levels. Large emitters, such as utilities, would acquire carbon allowances and those which emit less carbon dioxide than their allotment could sell the resulting credits to those which emit more; over time, the available allowances would decline. Significantly, Obama wants to auction off the allowances; this would provide $15bn a year for developing alternative energy sources and creating job-training programmes in green technologies. He also wants to raise federal fuel-economy standards and to require that 10 per cent of America's electricity be generated from renewable sources by 2012. Taken together, his proposals represent the most coherent and far-sighted strategy ever offered by a presidential candidate for reducing the nation's reliance on fossil fuels.

 

There was once reason to hope that McCain and Obama would have a sensible debate about energy and climate policy. McCain was one of the first Republicans in the Senate to support federal limits on carbon dioxide and he has touted his own support for a less ambitious cap-and-trade programme as evidence of his independence from the White House. But, as polls showed Americans growing jittery about gasoline prices, McCain apparently found it expedient in this area, too, to shift course. He took a dubious idea - lifting the federal moratorium on offshore oil drilling - and placed it at the centre of his campaign. Opening up America's coastal waters to drilling would have no impact on gasoline prices in the short term and, even over the long term, the effect, according to a recent analysis by the Department of Energy, would be 'insignificant'. Such inconvenient facts, however, are waved away by a campaign that finally found its voice with the slogan 'Drill, baby, drill!'

 

The contrast between the candidates is even sharper with respect to the third branch of government. A tense equipoise currently prevails among the justices of the Supreme Court, where four hardcore conservatives face off against four moderate liberals. Anthony M Kennedy is the swing vote, determining the outcome of case after case.

 

McCain cites Chief Justice John Roberts and Justice Samuel Alito, two reliable conservatives, as models for his own prospective appointments. If he means what he says, and if he replaces even one moderate on the current Supreme Court, then Roe v Wade will be reversed and states will again be allowed to impose absolute bans on abortion. McCain's views have hardened on this issue. In 1999 he said he opposed overturning Roe; by 2006 he was saying that its demise 'wouldn't bother me any'; by 2008 he no longer supported adding rape and incest as exceptions to his party's platform opposing abortion.

 

But scrapping Roe - which, after all, would leave states as free to permit abortion as to criminalise it - would be just the beginning. Given the ideological agenda that the existing conservative bloc has pursued, it's safe to predict that affirmative action of all kinds would likely be outlawed by a McCain court. Efforts to expand executive power, which in recent years certain justices have nobly tried to resist, would be likely to increase. Barriers between church and state would fall; executions would soar; legal checks on corporate power would wither - all with just one new conservative nominee on the court. And the next President is likely to make three appointments.

 

Obama, who taught constitutional law at the University of Chicago, voted against confirming not only Roberts and Alito but also several unqualified lower-court nominees. As an Illinois state senator, he won the support of prosecutors and police organisations for new protections against convicting the innocent in capital cases. While McCain voted to continue to deny habeas corpus rights to detainees, perpetuating the Bush administration's regime of state-sponsored extra-legal detention, Obama took the opposite side, pushing to restore the right of all US-held prisoners to a hearing. The judicial future would be safe in his care.

 

In the shorthand of political commentary, the Iraq war seems to leave McCain and Obama roughly even. Opposing it before the invasion, Obama had the prescience to warn of a costly and indefinite occupation and rising anti-American radicalism around the world; supporting it, McCain foresaw none of this. More recently, in early 2007, McCain risked his presidential prospects on the proposition that five additional combat brigades could salvage a war that by then appeared hopeless. Obama, along with most of the country, had decided that it was time to cut American losses. Neither candidate's calculations on Iraq have been as cheaply political as McCain's repeated assertion that Obama values his career over his country; both men based their positions, right or wrong, on judgment and principle.

 

President Bush's successor will inherit two wars and the realities of limited resources, flagging popular will and the dwindling possibilities of what can be achieved by American power. McCain's views on these subjects range from the simplistic to the unknown. In Iraq, he seeks 'victory' - a word that General David Petraeus refuses to use, and one that fundamentally misrepresents the messy, open-ended nature of the conflict. As for Afghanistan, on the rare occasions when McCain mentions it he implies that the surge can be transferred directly from Iraq, which suggests that his grasp of counterinsurgency is not as firm as he insisted it was during the first presidential debate. McCain always displays more faith in force than interest in its strategic consequences. Unlike Obama, McCain has no political strategy for either war, only the dubious hope that greater security will allow things to work out. Obama has long warned of deterioration along the Afghanistan-Pakistan border and has a considered grasp of its vital importance. His strategy for both Afghanistan and Iraq shows an understanding of the role that internal politics, economics, corruption and regional diplomacy play in wars where there is no battlefield victory.

 

Unimaginably painful personal experience taught McCain that war is above all a test of honour: maintain the will to fight on, be prepared to risk everything and you will prevail. Asked during the first debate to outline 'the lessons of Iraq', McCain said: 'I think the lessons of Iraq are very clear: that you cannot have a failed strategy that will then cause you to nearly lose a conflict.' A soldier's answer - but a statesman must have a broader view of war and peace. The years ahead will demand not only determination but also diplomacy, flexibility, patience, judiciousness and intellectual engagement. These are no more McCain's strong suit than the current President's. Obama, for his part, seems to know that more will be required than will power and force to extract some advantage from the wreckage of the Bush years.

 

Obama is also better suited for the task of renewing the bedrock foundations of American influence. An American restoration in foreign affairs will require a commitment not only to international co-operation but also to international institutions that can address global warming, the dislocations of what will likely be a deepening global economic crisis, disease epidemics, nuclear proliferation, terrorism and other, more traditional security challenges. Many of the Cold War-era vehicles for engagement and negotiation - the United Nations, the World Bank, the Nuclear Non-Proliferation Treaty regime, the North Atlantic Treaty Organisation - are moribund, tattered, or outdated. Obama has the generational outlook that will be required to revive or reinvent these compacts. He would be the first postwar American President unencumbered by the legacies of either Munich or Vietnam.

 

The next President must also restore American moral credibility. Closing Guantánamo, banning all torture and ending the Iraq war as responsibly as possible will provide a start, but only that. The modern presidency is as much a vehicle for communication as for decision-making and the relevant audiences are global. Obama has inspired many Americans in part because he holds up a mirror to their own idealism. His election would do no less - and likely more - overseas.

 

What most distinguishes the candidates, however, is character - and here, contrary to conventional wisdom, Obama is clearly the stronger of the two. Not long ago, Rick Davis, McCain's campaign manager, said: 'This election is not about issues. This election is about a composite view of what people take away from these candidates.' The view that this election is about personalities leaves out policy, complexity and accountability. Even so, there's some truth in what Davis said - but it hardly points to the conclusion that he intended.

 

Echoing Obama, McCain has made 'change' one of his campaign mantras. But the change he has provided has been in himself and it is not just a matter of altering his positions. A willingness to pander and even lie has come to define his presidential campaign and its televised advertisements. A contemptuous duplicity, a meanness, has entered his talk on the stump - so much so that it seems obvious that, in the drive for victory, he is willing to replicate some of the same underhanded methods that defeated him eight years ago in South Carolina.

 

Perhaps nothing revealed McCain's cynicism more than his choice of Sarah Palin, the former mayor of Wasilla, Alaska, who had been governor of that state for 21 months, as the Republican nominee for Vice-President. In the interviews she has given since her nomination, she has had difficulty uttering coherent unscripted responses about the most basic issues of the day. We are watching a candidate for Vice-President cram for her ongoing exam in elementary domestic and foreign policy. This is funny as a Tina Fey routine on Saturday Night Live, but as a vision of the political future it's deeply unsettling. Palin has no business being the back-up to a President of any age, much less to one who is 72 and in imperfect health. In choosing her, McCain committed an act of breathtaking heedlessness and irresponsibility. Obama's choice, Joe Biden, is not without imperfections. His tongue sometimes runs in advance of his mind, providing his own fodder for late-night comedians, but there is no comparison with Palin. His deep experience in foreign affairs, the judiciary and social policy makes him an assuring and complementary partner for Obama.

 

The longer the campaign goes on, the more the issues of personality and character have reflected badly on McCain. Unless appearances are very deceptive, he is impulsive, impatient, self-dramatising, erratic and a compulsive risk-taker. These qualities may have contributed to his usefulness as a 'maverick' senator. But in a President they would be a menace.

