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....or Comma, I'm not certain, but it is an Angled-winged Butterfly......not in the best condition but I was happy to find this one, I've been trying for years. These resemble leaves or pieces of bark when the wings are folded, making them difficult to see. Thanks to monon738, this is a Question Mark.
Happy week end everyone!!!
That's a question I tried to answer on Quora a few months ago and then update it by answering it on my blog.
I've built the video APIs icon by modeling it on the Programmable Web's logo, hooked with FaceTime logo and the recording rectangle we are used to as the Play button on movies.
The answer is here: bloggeek.me/hosted-video-api/
seen in Dunklhof - Kirchengasse - Steyrdorf - Steyr - Upper Austria - Austria
PS: macht so ein Vordergrund das Bild gesund?
I LOVE this new paddle!
My friends designed a paddle with my photo on it. That is so clever.
There is no question whose butt this paddle is meant to be used on! The photo is of me bending over in my PE shorts from college and perfectly positioned for a paddling! This is going on my bookcase where everyone can see it (and get a good laugh)!
But this paddle is not for display purposes only! It already has been put into use dozens of times!
Malcolm Turnbull - during Question Time in the House of Representatives after winning leadership of the Liberal Party with Peter Dutton
by Francis de Tuem released on Easter Sunday 27.3.2016
FDT 's 4th Tiatr
more here goo.gl/Q7fhXl
joegoauk-tiatr.blogspot.in/2016/03/question-mark-by-franc...
TO THE SQUARE 2 (#TSQ2) re-invigorates the question of public space as the crucial locus for the articulation of the political and the art of protest. Read more..
Curated by Ivor Stodolsky and Marita Muukkonen. Commissioned by Checkpoint Helsinki as part of Helsinki Festival. The 7th iteration of the Re-Aligned Project of Perpetuum Mobilε.
TSQ2 ARTISTS: Ammar Abo Bakr (Luxor/Cairo); Núria Güell (Barcelona), Khaled Jarrar (Ramallah); Vladan Jeremić & Rena Rädle (Belgrade); Nikolay Oleynikov (Nizhny Novgorod / Moscow); Raumlabor (Berlin); ZIP Group (Krasnodar).
THE SQUARE newspaper: edited by Perpetuum Mobilε; design by Tzortzis Rallis (Occupied Times); art by Ganzeer, Federico Geller, Vladan Jeremić & Rena Rädle and articles by Michel Bauwens, Feminist Pencil, Grey Violet, Núria Güell, G.U.L.F., Occupy Museums, Teivo Teivainen, Telekommunisten and Nadya Tolokonnikova of Zona Prava/Pussy Riot.
The grand opening on the 29th August was followed by a concert by the prominent singer of the Egyptian Revolution, Ramy Essam with the Finnish hip-hop star Paleface.
Photo Credits: Jani Ahlstedt / Alexander Burov
Copyright: Perpetuum Mobile / Checkpoint Helsinki
Full Programme:
www.re-aligned.net/tsq2-concept-programme
On Facebook:
www.facebook.com/events/737483989641891/
Perpetuum Mobile
Checkpoint Helsinki
A full interview with the Israeli painter Raphael Perez (in Hebrew Rafi Peretz) about the ideas behind the naive painting, resume, personal biography and CV
Question: Raphael Perez Tell us about your work process as a naive painter?
Answer: I choose the most iconic and famous buildings in every city and town that are architecturally interesting and have a special shape and place the iconic buildings on boulevards full of trees, bushes, vegetation, flowers.
Question: How do you give depth in your naive paintings?
Answer: To give depth to the painting, I build the painting with layers of vegetation, after those low famous buildings, followed by a tall avenue of trees, and behind them towers and skyscrapers, in the sky I sometimes put innocent signs of balloons, kites.
A recurring motif in some of my paintings is the figure of the painter who is in the center of the boulevard and paints the entire scene unfolding in front of him, also there are two kindergarten teachers who are walking with the kindergarten children with the state flags that I paint, and loving couples hugging and kissing and family paintings of mother, father and child walking in harmony on the boulevard.
