View allAll Photos Tagged Reduce
Subject: Milky Way Widefield
Image Size: 11096 x 2979 -- reduced to 12.5% original size
Image FOV: 220 degrees by 30 degrees (approx)
Image Scale: 90 arc-second/pixel (approx)
Date: 2012/06/15 to 2012/11/18 -- 13 imaging sessions
Exposure: 154 panels, each 5 x 5min or 6 x 5 min (25min or 30 min each) Total exposure = 77 hours 50 minutes, ISO1600, f/2.8
Filter: Astronomik CLS
Camera: Hutech-modified Canon T1i/500D
Lens: Contax/Yashica 85mm f/2.8
Mount: Astro-Physics AP900
Guiding: ST-402 autoguider through TV-102iis guidescope, Maxim DL autoguiding software
Processing: Raw conversion and calibration for each panel with ImagesPlus; Aligning and combining with Registar. Preliminary processing of each panel with photoshop-- levels adjustment to make each panel about the same brightness, cropping to 4752x3168 to remove ragged edges from alignment, and 50% reduction to 2376 x 1584. 154 panels combined into a mosaic using AutoPano Pro 2 (Mercator projection, SmartBlend), with 50% reduced output (22192x5957). Final processing with Photoshop -- more levels adjustment, etc., another 50% reduction to 11096 x 2929, conversion to 8-bit mode and JPEG. Total reduction is to 1/8 original size, so 64 original pixels make one pixel in the final image.
Remarks:
2012/06/15 -- Temp start/end 58F/53F, Relative Humidity start/end 73%/85%, SQM-L start/end 21.45/21.34 (moonrise)
2012/06/23 -- Temp start/end 58F/53F, Relative Humidity start/end 75%/78%, SQM-L start/end 21.46/21.13 (dawn)
2012/07/24 -- Temp start/---- 62F/----, Relative Humidity start/---- 50%/----, SQM-L start/---- 21.13 (moonset)
2012/08/16 -- Temp start/end 63F/56F, Relative Humidity start/end 67%/87%, SQM-L start/end 21.47/21.28
2012/08/18 -- Temp start/end 54F46/F, Relative Humidity start/end 83%/95%, SQM-L start/end 21.39/21.39
2012/08/21 -- Temp start/end 55F/51F, Relative Humidity start/end 87%/96%, SQM-L start/end 21.40/21.40
2012/09/12 -- Temp start/end 58F/49F, Relative Humidity start/end 71%/95%, SQM-L start/end 21.35/21.34
2012/09/13 -- Temp start/end 61F/53F, Relative Humidity start/end 58%/95%, SQM-L start/end 21.34/21.36
2012/09/15 -- Temp start/end 53F/46F, Relative Humidity start/end 71%/95%, SQM-L start/end 21.02??/21.18
2012/09/19 -- Temp start/end 46F/37F, Relative Humidity start/end 71%/96%, SQM-L start/end 21.37/21.39
2012/10/12 -- Temp start/end 32F/22F, Relative Humidity start/end 58%/85%, SQM-L start/end 21.02??/21.02??
2012/11/08 -- Temp start/end 27F/24F, Relative Humidity start/end 71%/65%, SQM-L start/end 21.21/20.94 (moonrise)
2012/11/17 -- Temp start/end 31F/27F, Relative Humidity start/end 71%81/%, SQM-L start/end 21.27/21.44
There was once a white lion
who ran
and in this way avoided
a tan.
But the lack of pigment in his fur
reduced his roar to a grrr
And it cost him many
a fan.
Ptarmigan, following a failed attempt to find the ptarmigans we tried again a day later, walking further and going higher up the snow covered slopes. We finally heard the Ptarmigans calling. We found approx 20 birds in total which were superbly hidden, initially located by listening out for their call and then looking form the movement. Males, and some females, also have a black stripe that extends from behind each eye to the bill. The stripe reduces glare in the eyes, nature's sunglasses.
On Sunday 5/3/2023, an overpowered 1120s (empty Aurizon grain transfer) is seen at Wingfield (Adelaide) with alf23-CLP16-cm3308 in charge.
With the impending withdrawal of all Chopper C Sets on 26/2/21, it sees the start of some several transfer trains to Chullora Industrial Siding. Seen passing Berala is 8144 and 8252 with train T191.