 

By contrast, Obama's transformative message is accompanied by a sense of pragmatic calm. A tropism for unity is an essential part of his character and of his campaign. It is part of what allowed him to overcome a Democratic opponent who entered the race with tremendous advantages. It is what helped him forge a political career relying both on the liberals of Hyde Park and on the political regulars of downtown Chicago. His policy preferences are distinctly liberal, but he is determined to speak to a broad range of Americans who do not necessarily share his every value or opinion. For some who oppose him, his equanimity even under the ugliest attack seems like hauteur; for some who support him, his reluctance to counterattack in the same vein seems like self-defeating detachment.

 

Yet it is Obama's temperament - and not McCain's - that seems appropriate for the office both men seek and for the volatile and dangerous era in which we live. Those who dismiss his centredness as self-centredness or his composure as indifference are as wrong as those who mistook Eisenhower's stolidity for denseness or Lincoln's humour for lack of seriousness.

 

Nowadays almost every politician who thinks about running for President arranges to become an author. Obama's books are different: he wrote them. The Audacity of Hope (2006) is a set of policy disquisitions loosely structured around an account of his freshman year in the United States Senate.

 

Though a campaign manifesto of sorts, it is superior to that genre's usual blowsy pastiche of ghostwritten speeches. But it is Obama's first book, Dreams from My Father: A Story of Race and Inheritance (1995), that offers an unprecedented glimpse into the mind and heart of a potential President. Obama began writing it in his early thirties, before he was a candidate for anything. Not since Theodore Roosevelt has an American politician this close to the pinnacle of power produced such a sustained, highly personal work of literary merit before being definitively swept up by the tides of political ambition.

 

A presidential election is not the awarding of a Pulitzer prize: we elect a politician and, we hope, a statesman, not an author. But Obama's first book is valuable in the way that it reveals his fundamental attitudes of mind and spirit. Dreams from My Father is an illuminating memoir not only in the substance of Obama's own peculiarly American story but also in the qualities he brings to the telling: a formidable intelligence, emotional empathy, self-reflection, balance and a remarkable ability to see life and the world through the eyes of people very different from himself. In common with nearly all other senators and governors of his generation, Obama does not count military service as part of his biography. But his life has been full of tests - personal, spiritual, racial, political - that bear on his preparation for great responsibility.

 

It is perfectly legitimate to call attention, as McCain has done, to Obama's lack of conventional national and international policy-making experience. We, too, wish he had more of it. But office-holding is not the only kind of experience relevant to the task of leading a wildly variegated nation. Obama's immersion in diverse human environments (Hawaii's racial rainbow, Chicago's racial cauldron, countercultural New York, middle-class Kansas, predominantly Muslim Indonesia), his years of organising among the poor, his taste of corporate law and his grounding in public-interest and constitutional law - these, too, are experiences. And his books show that he has wrung from them every drop of insight and breadth of perspective they contained.

 

The exhaustingly, sometimes infuriatingly, long campaign of 2008 (and 2007) has had at least one virtue: it has demonstrated that Obama's intelligence and steady temperament are not just figments of the writer's craft. He has made mistakes, to be sure. (His failure to accept McCain's imaginative proposal for a series of unmediated joint appearances was among them.) But, on the whole, his campaign has been marked by patience, planning, discipline, organisation, technological proficiency and strategic astuteness. Obama has often looked two or three moves ahead, relatively impervious to the permanent hysteria of the hourly news cycle and the cable news shouters. And when crisis has struck, as it did when the divisive antics of his ex-pastor threatened to bring down his campaign, he has proved equal to the moment, rescuing himself with a speech that not only drew the poison but also demonstrated a profound respect for the electorate.

 

Although his opponents have tried to attack him as a man of 'mere' words, Obama has returned eloquence to its essential place in American politics. The choice between experience and eloquence is a false one - something that Lincoln, out of office after a single term in Congress, proved in his own campaign of political and national renewal. Obama's 'mere' speeches on everything from the economy and foreign affairs to race have been at the centre of his campaign and its success; if he wins, his eloquence will be central to his ability to govern.

 

We cannot expect one man to heal every wound, to solve every major crisis of policy. So much of the presidency, as they say, is a matter of waking up in the morning and trying to drink from a fire hydrant. In the quiet of the Oval Office, the noise of immediate demands can be deafening. And yet Obama has precisely the temperament to shut out the noise when necessary and concentrate on the essential.

 

The election of Obama - a man of mixed ethnicity, at once comfortable in the world and utterly representative of 21st-century America - would, at a stroke, reverse our country's image abroad and refresh its spirit at home. His ascendance to the presidency would be a symbolic culmination of the civil- and voting - rights acts of the 1960s and the century-long struggles for equality that preceded them. It could not help but say something encouraging, even exhilarating, about the country, about its dedication to tolerance and inclusiveness, about its fidelity, after all, to the values it proclaims in its textbooks. At a moment of economic calamity, international perplexity, political failure and battered morale, America needs both uplift and realism, both change and steadiness. It needs a leader temperamentally, intellectually and emotionally attuned to the complexities of our troubled globe. That leader's name is Barack Obama.

 

www.guardian.co.uk/world/2008/nov/02/elections-obama-mcca...

Roger Clemens in a "60 Minutes" interview denying that he had ever used performance enhancing drugs. During Clemens time as a member of the Boston Red Sox, the late Boston Globe sportswriter Will McDonough dubbed Roger "The Texas Con Man," possibly demonstrating a degree of prescience not fully recognized at the time.

 

Tenuous Link: Texan

"Urban Investigations" by Berlin based contemporary artist Hendrik Czakainski.

 

Built out of of wood, carton, concrete,each installation is a representation of a city or a fraction of a city, ranging from pure white industrial estates à la Lewis Baltz to post-apocalyptic environments, where human presence has been almost eradicated, where fractures, walls, conflicts and divides abound. Uncharted territories coalesce with metaphors of of own ecosystem, visions of hostile urban environments and prescience about looming chaos. (Text: www.urbanspree.com/event/hendrik-czakainski-urban-investi...) Website: www.hendrikczakainski.com/

 

#art #urbanart #urban #urbaninvestigations #berlin #berlincity #berlinart #Czakainski #aerial #urbanspree #vogelperspektive #architecture #buildings #houses #cityscape #cityview #city #stadt

 

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bella_jordana: nicee @talnts

  

Janssen Lab, La Jolla, CA

Melinda Richter, CEO - PreScience International, Executive Director - San Jose BioCenter

Janssen Lab, La Jolla, CA

Melinda Richter, CEO - PreScience International, Executive Director - San Jose BioCenter

The Galleria dell' Accademia has a long line up for people who want to buy tickets to get in. This line up is for those who had the prescience to book a time on line and pick up their tickets from the office across the street (where there was no line). This is the place that houses the Real David. Photography inside is, of course, forbidden.

 

Yes it is breathtaking when you see it. The lighting design alone gets a commercial credit (targetti). He has huge hands and feet - no matter what Vasari asserts.

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August 14, 2013

A Morning Picture A Day - 365 Day Project

 

Samantha Henneke/Bruce Gholson

Bulldog Pottery

www.bulldogpottery.com

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“Nutrisco Et Extinguo” mirage numérique, anticipation, Prolepse ou prescience ?

 

Secrets revealed of the Abode of Chaos (112 pages, adult only) >>>

 

"999" English version with English subtitles is available >>>

HD movie - scenario thierry Ehrmann - filmed by Etienne Perrone

 

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voir les secrets de la Demeure du Chaos avec 112 pages très étranges (adult only)

 

999 : visite initiatique au coeur de la Demeure du Chaos insufflée par l'Esprit de la Salamandre

Film HD d'Etienne PERRONE selon un scénario original de thierry Ehrmann.

  

courtesy of Organ Museum

©2011 www.AbodeofChaos.org

 

someday suppose that my

curious nervousness

spills into prescience

clairvoyant consciousness

I will be calmer than cream

making maps out of your dreams

   

+10 diopter over my 35mm

Janssen Lab, La Jolla, CA

Melinda Richter, CEO - PreScience International, Executive Director - San Jose BioCenter

Colleen Browning (American 1918 - 2003)

 

Harlem Street - 1953

 

en.wikipedia.org/wiki/Colleen_Browning

 

mintwiki.pbworks.com/w/file/fetch/132231243/Warmth%20Fact...