Question: Raphael Perez What characterizes your naive painting?
Answer: Most naive paintings have the same characteristics
(Definition as it appears in Wikipedia)
• Tells a simple story to absorb from everyday life, usually with humans.
• The representation of the painter's idealization to reality - the mapping of reality.
• Failure to maintain perspective - especially details even in distant details.
• Extensive use of repeating patterns - many details.
• Warm and bright colors.
• Sometimes the emphasis is on outlines.
• Most of the characters are flat, lack volume
• No interest in texture, expression, correct proportions
• No interest in anatomy.
• There is not much use of light and shadow, the colors create a three-dimensional effect.
I find these definitions to be valid for all my naive paintings
Question: Raphael Perez Why do you mainly choose the city of Tel Aviv?
Answer: I was born in Jerusalem, the capital city which I love very much and also paint,
I love the special Bauhaus buildings in Tel Aviv, the ornamental buildings that were built a century ago in the 1920s and 1930s, the beautiful boulevards, towers and modern skyscrapers give you the feeling of the hustle and bustle of a large metropolis and there are quite a few low and tall buildings that are architecturally fascinating in their form the special one
Also, the move to Tel Aviv, which is the capital of culture, freedom, and secularism, allowed me to live my life as I chose, to live in a relationship with a man, Jerusalem, which is a traditional city, it is more complicated to live a homosexual life, also, the art world takes place mainly in the city of Tel Aviv, and it is possible that from a professional point of view, this allows I can support myself better in Tel Aviv than in any other city in Israel.
Question: raphael perez are the paintings of the city of Tel Aviv different from the paintings of the city of Jerusalem
Answer: Most of the paintings of Jerusalem have an emphasis on the color yellow, gold, the color of the old city walls, the subjects I painted in Jerusalem are mainly a type of idealization of a peaceful life between Jews and Arabs and paintings that deal with the Jewish religious world, a number of paintings depict all shades of the currents of Judaism of today
In contrast, the Tel Aviv paintings are more colorful, with skyscrapers, the sea, balloons and more secular motifs
Question: Raphael Perez Tell us about which buildings and their architects you usually choose in your city paintings
Answer: My favorite buildings are those that have a special shape that anyone can recognize and are the symbols of the city and you will give several examples:
In the city of Tel Aviv, my favorite buildings are: the opera building with its unusual geometric shape, the Yisrotel tower with its special head, the Hail Bo Shalom tower that for years was the symbol of the tallest building in Tel Aviv, the Levin house that looks like a Japanese pagoda, the burgundy-colored Nordeau hotel with the special dome at the end of the building, A pair of Alon towers with the special structure of the sea, Bauhaus buildings typical of Tel Aviv with the special balconies and the special staircase, the Yaakov Agam fountain in Dizengoff square appears in a large part of the paintings, many towers that are in the stock exchange complex, the Aviv towers and other tall buildings on Ayalon, in some of the paintings I took plans An outline of future buildings that need to be built in the city and I drew them even before they were built in reality,
In the paintings of Jerusalem, I mainly chose the area of the Old City and East Jerusalem, a painting of the walls of the Old City, the Western Wall, the Church of the Holy Sepulcher, the El Akchea Mosque, the Tower of David, most of the famous churches in the city, the right hand of Moses, in most of the paintings the Jew is wearing a blue shirt with a red male cord I was in the youth movement and the Arab with a galabia, and in the paintings of the religious public then, Jews with black suits and white shirts, tallitas, kippahs, special hats, synagogues and more
I also created three paintings of the city of Haifa and one painting of Safed
In the Haifa paintings I drew the university, the Technion, the famous Egged Tower, the Sail Tower, well-known hotels, of course the Baha'i Gardens and the Baha'i Temple, Haifa Port and the boats and other famous buildings in the city
Question: Have you created series of other cities from around the world?