The cars withdrawn include:
C2: C3603, T4269, T4261, C3595
C4: C3589, T4260
C10: C3594, T4255
Aberration is fairly frequently met with in this species and even quite small colonies can produce interesting forms year after year. It is always worth having a close look at any Small Copper that you see in the field.
Upperside ground colour can vary from pure silver-white through oranges and fiery reds, to deeply suffused specimens that appear almost entirely black. The amount of copper on the hindwing band can be greatly exaggerated or reduced to the point of absence. The number, size, and shape of the black forewing spots can also vary considerably on both the upperside and underside; and even the tails on the hind wings can be markedly exaggerated in length. Heavy suffusion on the upperside is probably environmentally triggered and can sometimes be met with relative frequency in the autumn generation following a particularly hot summer.
Rarely (as in other species) more than one genetically inherited aberration can be expressed in the same specimen. This becomes particularly impressive where, for example, the silver-white ab. schmidtii also expresses the blue markings on the hindwings known as ab. caeruleopunctata and the reduced forewing markings of ab. bipunctata. Such multiple aberrations are almost unknown in the wild but have been produced in captivity by selective pairing of aberrant imagines through successive generations. There are 140 named aberrations known to occur in Britain.
Citation;
Sounds Rivulet, Murdunna > Tasmania
6 February 2016
4 shot panorama stitched in Lightroom CC
Nikon D7200, ISO 100, f22, 1/8, 50mm, Hoya Circular PL
A less fortunate Olympian seen a couple of hours after my previous upload is R837OVN, an Alexander R type bodied example new to Cleveland Transit in 1998 which was later absorbed into the Stagecoach fleet as their 16837.
Last in service with Golden Eagle Coaches of Salsburgh, it's seen here reduced in height and about to head off to the fragger after having had its mechanical units removed.
Westmoreland Street Dublin, a hive of activity normally reduced to this as a result of the travel restrictions due to COVID-19
Seneca Improved View 5x7 + 4x5 reducing back, Bausch & Lomb 5x7 Tessar 1c f/4.5, New Guy Positive collodion (fresh)
f/4.5, 10 seconds
Concerned that this was my first plate after heavy silver bath maintenance. Sure no pinholes but despite a ton of filtering there are small specs all over if you look close on the scan.
Also concerned about the solvent streaks. I bet it was just too cold for any of the alcohol in the bath to actually evaporate. I even added less alcohol and acid to my developer than usual.
Bandon, Oregon
Open lot for sale on the bluff edge above Bandon Beach affords open view of Face Rock.
(homeless woman, sf, 11/12/06)
homeless rebecca from detroit. rebecca doesn't fit. as though she's not where she's supposed to be. i see her as i pass. she is almost ghostly. she sways and bends like the only tree on a hill; unprotected. she seems resigned to a losing battle.
she is panhandling as i pass. or she is praying or mourning. but she is not seen. i turn the corner and watch her for a moment. she grimaces her mouth as though swallowing some new resignation and moves away from the season's passing throng; in my direction, but floating by. i seem to snap a trance when i say hello.
she's been homeless since 1998. she sleeps sometimes in shelters. but says there's not enough beds for women. the men have many more. she went to the shelter this afternoon to put her name in for a bed this evening. there's a lottery, and she didn't get one.
says she has no family and no children. she's the only one. but she has one girlfriend who got a place from the city finally after years. says she's trying to stay there with her friend tonight, if she can make up the guest fee. she's about a third of the way. it's been cold and she clearly doesn't want to be on the street tonight.
she was an accountant not so long back. she had a good job. she worked for kgo. but in '98, they were downsizing her group and she was let go. she thought she'd get another job easy. but she never did. they all wanted someone younger. and now she's 54, and says it's too late for her.
("news" about shows etc.)
Happy Earth Day, ya'll
Reuse more, waste less.
Keep them bushes tidy
and above all don't litter!
Every little bit helps :)
These are the last pics from a couple of days ago.
Due to me actually starting gainful employment this week; I anticipate a greatly reduced service for my followers for the foreseeable future.
And before you ask, no I will not be going to work wearing a dress!
Thanks to all for your continued support.