 

"The years since Ms. Browning’s death in 2003, at 85, have led to a reconsideration of her impact throughout the latter half of the 20th century. Her work, with an endowment to support its exhibition, was bequeathed by her husband’s estate to the Southern Alleghenies Museum of Art, which organized this traveling retrospective in conjunction with Philip Eliasoph, a professor of art history at Fairfield University and the author of “Colleen Browning: The Enchantment of Realism.” In “The Early Works,” museumgoers will find evidence of Ms. Browning’s natural talents and developing skills. There are the delicate books she made as a preteen, filled with intricate watercolors of fairies and flowers, and the perspective studies and figure drawings she did as an art student at London’s Slade School of Fine Art, which she attended on full scholarship from 1937 to 1939.

 

After drawing maps for the Royal Air Force during World War II, Ms. Browning became a set decorator at the J. Arthur Rank Film Corporation. “The Early Works” includes gouaches of behind-the-scenes sets teeming with workers. In 1949, Ms. Browning’s first one-person show featured a collection of those cinema-inspired pieces.

 

That show was held in London in May. The following month, Ms. Browning departed for New York to marry Geoffrey Wagner, a British writer whom she had met the previous summer. “Head,” in “The Early Works,” is a portrait of Mr. Wagner, a handsome man looking intently at the viewer. The couple became American citizens, remained childless and, aside from their travels, spent the rest of their lives in New York.

 

“The Early Works” contains paintings from Ms. Browning’s first decade in Manhattan, when she and Mr. Wagner lived on 116th Street and Second Avenue. It was there that she painted “Holiday,” looking down from her fourth-floor window, and “East Harlem Street Scene,” depicting the bustle of her neighborhood. In “Fire Escape II,” she arranged four children on the vertical structure of a fire escape. “Think of her prescience,” Mr. Eliasoph said. “She comes to the States and quickly recognizes the beauty of the iron grid of New York’s tenement landscape.”

 

Mr. Eliasoph identified this period as the zenith of Ms. Browning’s career. Despite the rising popularity of Abstract Expressionism, she was showing at the city’s pre-eminent galleries and her work was accepted into several annual exhibitions at the Whitney Museum of American Art. She was awarded prizes and praised in Time, Newsweek and The New York Times; in 1966 she was elected academician of the National Academy."

 

www.nytimes.com/2013/02/03/nyregion/high-points-and-other...

.

______________________________________________

 

"Mint Museum Uptown houses the internationally renowned Craft + Design collection, as well as outstanding collections of American and contemporary art.

 

Designed by Machado and Silvetti Associates of Boston, the five-story, 145,000-square-foot facility combines inspiring architecture with cutting-edge exhibitions to provide visitors with unparalleled educational and cultural experiences.

 

Located in the heart of Charlotte’s burgeoning city center, Mint Museum Uptown is an integral part of the Levine Center for the Arts, a cultural campus that includes the Bechtler Museum of Modern Art, the Harvey B. Gantt Center for African-American Arts and Culture, the Knight Theater, and the Duke Energy Center. Mint Museum Uptown also features a wide range of visitor amenities, including the 240-seat James B. Duke Auditorium, the Lewis Family Gallery, art studios, a restaurant, and a museum store.

 

www.mintmuseum.org/plan-your-visit/

....

The Mint Museum is the largest visual arts institution in Charlotte and holds the largest public collection of Charlotte-born artist Romare Bearden's work.

 

The American Art collection comprises approximately 900 works created between the late 1700s and circa 1945. It includes portraiture of the Federal era, 19th century landscapes, and paintings from the group known as "The Eight" (Robert Henri, George Luks, William Glackens, John Sloan, Everett Shinn, Maurice Prendergast, Ernest Lawson, and Arthur Bowen Davies). Additional highlights in this area include works by John Singleton Copley, Gilbert Stuart, Thomas Sully, and Hudson River School painters Thomas Cole and Sanford Gifford.

 

The Art of the Ancient Americas collection includes roughly 2,000 objects from more than 40 cultures, spanning more than 4,500 years. The collection includes body adornments, tools, ceramic vessels, sculpture, textiles, and metal ornaments.

 

There are about 2,230 objects in the Mint's collection of Contemporary Art. These include the Bearden collection and other works on paper, contemporary sculpture, and photography from circa 1945 to the present.

 

The Mint's Decorative Arts collection, considered one of the finest in the country, centers on its holdings in ceramics. Containing more than 12,000 objects from 2000 B.C. to 1950 A.D., the collection includes a wide variety of ancient Chinese ceramics, 18th century European and English wares, American art pottery, and North Carolina pottery. The Mint has the largest and most comprehensive collection of North Carolina pottery in the nation. Its collection of North Carolina pottery comprises some 2,200 objects, dating from the 1700s.

 

The museum's Delhom collection, given to the Mint in 1966, contains 2,000 pieces of historic pottery and porcelain, as well as pre-Columbian pieces that are more than 4,500 years old.

 

Almost 10,000 items of men's, women's, and children's fashions from the early 18th century to present-day haute couture are included in the museum's collection of Historic Costume and Fashionable Dress, which approaches fashion as an art form.

 

en.wikipedia.org/wiki/Mint_Museum

.

C

* Ship of Fools (1965): Stanley Kramer now steers the camera for real as the director in addition to being producer, and he steers a cruise liner full of a cross-section of society across the Atlantic toward 1933 Germany. Written by Abby Mann (Judgment at Nuremberg) from a novel by Katherine Anne Porter, Ship of Fools is a series of interlocked vignettes that travel the decks of the boat, showing the different levels of society, dissecting an international cast of characters. An Austrian anti-Semite philanderer (Jose Ferrer) rubs elbows with a deposed Spanish contessa (Simone Signoret), an alcoholic ex-baseball player (Lee Marvin), an idealistic but naïve painter (George Segal), a lonely middle-aged woman (Vivien Leigh), and many others. Each has their own shortcomings, usually enflamed by their shortsightedness, and putting them together, trapping them in one space for a specific period of time, only serves to call more attention to what ails them. Only two people are conscious of the humanity around them. The ship's doctor (Oskar Werner) is aware of the failings of others, and it makes him despair of his inability to exact change, causing him to pay the ultimate price. With him is the dwarf (Michael Dunn), the narrator who speaks to the audience on either side of the cruise. Being below most people's sight lines gives him a unique perspective, and the film being made in 1965 also allows Stanley Kramer to imbue the story with a sense of prescience for what is to come. The human tragedy that is only years away plays out on the ship. All the bad ideas, all of the selfishness, and all of the denial is right there for our viewing pleasure, and most of us may be disheartened to find ourselves somewhere in the population of the Ship of Fools. It may feel a little tidy or preachy today, but its truth holds strong.

Janssen Lab, La Jolla, CA

Melinda Richter, CEO - PreScience International, Executive Director - San Jose BioCenter

Essense of prescience, virtual Tarot style.

Vadid Kicth Guthale Wordstrummer

 

Male Tinker Gnome Enchanter 16

Chaotic Good

 

Strength 8 (-1)

Dexterity 13 (+1)

Constitution 15 (+2)

Intelligence 34 (+11)

Wisdom 10 (+0)

Charisma 11 (+0)

Size: Small

Height: 3' 2"

Weight: 40 lb

Skin: Brown

Eyes: Blue

Hair: White; Curly

   

Specialty: Enchantment

 

Gave up: Conjuration Necromancy

 

Total Hit Points: 79

 

Speed: 20 feet

 

Armor Class: 12 = 10 +1 [dexterity] +1 [small]

Touch AC: 12

Flat-footed: 11

Initiative modifier: +1 = +1 [dexterity]

Fortitude save: +7 = 5 [base] +2 [constitution]

Reflex save: +6 = 5 [base] +1 [dexterity]

Will save: +12 = 10 [base] +2 [tinker gnome]

Attack (handheld): +8/+3 = 8 [base] -1 [strength] +1 [small]

Attack (unarmed): +8/+3 = 8 [base] -1 [strength] +1 [small]

Attack (missile): +10/+5 = 8 [base] +1 [dexterity] +1 [small]

Grapple check: +3/+-2 = 8 [base] -1 [strength] -4 [small]

 

Light load:

Medium load:

Heavy load:

Lift over head:

Lift off ground:

Push or drag: 20 lb. or less

20-40 lb.

41-60 lb.

60 lb.

120 lb.