Answer: I created series of New York City with all the iconic and famous buildings such as: the Guggenheim Museum, the famous skyscrapers - the Chrysler Building, the Empire State Building, Lincoln Center, the famous synagogue in the city, the Statue of Liberty, the flags of the United States and other famous buildings
Two paintings of London and all its famous sites, Big Ben, famous monuments, the Ferris wheel, Queen Elizabeth and her family, the double bus, the famous public telephone, palaces, famous churches, well-known monuments
I created 4 naive paintings of cities in China, a painting of Shanghai, two paintings of the city of Suzhou and a painting of the World Park in the city of Beijing... I chose the famous skyline of Shanghai with all the famous towers, the famous promenade, temples and old buildings, two Paintings of the city of Suzhou with the famous canals, bridges, special gardens, towers and skyscrapers of the city
Taken for Monthly Scavenger Hunt (MSH) June 2013 1. Knotty and for
Our Daily Challenge: THE BIG QUESTION, is the topic for Thursday 20 June 2013
There are times while looking over my shoulder that I find myself questioning where I have come from and where I am going to. On this day I am thankful for being able to ask these questions. I do know that I need to start preparing my contribution for today's Thanksgiving dinner!
Happy Thanksgiving!
*Photograph composition was created for the Our Daily Challenge topic:
OVER THE SHOULDER
Serious Organised Crime and Police Act 2005
Any person staging a protest within a one kilometre radius from Parliament without prior permission from the Commissioner of Police of the Metropolis is guilty of an offence under the Serious Organised Crime and Police Act 2005.
question: what do you do with a pic like this? should I have even snapped a pic like this?
story: shot a couple of weeks ago. flying up the pali and notice smoke starting to appear in the distance. fumbled for camera and snapped this as we sped by on the other side of the freeway. police already on the scene.
dilemma: been searching the papers the past two weeks to make sure this accident didn’t result in a fatality. don’t want to post anyone’s fatal accident or something. although my camera is with me almost 24hrs a day, i’m not a journalist so why am i shooting this? what do ya’ll think?
Question Mark. Aus der Serie „Satzzeichen“ 2014
Rotierende Skulptur aus Lianen Findling, fluoriszierendes Klebeband, schwarze Totenkopf Büchse und Schwarz Licht
Skulptur, Objekt, Video, Installation, Fotografie
Markus Wintersberger 2014
I found this Species Polygonia interrogationis - Question Mark - Hodges#4420 Caterpillar on the underside of a Beech leaf while walking the dog this morning. Looks like it may be getting ready to molt...
Question Mark. Aus der Serie „Satzzeichen“ 2014
Rotierende Skulptur aus Lianen Findling, fluoriszierendes Klebeband, schwarze Totenkopf Büchse und Schwarz Licht
Skulptur, Objekt, Video, Installation, Fotografie
Markus Wintersberger 2014
Questions?
Suggestions?
Feedback?
#business #relocation #developing #TCR #resale #offices #approved #industry #help #customers #process #simple #data #priorities #equipment #offlease #specialists #work #IT #measures #aspects
Shake threatens the little guy, and is questioned about his light by a (rightly so!) suspcious Frylock.
Question Mark. Aus der Serie „Satzzeichen“ 2014
Rotierende Skulptur aus Lianen Findling, fluoriszierendes Klebeband, schwarze Totenkopf Büchse und Schwarz Licht
Skulptur, Objekt, Video, Installation, Fotografie
Markus Wintersberger 2014
110,000 Throughout Ireland Protested Against 64 Billion Euro Bank Debt - Were You There?
Have you ever noticed how often the number 64 appears in headlines and on posters. We in Ireland have a 64 Billion Euro debt, or so we are told. It is interesting to note that "The $64,000 Question" was an American game show broadcast from 1955–1958, which became embroiled in the scandals involving TV quiz shows of the day.
The organisers of today's protest march claimed that over 110,000 people took part in the demonstrations.but according to local media and police estimates the total country wide turnout was about 50,000.
The largest event took place in Dublin and according to local police about 25,000 took part while the organisers claim that at least 60,000 took part (maybe 64,000 took part). Today an experienced journalist explained to me that the police count the number of legs and divide by two and the protest organisers count the number of legs and divide by one (BTW that's a joke).