KT xXx
I continue my Learning curve with infrared film. Expuse better than on the first film but reduce by 5 stops with Hoya R72 should be ok. I also need to drastically reduce the development time with Ultrafin from 9 minutes to 7.30 minutes as I have far to much grain (that will be for the next film). also have to look fo stlightly less clouds but like the look :-). Good I bought 20 films as it is a cheap film.
this is the Multipurpose Marksman Rifle, it was designed with the flexibility of an intermediate cartridge rifle, but with the accuracy of a DMR. Made of high quality steel, steel alloy, aluminium, and plastic construction. This rifle will operate in the harshest of climates, whether it be the Swiss Alps, to the Sahara dunes. the magazine holds 30 rounds depending on caliber selected, the Electronic Neural-Uplink variable zoom reflex sight and underbarrel Laser Aiming Module/IR spotlight/LED flashlight are powered by the same battery for reduced cost of accessories and easier logistics for specialized troops. this rifle also has a hyperburst option for situations where long range combat needs more than one shot on the target. back-up folding sights are integrated into the gun
Available in most intermediate cartridges (7.62x39 version shown)
Cost: 1699$ USD
T45 Leyland Roadtrain B429APP- Showing a few battle scars but otherwise ready for work around the yard.
Tradewinds Motel
2844 Auburn Blvd
Sacramento, California
It took an extra month due to asbestos abatement, but this motel was finally taken down. Now only the sign, front garden, and pool remain. The Maita auto dealership group bought this property and the adjacent Welcome Inn. Reportedly the Subaru dealership further down the street will be moving here.
Monster High Venus McFlytrap didn't have to use her pollen persuasion to convince these ghouls to reduce, reuse, recycle.
I like Venus a lot, but she hasn't been much of a muse to me yet for pictures. Luckily, I got the Barbie Recycling Time accessory pack with I ordered the Create-A-Monster torsos from Mattel Shop online, and that inspired this pic. :)
Mildread (Skeleton), Meriel (Sea Monster), Andromeda (Three-Eyed), Falkora (Dragon), and Beetina (Bee) are all decked out with their new torsos, Monster High fashions, and Liv wigs. So happy to have them complete! :D
It was a lovely surprise yesterday to find a family of newly fledged great tits in my garden. There is a healthy population of house sparrows, woodpigeons and collared doves visiting my feeders but great, blue and coal tits are rare visitors. I have noticed that the numbers of goldfinch and greenfinch are much reduced this year, which is saving me a small fortune in nyger seed but I do miss seeing them all.
**I do wish I could share with you some of the searches that brought some users of Flickr to this page! Suffice to say that clicking on the link gave me the message: "This photo falls outside your current SafeSearch filter". How disappointed must they have been to see this image!
We are really trying to do our part to reduce plastic use. I got these bags for the grocery store and Anna bought some bags for lunches so we can phase out our Ziploc use.
See the video here: zerodriftmedia.com/senator-writes-to-faa-on-menace-of-dro...
ten February 2016 | 5:29 pm
Sen. Edward J. Markey, D-Mass., has despatched a letter to the Federal Aviation Administration (FAA) to inquire about what ways the company is using to reduce hobbyist drones from colliding with aircraft in the vicinity of Massachusetts airfields.
In the letter,...
zerodriftmedia.com/senator-writes-to-faa-on-menace-of-dro...
FOR IMMEDIATE RELEASE
MANIFESTO GLEITZEIT 2015
BY STELLY RIESLING
Featured below is another original art work of mine in homage to THE PIONEER OF INVISIBLE ART — PAUL JAISINI. Forget all the copycats that came after him — Master Paul Jaisini was the *FIRST* of a totally original concept and the *BEST*. My favorite thing about him is that he’s a voice, not an echo, which is quite rare.
DISCLAIMER: This is for anyone who is a hater OR wishes to better understand me, what I’m all about, so you can decide whether I’m weird or normal enough for you — a kind of very loose manifesto, rushed and unrevised, full of raw uncut emotion that I don’t like to be evident in my writing as lately I prefer a more professional, formal style, so we can consider this a rough draft of the more polished writing to come when I have extra time. I might return to this text later and clean it up or break it into separate parts. Right now it’s a long-winded hot mess, so if you manage to make any sense of it, BIG PROPS TO YOU. lol …and if you manage to read it ALL, you have my solemn respect!!! in a day when reading has been reduced to just catchy headliners and short captions of images once in a while. The consequence of this one-liner internet culture is non-linear, tunnel thinking, which is baaaaaad.