300 lb.

  

Languages: Common Draconic Dwarven Elven Giant Gnome goblin Orc

  

Raven familiar

  

Feats:Combat Casting

Eschew Materials

Spell Focus (Enchantment)

Greater Spell Focus (Enchantment)

Craft Rod

Craft Wondrous Item

Forge Ring

Scribe Scroll [free to wizard]

Enlarge Spell

Quicken Spell

  

Traits:

 

Skill Name Key

Ability Skill

Modifier Ability

Modifier Ranks Misc.

Modifier

Appraise Int 8 = +6 +2 [raven]

Balance Dex* 1 = +1

Bluff Cha 9.5 = +0 +9.5

Climb Str* -1 = -1

Concentration Con 21 = +2 +19

Craft_1 Int 25 = +6 +19

Craft_2 Int 9 = +6 +3

Craft_3 Int 6 = +6

Decipher Script Int 21 = +6 +15

Diplomacy Cha 2 = +0 +2 [bluff]

Disguise Cha 0 = +0

Escape Artist Dex* 1 = +1

Forgery Int 15.5 = +6 +9.5

Gather Information Cha 0 = +0

Heal Wis 0 = +0

Hide Dex* 5 = +1 +4 [small]

Intimidate Cha 2 = +0 +2 [bluff]

Jump Str* -7 = -1 -6 [speed 20]

Knowledge (arcana) Int 25 = +6 +19

Listen Wis 0 = +0

Move Silently Dex* 1 = +1

Perform_1 Cha 0 = +0

Perform_2 Cha 0 = +0

Perform_3 Cha 0 = +0

Perform_4 Cha 0 = +0

Perform_5 Cha 0 = +0

Ride Dex 1 = +1

Search Int 6 = +6

Sense Motive Wis 0 = +0

Spellcraft Int 27 = +6 +19 +2 [Knowledge, arcane]

Spot Wis 0 = +0

Survival Wis 0 = +0

Swim Str** -1 = -1

Use Rope Dex 1 = +1

  

* = check penalty for wearing armor

 

Bluff >=5 ranks gives +2 on disguise checks to act in character.

Craft_1 >=5 ranks gives +2 on related appraise checks.

If the familiar is within reach, +2 on spot and listen ("alertness").

 

Zero-level Enchanter spells: 5 (4+1) per day

Abjuration

Resistance:Subject gains +1 on saving throws.

Divination

Detect Poison:Detects poison in one creature or small object.

*Detect Magic: Detects spells and magic items within 60 ft.

*Read Magic: Read scrolls and spellbooks.

Enchantment

*Daze: Humanoid creature of 4 HD or less loses next action.

Evocation

**Disrobe

Dancing Lights: Creates torches or other lights.

Flare: Dazzles one creature (–1 on attack rolls).

Light: Object shines like a torch.

Ray of Frost: Ray deals 1d3 cold damage.

Illusion

 

Transmutation

Mage Hand: 5-pound telekinesis.

Mending: Makes minor repairs on an object.

Message: Whispered conversation at distance.

Open/Close: Opens or closes small or light things.

Universal

Arcane Mark: Inscribes a personal rune (visible or invisible).

Prestidigitation: Performs minor tricks.

 

First-level Enchanter spells: 7 (4+2+1) per day

 

Abjuration

*Alarm: Wards an area for 2 hours/level.

Endure Elements: Exist comfortably in hot or cold environments.

Hold Portal: Holds door shut.

Protection from Chaos/Evil/Good/Law: +2 to AC and saves, counter mind control, hedge out elementals and outsiders.

 

Divination

*Comprehend Languages: You understand all spoken and written languages.

Detect Secret Doors: Reveals hidden doors within 60 ft.

Detect Undead: Reveals undead within 60 ft.

**Identify M: Determines properties of magic item.

True Strike: +20 on your next attack roll.

 

Enchantment Charm Person: Makes one person your friend.

 

**Hypnotism: Fascinates 2d4 HD of creatures.

 

Sleep: Puts 4 HD of creatures into magical slumber.

Evocation Burning Hands: 1d4/level fire damage (max 5d4).

 

Floating Disk: Creates 3-ft.-diameter horizontal disk that holds 100 lb./level.

 

Magic Missile: 1d4+1 damage; +1 missile per two levels above 1st (max 5).

 

Shocking Grasp: Touch delivers 1d6/level electricity damage (max 5d6).

Illusion

Color Spray: Knocks unconscious, blinds, and/or stuns 1d6 weak creatures.

Disguise Self: Changes your appearance.

Magic Aura: Alters object’s magic aura.

Silent Image: Creates minor illusion of your design.

*Ventriloquism: Throws voice for 1 min./level.

 

Transmutation

Animate Rope: Makes a rope move at your command.

Enlarge Person: Humanoid creature doubles in size.

Erase: Mundane or magical writing vanishes.

Expeditious Retreat: Your speed increases by 30 ft.

Feather Fall: Objects or creatures fall slowly.

Jump: Subject gets bonus on Jump checks.

Magic Weapon: Weapon gains +1 bonus.

Reduce Person: Humanoid creature halves in size.

 

Abjuration

Arcane Lock M: Magically locks a portal or chest.

Obscure Object: Masks object against scrying.

Protection from Arrows: Subject immune to most ranged attacks.

Resist Energy: Ignores first 10 (or more) points of damage/attack from specified energy type.

 

Second-level Enchanter spells: 7 (4+2+1) per day

 

Divination

**Detect Thoughts: Allows “listening” to surface thoughts.

Locate Object: Senses direction toward object (specific or type).

See Invisibility: Reveals invisible creatures or objects.

 

Enchantment

Daze Monster: Living creature of 6 HD or less loses next action.

**Hideous Laughter: Subject loses actions for 1 round/level.

T**ouch of Idiocy: Subject takes 1d6 points of Int, Wis, and Cha damage.

 

Evocation

Continual Flame M: Makes a permanent, heatless torch.

Darkness: 20-ft. radius of supernatural shadow.

Flaming Sphere: Creates rolling ball of fire, 2d6 damage, lasts 1 round/level.

Gust of Wind: Blows away or knocks down smaller creatures.

Scorching Ray: Ranged touch attack deals 4d6 fire damage, +1 ray/four levels (max 3).

*Shatter: Sonic vibration damages objects or crystalline creatures.

 

Illusion

Blur: Attacks miss subject 20% of the time.

Hypnotic Pattern: Fascinates (2d4 + level) HD of creatures.

Invisibility: Subject is invisible for 1 min./level or until it attacks.

Magic Mouth M: Speaks once when triggered.

Minor Image: As silent image, plus some sound.

Mirror Image: Creates decoy duplicates of you (1d4 +1 per three levels, max 8).

Misdirection: Misleads divinations for one creature or object.

Phantom Trap M: Makes item seem trapped.

 

Transmutation

Alter Self: Assume form of a similar creature.

Bear’s Endurance: Subject gains +4 to Con for 1 min./level.

Bull’s Strength: Subject gains +4 to Str for 1 min./level.

Cat’s Grace: Subject gains +4 to Dex for 1 min./level.

Darkvision: See 60 ft. in total darkness.

Eagle’s Splendor: Subject gains +4 to Cha for 1 min./level.

Fox’s Cunning: Subject gains +4 Int for 1 min./level.

Knock: Opens locked or magically sealed door.

Levitate: Subject moves up and down at your direction.

Owl’s Wisdom: Subject gains +4 to Wis for 1 min./level.

Pyrotechnics: Turns fire into blinding light or choking smoke.

Rope Trick: As many as eight creatures hide in extradimensional space.

Spider Climb: Grants ability to walk on walls and ceilings.

Whispering Wind: Sends a short message 1 mile/level.

 

Third-level Enchanter spells: 6 (4+1+1) per day

Abjuration

Dispel Magic: Cancels magical spells and effects.

******Explosive Runes: Deals 6d6 damage when read.

Magic Circle against Chaos/Evil/Good/Law: As protection spells, but 10-ft. radius and 10 min./level.

Nondetection M: Hides subject from divination, scrying.

Protection from Energy: Absorb 12 points/level of damage from one kind of energy

 

Divination

Arcane Sight: Magical auras become visible to you.

Clairaudience/Clairvoyance: Hear or see at a distance for 1 min./level.

Tongues: Speak any language.

 

Enchantment

Deep Slumber: Puts 10 HD of creatures to sleep.