To be honest I do not know if anyone is even trying to be accurate but the following statement was issued by the ITCU:
9 Feb 2013
More than 110,000 people took part in demonstrations across the country today, in protest at the country’s continued bank debt burden.
The protests were organised by the Irish Congress of Trade Unions and took place in Dublin, Cork, Galway, Limerick, Waterford and Sligo.
Over 60,000 took part in the Dublin protest, while at least 15,000 turned out in Cork, 13,000 in Waterford, 10,000 in Limerick, 7,000 in Sligo and 5,000 I Galway.
Congress General Secretary David Begg told protestors at a rally in Dublin’s Merrion Square that bank debt problem had not been solved by the recent deal.
He vowed Congress would continue its bank debt campaign until the link between private bank debt and national debt was clearly broken.
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From The Gas World, 1 May 1897:
“The monthly meeting of the Ashton-in-Makerfield Urban District Council appears to have been marked by a somewhat lively scene on a question relating to the management of the gasworks. The works, we gather, are at present and have been for some years managed by Mr J Hill, the clerk to the Council. For his work as manager of the undertaking he has hitherto received no extra remuneration, and it was proposed that for such services he should be paid £50 per annum. It was over this proposal that the trouble referred to occurred. Certain members of the Council said that Mr Hill had needlessly taken upon himself the duties of the gas managership, without expecting payment, and expressed the opinion that there was no call for increasing his salary by the sum proposed. Mr Hill, however, repudiated the statement that he had taken upon himself the duties of gas manager; he had, he said, been formally appointed to the office. In this statement he was supported by members of the Council, who also contended that Mr Hill had controlled the gasworks very efficiently and made them a financial benefit to the town. At the close of the discussion, in the course of which personalities were freely banded about, the advance of salary was agreed by a considerable majority.”
From The Gas World, 30 April 1898:
“A painful situation has been created in the Wigan district of Lancashire by the death of Mr James Hill, clerk to the Urban District Council of Ashton-in-Makerfield, who also acted as manager of the gasworks and held a number of other local appointments. On Thursday afternoon of last week Mr Hill failed to attend the annual meeting of the District Council, and considerable surprise was caused by his non-appearance. He had left a note on his desk to say that he had gone to Warrington and would be back at noon, but he had not returned when the Council finished its deliberations about 5 o'clock. Soon after that hour he was brought home in a cab, and his condition was such as to lead to the conclusion that he had been attempting to drown himself. He was taken to bed and attended by a medical man. The following morning, when his medical attendant entered the room, Mr Hill was found hanging by his braces... At an inquest on the body, which was held on Monday, a verdict of suicide whilst of unsound mind was returned. It is supposed that the mind of the deceased gentleman had been unhinged by business worries. It is some years since Mr Hill, who was not a gas engineer by profession, was appointed to manage the gasworks and received, on that account, an increase in the salary formerly paid to him as clerk to the District Council. Nothing is yet known as to whether the dual arrangement will be continued in the case of his successor.”
James Hill was born on 14 April 1859, the son of Thomas and Ann(e) Hill of Gladden Hey Brow, North Ashton. He was appointed collector of the general district, gas and water rates in 1879 and, following the death of Ashton-in-Makerfield Local Board clerk John Fairless in 1881, was additionally made deputy-clerk with a combined annual salary of £100. He was promoted to the position of clerk -and relieved of that of collector- in 1884, but without any advance of salary. The Board also sanctioned his holding the office of assistant overseer “on condition that the duties of the local board be not neglected in the slightest degree, that he made no application for an increase of salary, and that if he requires an assistant at any time the person to be appointed by the board and paid for by Mr Hill” (Wigan Archives re. UD Ash/A/A1/8). In the meanwhile he had married Martha (daughter of John Hill, lamp maker) at Holy Trinity Church on 15 September 1881. In 1891 the couple moved with their 4 children from Bryn St to “The Poplars”, Bolton Rd, where 4 further children were born. Contrary to the suggestion in 1897 that his role as gasworks manager was previously unremunerated, it had been resolved by the Board's Finance and General Purposes Committee on 6 May 1889 “that the clerk be allowed his coal, gas and water free in consideration of his services as manager of the gasworks” (UD Ash/A/A1/13).