Heroism: Gives +2 bonus on attack rolls, saves, skill checks.

Hold Person: Paralyzes one humanoid for 1 round/level.

Rage: Subjects gains +2 to Str and Con, +1 on Will saves, –2 to AC.

Suggestion: Compels subject to follow stated course of action.

 

Evocation

Daylight: 60-ft. radius of bright light.

Fireball: 1d6 damage per level, 20-ft. radius.

Lightning Bolt: Electricity deals 1d6/level damage.

Tiny Hut: Creates shelter for ten creatures.

Wind Wall: Deflects arrows, smaller creatures, and gases.

Illusion

Displacement: Attacks miss subject 50%.

Illusory Script M: Only intended reader can decipher.

Invisibility Sphere: Makes everyone within 10 ft. invisible.

Major Image: As silent image, plus sound, smell and thermal effects.

 

Transmutation Blink:

You randomly vanish and reappear for 1 round/level.

Flame Arrow: Arrows deal +1d6 fire damage.

Fly: Subject flies at speed of 60 ft.

Gaseous Form: Subject becomes insubstantial and can fly slowly.

Haste: One creature/level moves faster, +1 on attack rolls, AC, and Reflex saves.

Keen Edge: Doubles normal weapon’s threat range.

Magic Weapon, Greater: +1/four levels (max +5).

Secret Page: Changes one page to hide its real content.

Shrink Item: Object shrinks to one-sixteenth size.

Slow: One subject/level takes only one action/round, –2 to AC, –2 on attack rolls.

Water Breathing: Subjects can breathe underwater.

 

Fourth-level Enchanter spells: 6 (4+1+1) per day

Abjuration

Dimensional Anchor: Bars extradimensional movement.

Fire Trap M: Opened object deals 1d4 damage +1/level.

Globe of Invulnerability, Lesser: Stops 1st- through 3rd-level spell effects.

Remove Curse: Frees object or person from curse.

Stoneskin M: Ignore 10 points of damage per attack.

 

Divination

Arcane Eye: Invisible floating eye moves 30 ft./round.

Detect Scrying: Alerts you of magical eavesdropping.

Locate Creature: Indicates direction to familiar creature.

Scrying F: Spies on subject from a distance.

 

Enchantment

Charm Monster: Makes monster believe it is your ally.

* Confusion: Subjects behave oddly for 1 round/level.

Crushing Despair: Subjects take –2 on attack rolls, damage rolls, saves, and checks.

Geas, Lesser: Commands subject of 7 HD or less.

 

Evocation

Fire Shield: Creatures attacking you take fire damage; you’re protected from heat or cold.

Ice Storm: Hail deals 5d6 damage in cylinder 40 ft. across.

Resilient Sphere: Force globe protects but traps one subject.

Shout: Deafens all within cone and deals 5d6 sonic damage.

Wall of Fire: Deals 2d4 fire damage out to 10 ft. and 1d4 out to 20 ft. Passing through wall

deals 2d6 damage +1/level.

Wall of Ice: Ice plane creates wall with 15 hp +1/level, or hemisphere can trap creatures inside.

 

Illusion

Hallucinatory Terrain: Makes one type of terrain appear like another (field into forest, or the like).

Illusory Wall: Wall, floor, or ceiling looks real, but anything can pass through.

Invisibility, Greater: As invisibility, but subject can attack and stay invisible.

Phantasmal Killer: Fearsome illusion kills subject or deals 3d6 damage.

Rainbow Pattern: Lights fascinate 24 HD of creatures.

*Shadow Conjuration: Mimics conjuration below 4th level, but only 20% real.

 

Transmutation

Enlarge Person, Mass: Enlarges several creatures.

**** Mnemonic Enhancer F: Wizard only. Prepares extra spells or retains one just cast.

Polymorph: Gives one willing subject a new form.

Reduce Person, Mass: Reduces several creatures.

Stone Shape: Sculpts stone into any shape.

 

Fifth-level Enchanter spells: 6 (4+1+1) per day

 

Abjuration

*Break Enchantment: Frees subjects from enchantments, alterations, curses, and petrification.

Dismissal: Forces a creature to return to native plane.

Mage’s Private Sanctum: Prevents anyone from viewing or scrying an area for 24 hours.

 

Divination

Contact Other Plane: Lets you ask question of extraplanar entity.

Prying Eyes: 1d4 +1/level floating eyes scout for you.

Telepathic Bond: Link lets allies communicate.

Enchantment

Dominate Person: Controls humanoid telepathically.

**Feeblemind: Subject’s Int and Cha drop to 1.

Hold Monster: As hold person, but any creature.

*Mind Fog: Subjects in fog get –10 to Wis and Will checks.

*Symbol of Sleep M: Triggered rune puts nearby creatures into catatonic slumber.

Evocation

Cone of Cold: 1d6/level cold damage.

Interposing Hand: Hand provides cover against one opponent.

Sending: Delivers short message anywhere, instantly.

Wall of Force: Wall is immune to damage.

Illusion

Dream: Sends message to anyone sleeping.

False Vision M: Fools scrying with an illusion.

Mirage Arcana: As hallucinatory terrain, plus structures.

Nightmare: Sends vision dealing 1d10 damage, fatigue.

Persistent Image: As major image, but no concentration required.

Seeming: Changes appearance of one person per two levels.

*Shadow Evocation: Mimics evocation below 5th level, but only 20% real.

Sixth-level Enchanter spells: 5 (3+1+1) per day

Abjuration

Antimagic Field: Negates magic within 10 ft.

Dispel Magic, Greater: As dispel magic, but +20 on check.

*Globe of Invulnerability: As lesser globe of invulnerability, plus 4th-level spell effects.

Guards and Wards: Array of magic effects protect area.

Repulsion: Creatures can’t approach you.

Divination

*Analyze Dweomer F: Reveals magical aspects of subject.

*Legend Lore M F: Lets you learn tales about a person, place, or thing.

True Seeing M: Lets you see all things as they really are.

 

Enchantment

Geas/Quest: As lesser geas, plus it affects any creature.

Heroism, Greater: Gives +4 bonus on attack rolls, saves, skill checks; immunity to fear; temporary hp.

Suggestion, Mass: As suggestion, plus one subject/level.

Symbol of Persuasion M: Triggered rune charms nearby creatures.

Evocation Chain Lightning: 1d6/level damage; 1 secondary bolt/level each deals half damage.

*Contingency F: Sets trigger condition for another spell.

*Forceful Hand: Hand pushes creatures away.

Freezing Sphere: Freezes water or deals cold damage.

Illusion

Mislead: Turns you invisible and creates illusory double.

Permanent Image: Includes sight, sound, and smell.

Programmed Image M: As major image, plus triggered by event.

Shadow Walk: Step into shadow to travel rapidly.

Veil: Changes appearance of group of creatures.

 

Transmutation

Bear’s Endurance, Mass: As bear’s endurance, affects one subject/level.

Bull’s Strength, Mass: As bull’s strength, affects one subject/ level.

Cat’s Grace, Mass: As cat’s grace, affects one subject/level.

Control Water: Raises or lowers bodies of water.

Disintegrate: Makes one creature or object vanish.

Eagle’s Splendor, Mass: As eagle’s splendor, affects one subject/level.

Flesh to Stone: Turns subject creature into statue.

Fox’s Cunning, Mass: As fox’s cunning, affects one subject/ level.

Mage’s Lucubration: Wizard only. Recalls spell of 5th level or lower.

Move Earth: Digs trenches and build hills.

Owl’s Wisdom, Mass: As owl’s wisdom, affects one subject/ level.

Stone to Flesh: Restores petrified creature.

Transformation M: You gain combat bonuses.

 

Seventh-level Enchanter spells: 4 (3+1) per day

 

Abjuration

Banishment: Banishes 2 HD/level of extraplanar creatures.

Sequester: Subject is invisible to sight and scrying; renders creature comatose.

Spell Turning: Reflect 1d4+6 spell levels back at caster.

 

Divination

Arcane Sight, Greater: As arcane sight, but also reveals magic effects on creatures and objects.

Scrying, Greater: As scrying, but faster and longer.

Vision M X: As legend lore, but quicker and strenuous.

Enchantment Hold Person, Mass: As hold person, but all within 30 ft.

Insanity: Subject suffers continuous confusion.

***Power Word Blind: Blinds creature with 200 hp or less.

*Symbol of Stunning M: Triggered rune stuns nearby creatures.

Evocation Delayed Blast Fireball: 1d6/level fire damage; you can postpone blast for 5 rounds.

Forcecage M: Cube or cage of force imprisons all inside.

Grasping Hand: Hand provides cover, pushes, or grapples.

Mage’s Sword F: Floating magic blade strikes opponents.

Prismatic Spray: Rays hit subjects with variety of effects.

Illusion

Invisibility, Mass: As invisibility, but affects all in range.

Project Image: Illusory double can talk and cast spells.

Shadow Conjuration, Greater: As shadow conjuration, but up to 6th level and 60% real.

Simulacrum M X: Creates partially real double of a creature.

 

Transmutation

Control Weather: Changes weather in local area.

Ethereal Jaunt: You become ethereal for 1 round/level.

Reverse Gravity: Objects and creatures fall upward.

Statue: Subject can become a statue at will.

 

Universal

Limited Wish X: Alters reality—within spell limits.

 

Eighth-level Enchanter spells: 3 (2+1) per day

Abjuration

Dimensional Lock: Teleportation and interplanar travel blocked for one day/level.

Mind Blank: Subject is immune to mental/emotional magic and scrying.

Prismatic Wall: Wall’s colors have array of effects.

Protection from Spells M F: Confers +8 resistance bonus.

Divination

Discern Location: Reveals exact location of creature or object.

Moment of Prescience: You gain insight bonus on single attack roll, check, or save.

Prying Eyes, Greater: As prying eyes, but eyes have true seeing.

Enchantment

*Antipathy: Object or location affected by spell repels certain creatures.

Binding M: Utilizes an array of techniques to imprison a creature.

Charm Monster, Mass: As charm monster, but all within 30 ft.

Demand: As sending, plus you can send suggestion.

Irresistible Dance: Forces subject to dance.

**Power Word Stun: Stuns creature with 150 hp or less.

Symbol of Insanity M: Triggered rune renders nearby creatures insane.

Sympathy F: Object or location attracts certain creatures.

Evocation

Clenched Fist: Large hand provides cover, pushes, or attacks your foes.

Polar Ray: Ranged touch attack deals 1d6/level cold damage.

Shout, Greater: Devastating yell deals 10d6 sonic damage; stuns creatures, damages objects.

Sunburst: Blinds all within 10 ft., deals 6d6 damage.

Telekinetic Sphere: As resilient sphere, but you move sphere telekinetically.

Illusion

Scintillating Pattern: Twisting colors confuse, stun, or render unconscious.

Screen: Illusion hides area from vision, scrying.

Transmutation

Iron Body: Your body becomes living iron.

Polymorph Any Object: Changes any subject into anything else.

Temporal Stasis M: Puts subject into suspended animation.

 

Tinker Gnome:

 

+2 dexterity / +2 intelligence / -2 wisdom / -2 strength (already included)

 

Small (combat bonuses, +4 to hide already included)

 

Guild membership

 

+2 on will saves (already included)

 

+2 bonus on Craft (alchemy)

 

Wizard (Enchanter):

 

Familiar / Alertness, etc.

 

Bonus Feats (already included)

 

High intelligence gains bonus spells daily

 

Specialist gets 1 extra enchantment spell/level/day

  

Class HP rolled

Level 1: Enchanter 4

Level 2: Enchanter 4

Level 3: Enchanter 4

Level 4: Enchanter 3 +1 to intelligence

Level 5: Enchanter 3

Level 6: Enchanter 4

Level 7: Enchanter 3

Level 8: Enchanter 4 +1 to intelligence

Level 9: Enchanter 3

Level 10: Enchanter 1

Level 11: Enchanter 2

Level 12: Enchanter 1 +1 to intelligence

Level 13: Enchanter 2

Level 14: Enchanter 4

Level 15: Enchanter 4

Level 16: Enchanter 1 +1 to intelligence

    

Ur'locgru Wordspinner's Equipment:

 

0 lb

3 lb

_____

3 lb Weapons / Armor / Shield (from above)

Spellbook x1

 

Total

     

Raven familiar: Str 1 Dex 15 Con 10 Int 13 Wis 14 Chr 6; Hit points: 39; Initiative +2 (dex); Speed 10 ft., fly 40 ft. (average); AC: 22 (+2 size, +2 dex, +8 level); Claws +4 melee 1d2-5 Fort +5, Ref +7, Will +12, Listen +6, Spot +6; speaks one character language Alertness feat when in arm's reach; improved evasion; share spells; empathic link; deliver touch spells; speak with master; speak with birds; spell resistance 21; scry on familiar;

 

More about Ur'locgru Wordspinner:

 

Items: Headband of Int +6, Manuel of int +6, ring of mind shielding, ring of spell storing major, rod of wonder.

 

Personality: Fun loving and rarely serious. He enjoy playing pranks but most of all, annoying the headmaster of the library is his favorite pastime.

 

History: Vadid Wordstrummer is the very unlikely offspring of an unlikely pair. Considering how closely dwarves and deep gnomes live, it was only a matter of time until half-breeds emerged. Dwalf-dwarf half-gnomes. His parents were both mixed from both races and gave birth to four children. Two of which were half like their parents, one was born as a pure blooded dwarf and Vadid got the pure gnome blood.

 

Ever since they were little, the pure dwarf brother and Vadid never got a long real well. Vadid was always playing pranks on brother Dorgan who would get mad and try to hit him with a hammer. As they got older, they took a liking to magic. Dorgan found magic in names while Vadid found magic in singular words. Armed with magic, their feuds grew more intense until one day, Vadid went too far. Experimenting with a memory spell, Vadid accidentally made Dorgan forget the names of his parents and all words used to describe parents, care givers, providers. He's unable to talk about them except for them.

 

* Ship of Fools (1965): Stanley Kramer now steers the camera for real as the director in addition to being producer, and he steers a cruise liner full of a cross-section of society across the Atlantic toward 1933 Germany. Written by Abby Mann (Judgment at Nuremberg) from a novel by Katherine Anne Porter, Ship of Fools is a series of interlocked vignettes that travel the decks of the boat, showing the different levels of society, dissecting an international cast of characters. An Austrian anti-Semite philanderer (Jose Ferrer) rubs elbows with a deposed Spanish contessa (Simone Signoret), an alcoholic ex-baseball player (Lee Marvin), an idealistic but naïve painter (George Segal), a lonely middle-aged woman (Vivien Leigh), and many others. Each has their own shortcomings, usually enflamed by their shortsightedness, and putting them together, trapping them in one space for a specific period of time, only serves to call more attention to what ails them. Only two people are conscious of the humanity around them. The ship's doctor (Oskar Werner) is aware of the failings of others, and it makes him despair of his inability to exact change, causing him to pay the ultimate price. With him is the dwarf (Michael Dunn), the narrator who speaks to the audience on either side of the cruise. Being below most people's sight lines gives him a unique perspective, and the film being made in 1965 also allows Stanley Kramer to imbue the story with a sense of prescience for what is to come. The human tragedy that is only years away plays out on the ship. All the bad ideas, all of the selfishness, and all of the denial is right there for our viewing pleasure, and most of us may be disheartened to find ourselves somewhere in the population of the Ship of Fools. It may feel a little tidy or preachy today, but its truth holds strong.

THE WINTER NOTEBOOKS, Page 2, right side of the female figure

 

Below is the transcription of the handwritten lines to the right of the figure above:

 

Critical language, it would seem, is the verbalization of the social necessity for cohesion...the means by which a single person strives to organize the group into a single way of perceiving sensuous stimuli. Through this cohesion, individuals communicate with each other through the establishment of a consensual abstract authority which is always present even in the most intimate situations. It is this triangulation that creates and maintains groups and societies, cultures and civilizations. Those mores and metaphors form the third point on the triangle that defines the group and the individuals contained there-in. We speak not directly but to a third point bearing witness.

 

As I construct these pages, an image of possibility shimmers up in illustration. Imagine the Michelangelo David constructed not of marble but of the sculptor’s sonnets...a solidification of pure language in a contradiction of linear time. An inseparable union of image and word, emotion and mind. I see this form as religious art where-in the viewer sees not the symbol but the thing itself, the opaque work of art becoming a transparent window to Desire.

 

Artist, your work is a jealous lover; if you compromise its integrity it will destroy you.