At the inquest into his death held at The Britannia Inn, Wigan Rd, on 25 April 1898 evidence was received to the effect that Mr Hill made at least two unsuccessful attempts to take his own life, and had been under some pressure in relation to an impending audit of the Council's finances. It is apparent from the article in The Gas Journal of 1 May 1897 that his relations with certain Councillors were less than cordial. In addition, his youngest child -12-days-old Gladys- had died on 6 March 1898; an event which must have had some impact on his already fragile mental state. Surprisingly, despite questioning of the family doctor and the deceased's widow and eldest daughter, there was no mention of the baby's death at the inquest.
Gladys Hill is buried in an unmarked grave close by that of her parents and brother at the Heath Rd burial ground. The photographs of Gladden Hey Farm (left, top), 13 Bryn St (middle) and The Poplars (below) were taken on 30 July 2013, 5 September 2018 and 28 May 2016 respectively.
++Suicide is the most common cause of death in British males under the age of 45. Men and boys who are troubled by suicidal thoughts, and those who are concerned about them, can get help and support from CALM, tel. 0800 58 58 58; PAPYRUS, tel. 0800 068 41 41; or The Samaritans, tel. 116 123.++
n ancient Greek cult-practice and literature, a nekyia or nekya (Ancient Greek: νέκυια, νεκυία; νεκύα) is a "rite by which ghosts were called up and questioned about the future," i.e., necromancy. A nekyia is not necessarily the same thing as a katabasis. While they both afford the opportunity to converse with the dead, only a katabasis is the actual, physical journey to the underworld undertaken by several heroes in Greek and Roman myth.Main article: Nekyia For broader coverage of this topic, see Active imagination and Amplification (psychology). See also: Dialectic, Dialogic, Hero's journey, and Katabasis As the shadow is a part of the unconscious, a method called Shadow work is practiced through active imagination with daydreaming and meditation – the experience is then mediated by dialectical interpretation through narrative and art (pottery, poetry, drawing, dancing, singing, etc.); analysts perform dreamwork on analysands, using amplification to raise the unconscious to conscious awareness.[33][34][35] Jung uses the term Nekyia to describe the descent into darkness, where the ego fades.[36] The eventual encounter with the shadow plays a central part in the process of individuation. Jung considered that "the course of individuation [...] exhibits a certain formal regularity. Its signposts and milestones are various archetypal symbols" marking its stages; and of these "the first stage leads to the experience of the shadow."[37] If "the breakdown of the persona constitutes the typical Jungian moment both in therapy and in development,"[38] it is this that opens the road to the shadow within, coming about when "beneath the surface a person is suffering from a deadly boredom that makes everything seem meaningless and empty...as if the initial encounter with the Self casts a dark shadow ahead of time."[30]: 170 Jung considered as a perennial danger in life that "the more consciousness gains in clarity, the more monarchic becomes its content...the king constantly needs the renewal that begins with a descent into his own darkness"[39]: 334 – his shadow – which the "dissolution of the persona" sets in motion.[40] "The shadow personifies everything that the subject refuses to acknowledge about himself",[41]: 284 whether consciously or unconsciously, and represents "a tight passage, a narrow door, whose painful constriction no one is spared who goes down to the deep well."[41]: 21 [If and when] an individual makes an attempt to see his shadow, he becomes aware of (and often ashamed of) those qualities and impulses he denies in himself but can plainly see in others – such things as egotism, mental laziness, and sloppiness; unreal fantasies, schemes, and plots; carelessness and cowardice; inordinate love of money and possessions...[30]: 174 The dissolution of the persona and the launch of the individuation process also brings with it "the danger of falling victim to the shadow ... the black shadow which everybody carries with him, the inferior and therefore hidden aspect of the personality" – resulting in a merger with the shadow.