 

—In childhood, seeds implanted, long fought and then forgotten, have begun to bloom. Bright shocks of prejudice and bitter perfume are suddenly inside me. I lack the will to exorcise. Finally, I am my parents’ child. They have outlived me.

 

I have emptied myself into bits of paper and pieces of wood, bronze and marble. Bits and pieces. How vulnerable I have become and yet, in a sense, I have won the game. Is this, I wonder, why artists make art? Is this not truly what is meant when we speak of play? Not the frivolity of childhood but, rather, the prescience of death.

 

After my death, my death will come...in bits and pieces. There will be no pain, only the disappearance of objects. Bit by bit and piece by piece, this transferred life will fade into absence.

 

Bathed in twilight, with edges and outlines blurred, I live in approximation. Who I am and what I see are contiguous territories of exploration. Only memory prevents the total dissolution of boundaries.

 

Do not invade me with shoulds. What I am is what I make. There is no other. If what I make has no face in this culture, then my solitude is justified. I do not exist.

 

Becoming is no longer an active process. What I have become outweighs me, making lead the line of circling footprints. Like a compass pressed too hard, I have scratched and torn the paper thinness of my life.

 

To be culturally acceptable, does Art require a hierarchy of authority? Some sort of caste system within which the artist occupies the lowest rung? Perhaps in order to be absorbed collectively, the Art object must be transformed into cultural artifact. Perhaps this transformation is necessary to secure stability within the structured frame. If Art is not submitted to an historical line, would chaos corrugate the intellectual plane?

 

Perhaps what I call Art is really chaos. Perhaps without the control of culture, an expression which is capable of provoking individual response outside of the established frame threatens the collective whole. Is my obsession with Art and disdain for culture-makers based totally on personal feelings of rejection? Have I spent my entire life trying to destroy that which refuses to acknowledge me? This thought disgusts me.

 

In isolation, the we I speak can only and ever be a distorted I. Why do people listen when I speak? Do they hear words they have always known? Is this the we of me? Do I speak their words with my tongue? Is their loneliness somehow justified by my isolation?

 

Collection:

Crocker Art Museum

Sacramento, California

The anonymity of the artist belongs to a type of culture dominated by the longing to be liberated from oneself. All the force of this philosophy is directed against the delusion “I am the doer.” “I” am not in fact the doer, but the instrument; human individuality is not an end but only a means.

 

The supreme achievement of individual consciousness is to lose or find (both words mean the same) itself in what is both its first beginning and its last end: “Whoever would save his psyche, let him lose it.”

 

All that is required of the instrument is efficiency and obedience; it is not for the subject to aspire to the throne; the constitution of man is not a democracy, but the hierarchy of body, soul and spirit.

 

Is it for the Christian to consider any work “his own,” when even Christ has said that “I do nothing of myself”? or for the Hindu, when Krishna has said that “The Comprehensor cannot form the concept ‘I am the doer’”? or the Buddhist, for whom it has been said that “To wish that it may be made known that ‘I was the author’ is the thought of a man not yet adult”?

 

It hardly occurred to the individual artist to sign his works, unless for practical purposes of distinction; and we find the same conditions prevailing in the scarcely yet defunct community of the Shakers, who made perfection of workmanship a part of their religion,but made it a rule that works should not be signed.

 

It is under such conditions that a really living art (unlike what Plato calls the arts of flattery) flourishes; and where the artist exploits his own personality and becomes an exhibitionist that art declines.

 

There is another aspect of the question that has to do with the patron rather than the artist; this too must be understood, if we are not to mistake the intentions of traditional art.

 

It will have been observed that in traditional arts, the effigy of an individual, for whatever purpose it may have been made, is very rarely a likeness in the sense that we conceive a likeness, but much rather the representation of a type.

 

The man is represented by his function rather than by his appearance; the effigy is of the king, the soldier, the merchant or the smith, rather than of So-and-so.

 

The ultimate reasons for this have nothing to do with any technical inabilities or lack of the power of observation in the artist, but are hard to explain to ourselves whose pre-occupations are so different and whose faith in the eternal values of “personality” is so naive; hard to explain to ourselves, who shrink from the saying that a man must “hate” himself “if he would be My disciple.”

 

The whole position is bound up with a traditional view that also finds expression in the doctrine of the hereditary transmission of character and function, because of which the man can die in peace, knowing that his work will be carried on by another representative. As So-and-so, the man is reborn in his descendants, each of whom occupies in turn what was much rather an office than a person. For in what we call personality, tradition sees only a temporal function “which you hold in lease.”

 

The very person of the king, surviving death, may be manifested in some way in some other ensemble of possibilities than these; but the royal personality descends from generation to generation, by hereditary and ritual delegation; and so we say, The king is dead, long live the king.

 

It is the same if the man has been a merchant or craftsman; if the son to whom his personality has been transmitted is not also, for example, a blacksmith, the blacksmith of a given community, the family line is at an end; and if personal functions are not in this way transmitted from generation to generation, the social order itself has come to an end, and chaos supervenes.

 

We find accordingly that if an ancestral image or tomb effigy is to be set up for reasons bound up with what is rather loosely called “ancestor worship,” this image has two peculiarities, (1) it is identified as the image of the deceased by the insignia and costume of his vocation and the inscription of his name, and (2) for the rest, it is an individually indeterminate type, or what is called an “ideal” likeness.

 

In this way both selves of the man are represented; the one that is to be inherited, and that which corresponds to an intrinsic and regenerated form that he should have built up for himself in the course of life itself, considered as a sacrificial operation terminating at death. The whole purpose of life has been that this man should realise himself in this other and essential form, in which alone the form of divinity can be thought of as adequately reflected.

 

As St. Augustine expresses it, “This likeness begins now to be formed again in us.” It is not surprising that even in life a man would rather be represented thus, not as he is, but as he ought to be, incomparably superior to the accidents of temporal manifestation.

 

It is characteristic of ancestral images in many parts of the East, that they cannot be recognized, except by their legends, as the portraits of individuals; there is nothing else to distinguish them from the form of the divinity to whom the spirit had been returned when the man “gave up the ghost”; almost in the same way an angelic serenity and the absence of human imperfection, and of the signs of age, are characteristic of the Christian effigy before the thirteenth century, when the study of death-masks came back into fashion and modern portraiture was born in the charnel house.

 

The traditional image is of the man as he would be at the Resurrection, in an ageless body of glory, not as he was accidentally: “I would go down unto Annihilation and Eternal Death, lest the Last Judgment come and find me Unannihilate, and I be seiz’d and giv’n into the hands of my own Selfhood.”

 

Let us not forget that it is only the intellectual virtues, and by no means our individual affections, that are thought of as surviving death.

 

The same holds good for the heroes of epic and romance; for modern criticism, these are “unreal types,” and there is no “psychological analysis.” We ought to have realised that if this is not a humanistic art, this may have been its essential virtue. We ought to have known that this was a typal art by right of long inheritance; the romance is still essentially an epic, the epic essentially a myth; and that it is just because the hero exhibits universal qualities, without individual peculiarity or limitations, that he can be a pattern imitable by every man alike in accordance with his own possibilities whatever these may be.

 

In the last analysis the hero is always God, whose only idiosyncrasy is being, and to whom it would be absurd to attribute individual characteristics.

 

It is only when the artist, whatever his subject may be, is chiefly concerned to exhibit himself, and when we descend to the level of the psychological novel, that the study and analysis of individuality acquires an importance. Then only portraiture in our sense takes the place of what was once an iconographic portrayal.

 

All these things apply only so much the more if we are to consider the deliberate portrayal of a divinity, the fundamental thesis of all traditional arts. An adequate knowledge of theology and cosmology is then indispensable to an understanding of the history of art, insofar as the actual shapes and structures of works of art are determined by their real content.

 

Christian art, for example, begins with the representation of deity by abstract symbols, which may be geometrical, vegetable or theriomorphic, and are devoid of any sentimental appeal whatever.

 

An anthropomorphic symbol follows, but this is still a form and not a figuration; not made as though to function biologically or as if to illustrate a text book of anatomy or of dramatic expression.

 

Still later, the form is sentimentalised; the features of the crucified are made to exhibit human suffering, the type is completely humanised, and where we began with the shape of humanity as an analogical representation of the idea of God, we end with the portrait of the artist’s mistress posing as the Madonna and the representation of an all-too-human baby; the Christ is no longer a man-God, but the sort of man that we can approve of.

 

With what extraordinary prescience St. Thomas Aquinas commends the use of the lower rather than the nobler forms of existence as divine symbols, “especially for those who can think of nothing nobler than bodies”!

 

The course of art reflects the course of thought. The artist, asserting a specious liberty, expresses himself; our age commends the man who thinks for himself, and therefore of himself. We can

see in the hero only an imperfectly remembered historical figure, around which there have gathered mythical and miraculous accretions; the hero’s manhood interests us more than his divinity, and this applies as much to our conception of Christ or Krishna or Buddha as it does to our conceptions of Cuchullain or Sigurd or Gilgamesh. We treat the mythical elements of the story, which are its essence, as its accidents, and substitute anecdote for meaning.

 

The secularisation of art and the rationalisation of religion are inseparably connected, however unaware of it we may be. It follows that for any man who can still believe in the eternal birth of any avatar (“Before Abraham was, I am”) the content of works of art cannot be a matter of indifference; the artistic humanisation of the Son or of the Mother of God is as much a denial of Christian truth as any form of verbal rationalism or other heretical position.

 

The vulgarity of humanism appears nakedly and unashamed in all euhemerism.

 

It is by no accident that it should have been discovered only comparatively recently that art is essentially an “aesthetic” activity. No real distinction can be drawn between aesthetic and materialistic; aisthesis being sensation, and matter what can be sensed.

 

So we regard the lack of interest in anatomy as a defect of art, the absenceof psychological analysis as evidence of undeveloped character; we deprecate the representation of the Bambino as a little man rather than as a child, and think of the frontality of the imagery as due to an inability to realise the three-dimensional mass of existing things; in place of the abstract light that corresponds to the gnomic aorists of the legend itself we demand the cast shadows that belong to momentary effects. We speak of a want of scientific perspective, forgetting that perspective in art is a kind of visual syntax and only a means to an end. We forget that while our perspective serves the purposes of representation in which we are primarily interested, there are other perspectives that are more intelligible and better adapted to the communicative purposes of the traditional arts.

 

In deprecating the secularisation of art we are not confusing religion with art, but seeking to understand the content of art at different times with a view to unbiased judgment. In speaking of the decadence of art, it is really the decadence of man from intellectual

to sentimental interests that we mean. For the artist’s skill may remain the same throughout: he is able to do what he intends.

 

It is the mental image to which he works that changes : that “art has fixed ends” is no longer true as soon as we know what we like instead of liking what we know. Our point is that without an understanding of the change, the integrity of even a supposedly objective historical study is destroyed; we judge the traditional works, not by their actual accomplishment, but by our own intentions, and so inevitably come to believe in a progress of art, as we do in the progress of man.

 

Ignorant of the traditional philosophy and of its formulae we often think of the artist as having been trying to do just what he may have been consciously avoiding. For example, if Damascene says that Christ from the moment of his conception possessed a “rational and intellectual soul,” if as St. Thomas Aquinas says “his body was perfectly formed and assumed in the first instant,” if the Buddha is said to have spoken in the womb, and to have taken seven strides at birth, from one end to the other of the universe, could the artist have intended to represent either of the newborn children as a puling infant?

 

If we are disturbed by what we call the “vacancy” of a Buddha’s expression, ought we not to bear in mind that he is thought of as the Eye in the World, the impassible spectator of things as they really are, and that it would have been impertinent to have given him features molded by human curiosity or passion?

 

If it was an artistic canon that veins and bones should not be made apparent, can we blame the Indian artist as an artist for not displaying such a knowledge of anatomy as might have evoked our admiration?

 

If we know from authoritative literary sources that the lotus on which the Buddha sits or stands is not a botanical specimen, but the universal ground of existence inflorescent in the waters of its indefinite possibilities, how inappropriate it would have been to represent him in the solid flesh precariously balanced on the surface of a real and fragile flower! The same considerations will apply to all our reading of mythology and fairy tale, and to all our judgments of primitive, savage or folk art: the anthropologist whose interest is in a culture is a better historian of such arts than is the critic whose only interest is in the aesthetic surfaces of the artifacts themselves.

 

In the traditional philosophy, as we cannot too often repeat, “art has to do with cognition”; beauty is the attractive power of a perfect expression. This we can only judge and only really enjoy as an “intelligible good, which is the good of reason” if we have really known what it was that was to be expressed. If sophistry be “ornament more than is appropriate to the thesis of the work,” can we judge of what is or is not sophistry if we ourselves remain indifferent to this content? Evidently not. One might as well attempt the study of Christian or Buddhist art without a knowledge of the corresponding philosophies as attempt the study of a mathematical papyrus without the knowledge of mathematics.

 

----

A.K.C.: The Christian and Oriental, or True, Philosophy of Art

 

Texas A&M University Press 1997, 396 pages, notes, bibliography, index photos, ISBN 0-89096-747-4, hardbound

 

An attempted rehabilitation of Lyndon Johnson's foreign-policy failures, in which the smitten biographer attempts to turn LBJ into a cross between Abraham Lincoln and Harry Truman. Forget the picture you have of President Johnson as a scheming politico who would stop at nothing to get his way. According to Vandiver (International Policy Studies/Texas A&M Univ.), LBJ was a brilliant, big-hearted, misunderstood man who was a loving husband and father, and ``vigorously devoted'' to his country ``and to making things better'' wherever he went. And don't point fingers at Johnson's mishandling of Vietnam. According to Vandiver, the war's dismal outcome was not the fault of this man, who ``had a frightening prescience at times, caught nuances,'' and ``understood things in Lincoln's way of country drollery.'' The war went terribly wrong, Vandiver says, because of an unremitting stream of bad advice that numerous generals, national security advisers, White House staffers, and Pentagon and State Department officials gave Johnson. This advice, Vandiver says, ``wobbled between wishful thinking and fright.'' Johnson's efforts in Vietnam also were torpedoed, the author claims, by the news media, which turned against American interests, and by anti-war demonstrators, the ``doves whose poison turned American determination flabby and remorseful.'' Vandiver undermines his weak defense of Johnson with his gushing prose and breathless exclamatory sentences. Ironically, this zealous defense comes at a time when objective historians are looking more kindly at LBJ. But those historians, unlike Vandiver, have wisely refrained from exonerating Johnson totally; and none have come close to Vandiver's modus operandi of putting the most positive of spins on every move Johnson made in Vietnam.

Janssen Lab, La Jolla, CA

Melinda Richter, CEO - PreScience International, Executive Director - San Jose BioCenter

Janssen Lab, La Jolla, CA

Melinda Richter, CEO - PreScience International, Executive Director - San Jose BioCenter

66622 6L45 Earles - Dagenham.

 

The elite and discerning who follow the shenanigans on the MML will be scratching their heads wondering why I left the couch to take this image?

 

The eagle-eyed will (thanks to bi-directional working) notice the train is going up the down slow. I'd not witnessed this happen since the fourth track was reinstated.

 

The signaller - showing remarkable prescience, that rarest of qualities - with all tracks busy, held the preceding 6Z44 Tunstead - Elstow at Sharnbrook so this service could pass and regain the up slow there. Meanwhile 0Z45 was diverted to the down fast while the DATS test train headed for Bedford on the up fast.

Janssen Lab, La Jolla, CA

Melinda Richter, CEO - PreScience International, Executive Director - San Jose BioCenter

Melinda Richter, CEO PreScience International, Executive Director of San Jose BioCenter

in the Royal Garden

 

The Ball-game Hall is richly decorated by picture sgraffiti, which represent the elements (earth, water, air, fire), the virtues (prescience, moderation, mercifulness, hope, justice, courageousness) and science (theology, astronomy, geometry, music, arithmetic, rhetoric, dialectic, grammar)

This huge dramatic portrait of Brunel was painted in 1978 by Bryan Organ, Britain's top portrait artist.

 

It was commissioned by former British Railways Board Chairman, Sir Peter Parker, and originally hung in the Brunel Room at the Great Western Royal Hotel, Paddington. It has been generously donated to the Brunel Museum by The British Rail residuary body - BRB (Residuary) Ltd.

 

The painting is after Robert Howlett’s iconic photograph of the engineer standing in front of the Great Eastern’s giant launching chains, just a few hundred yards down the river at Millwall. With extraordinary prescience, Mr Organ has replaced the chains with a Tunnel and with the famous chains gone the picture is very different.

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