en.wikipedia.org/wiki/Shadow_(psychology)
In common parlance, however, the term "nekyia" is often used to subsume both types of event, so that by Late Antiquity for example "Olympiodorus ... claimed that three [Platonic] myths were classified as nekyia (an underworld story, as in Homer's Odyssey book 11)".[1]
Questioning ghosts
A number of sites in Greece and Italy were dedicated wholly or in part to this practice. "The Underworld communicated with the earth by direct channels. These were caverns whose depths were unplumbed, like that of Heraclea Pontica."[2] The most notable was the Necromanteion in the northwestern Greek town of Ephyra. Other oracles of the dead could be found at Taenaron and Avernus. Such specialized locations, however, were not the only places where necromancy was performed. One could also perform the rite at a tomb, for example. Among the gods associated with the nekyia rite are Hades, his wife Persephone, Hecate, and Hermes (in his capacity as psychopompus – one who escorted souls to Hades).
The Odyssey
The earliest reference to this cult practice comes from Book 11 of the Odyssey, which was called the Nekyia in Classical antiquity. Odysseus was instructed to "make a journey of a very different kind, and find your way to the Halls of Hades ... across the River of Ocean".[3] There he consults the soul of the priest and prophet Tiresias about the means to return home to Ithaca, in a setting of "ghosts and dark blood and eerie noises, like a canvas of Hieronymous Bosch".[4] He sacrifices a ram and an ewe so that "the countless shades of the dead and gone" would "surge around" him[5] and then he meets and talks to the souls of the dead.
"The story of Odysseus's journey to Hades ... was followed ... by further accounts of such journeys undertaken by other heroes", although it is clear that, for example, "the κατάβασις [katabasis, "descent"] of Herakles in its traditional form must have differed noticeably from the Nekyia".[6]
The Athenian playwright Aeschylus features the use of tombside nekyiai in his Persians and Libation Bearers.
The Aeneid
In the Aeneid, Aeneas descends into the House of Hades and travels through the world of the dead.[7] In this, his journey differs from that of Odysseus, who merely journeys to the entrance of the Underworld to perform the ritual sacrifice needed to summon the spirits of the dead, the ghosts whose knowledge he seeks.
Menippus and Lucian of Samosata
Lucian of Samosata is the author of a satirical dialogue titled Μένιππος ἢ Νεκυομαντεία, dating from 161–162 CE, which, as German classical philologist Rudolf Helm (1872–1966) argues,[8] may be an epitome of the lost Nekyia of cynic philosopher Menippus. In The Lives of the Philosophers, Diogenes Laërtius lists the Nekyia among the thirteen works composed by Menippus (Vitae philosophorum, VI, 101). In Lucian's dialogue, Menippus, perplexed by the conflicting accounts of the afterlife put forward by Homer, Hesiod, the philosophers, and the tragic poets, decides to discover the truth for himself. He therefore enlists the help of a Babylonian Magus, named Mithrobarzanes, in order to visit the underworld. Mithrobarzanes performs a necromantic ritual, and the two descend to Hades, where they see Pyriphlegethon, Cerberus, the palace of Pluto, Charon, and the rest of the mythological machinery of the Greek underworld. Ultimately, the underworld setting serves Lucian as a vehicle for satire on not only the rich and powerful, but also the philosophers.
Jung
C. G. Jung used the concept of Nekyia as an integral part of his analytical psychology: "Nekyia ... introversion of the conscious mind into the deeper layers of the unconscious psyche".[9] For Jung, "the Nekyia is no aimless or destructive fall into the abyss, but a meaningful katabasis ... its object the restoration of the whole man".[10]
Jolande Jacobi added that "this 'great Nekyia' ... is interwoven with innumerable lesser Nekyia experiences".[11]
Night sea-journey
Jung used the images of the Nekyia, of "the night journey on the sea ... descend[ing] into the belly of the monster (journey to hell)", and of "'Katabasis' (descent into the lower world)"[12] almost interchangeably. His closest followers also saw them as indistinguishable metaphors for "a descent into the dark, hot depths of the unconscious ... a journey to hell and 'death'" – emphasising for example that "the great arc of the night sea journey comprises many lesser rhythms, lesser arcs on the same 'primordial pattern,'"[13] just like the nekyia.
The post-Jungian James Hillman however made some clear distinctions among them:
The descent of the underworld can be distinguished from the night sea-journey of the hero in many ways… the hero returns from the night sea-journey in better shape for the tasks of life, whereas the nekyia takes the soul into a depth for its own sake so that there is no "return." The night sea-journey is further marked by building interior heat (tapas), whereas the nekyia goes below that pressured containment, that tempering in the fires of passion, to a zone of utter coldness ... The devil image still haunts in our fears of the unconscious and the latent psychosis that supposedly lurks there, and we still turn to methods of Christianism – moralizing, kind feelings, communal sharing, and childlike naivete – as propitiations against our fear, instead of classical descent into it, the nekyia into imagination… (Only) after his nekyia, Freud, like Aeneas (who carried his father on his back), could finally enter "Rome".[14]
Cultural references
"Thomas Mann's conception of the nekyia draws extensively from 'the doctrines of the East...Gnosticism, and Hellenism'".[15]
Jung viewed Picasso's "early Blue Period ... as the symbol of 'Nekya', a descent into hell and darkness".[16]
In 1937, English composer Michael Tippett planned a large choral work based on Jungian concepts, titled Nekyia. The work would become the basis of his secular oratorio, A Child of Our Time.[17]
See also
Wikimedia Commons has media related to Nekyia.
Odyssey
Geography of the Odyssey
References
Gary A. Stilwell, Afterlife (2005) p. 11
Felix Guirand ed., The New Larousse Encyclopedia of Mythology (1968) p. 164
E, V. Rieu trans., The Odyssey (Penguin 1959) p. 158-9
M. I. Finley, The World of Odysseus (Penguin 1967) p. 164
The Odyssey (translated by Robert Fagles, Penguin Books, 1997): pages 246–47, 250–51 and following
E. Rohde, Psyche (2000) pp. 244
Morford, Mark P. O. (1999). Classical mythology. Lenardon, Robert J., 1928- (6th ed.). New York: Longman. pp. 394–395. ISBN 0195143388. OCLC 39189848.
Lucian und Menipp, Leipzig and Berlin: Teubner, 1906, chapter 1 "Die Nekyomantie", pp. 17-62.
C . G. Jung, Analytical Psychology (London 1976) p. 41
Quoted in D. R. Griffin, Archetypal Process (1990) p. 118
J. Jacobi, Complex, Archetype, Symbol (London 1959) p. 186
C. G. Jung, Psychology of the Unconscious (London 1944) p. 131, p. 156, and p. 220
Jacobi, p. 187
Hillman, James (1979). Dream and the Underworld. HarperCollins. pp. 88, 168, 206 01. ISBN 0-06-090682-0.
E. L. Smith, The Hero Journey in Literature (1997) p. 343
Golding, John (1973). "Picasso and Surrealism". In Penrose, Roger (ed.). Picasso, 1881-1973. Paul Elek. p. 81. ISBN 0236176773. OL 5476165M.
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Question Mark. Aus der Serie „Satzzeichen“ 2014
Rotierende Skulptur aus Lianen Findling, fluoriszierendes Klebeband, schwarze Totenkopf Büchse und Schwarz Licht
Skulptur, Objekt, Video, Installation, Fotografie
Markus Wintersberger 2014
Question 02: How do you get CTOs and Tech-Heads from the newspaper industry in India, together in one room?
Answer: Keep the event sponsors out of the room! hehe
Question Mark. Aus der Serie „Satzzeichen“ 2014
Rotierende Skulptur aus Lianen Findling, fluoriszierendes Klebeband, schwarze Totenkopf Büchse und Schwarz Licht
Skulptur, Objekt, Video, Installation, Fotografie
Markus Wintersberger 2014
From the Bharani festival of Kodungallur. Those question mark shaped Sabre are found everywhere during the festival.