There lives among us a most enigmatic and charismatic creature named Paul Jaisini who led me into the wonderful world of art, not personally, but through descriptions of his artworks in essays written and published online by his friend, which painted the most fascinating images in my mind. Early on as a kiddo, I experimented with photography, simple point and shoot whatever looked attractive to me. Digital manipulation of my photographs with computer software followed… and somehow I learned useful drawing techniques along the way to combine existing elements with nonexistent ones, which allowed me to elevate the context for my ideas. Later, I started creating my own digital art from scratch for my friends and family as a favorite pastime. They would shower me with praise and repeatedly encouraged me to share my “different” vision with the rest of the world… it took a while and wasn’t easy to overcome the insecurity of not being good enough along with a gripping fear of being harshly criticized, but one day I woman-ed up and started publishing my work on the web, reminding myself that my livelihood didn’t depend on a positive reception.
Paul Jaisini’s role in all this has been to not disgrace myself, even if what I do is just a hobby. And I would never do him and other genius artists the disservice of calling myself a professional because I know I’ll never be as good as any of the GIANTS of pre-modern history. Be the best or be nothing, no middle ground.
People’s jealousy in the past, future and present over my obsessive love of Paul Jaisini, which they are well aware is purely plutonic, has caused them to despise the man and has made many relationships/friendships impossible for me. I refuse to have such people in my life because by harboring any negativity towards Paul, they unknowingly feel that way about me and express it to me. It’s their own problem for not realizing this. Paul’s new art movement, Gleitzeit, shaped me into the allegedly awesome girl I am today, giving my art more edge, more “sexy” because it refined my vision of the world and propelled me to attain the skills necessary to not dishonor my family name through tenacious pursuit of perfection. Since the beginning of my life, I attempted to depict what I saw in visual, musical and literal forms, but continuously failed without adequate training and determination. Paul Jaisini’s Gleitzeit was the answer to my prayers. Who I am today I owe mostly to him and his selfless ideals of the artverse that I’ve given unconditional loyalty to (he has this cool ability for hyper-vision to see whole universes, not itty bitty worlds, hence I call it an artverse instead of art world, with him in mind). So again, anyone who hates Paul Jaisini hates ME because, regardless of what he means to you, he is the most important person in my life for making me ME. The way a famous actor, dancer or singer inspires others to act, dance or sing, Paul inspired me to become a better artist, better writer, better everything. More people would understand if he was a household name because they’re wired to in society. But we’re inspiring each other all the time in our own little communities without being famous, so if someone has the ability to change even ONE person’s life immensely with creativity, it is a massive achievement. And passionate folks like myself are compelled to scream it from the cyber rooftops. So here I am. It’s whatever.
Furthermore, I’d like to address here a few pressing matters in light of some recent drama brought on by both strangers and former friends. To start, I never judge the passions, interests or likes of others, which are often in my face all over the place, so likewise they have no right to judge any of mine. It is quite unfortunate and frustrating how very little understanding and education the majority of people have or want to have. Their logic is as primitive as a chipmunk when it comes to promotion of fine art on the web: “spamming, advertising, report!” It’s their own problem that they fail to understand what it’s about due to the distorted lens through which they see the world or inability to think for themselves; an inherent lack of perception or inquisitiveness. Well, guess what? Every single image, every animation, every video, every post dedicated to Mr. Paul Jaisini and “Gleitziet” (to elaborate: a revolutionary new art movement Paul founded with his partner in crime and personal friend, EYKG, who discovered him and believed in him more than anyone) has an important purpose. Every one of those things you run across is a piece of a puzzle, a move in a game, an inch down a rabbit hole; the deeper you go, the more interesting it gets; the more levels you pass, the more clues unfold, the greater the suspense and nearer the conclusion (yet further). You earn awesome rewards like enlightenment, spiritual revelations, truths, knowledge, wisdom and the most profound reward of all: the drive to improve yourself to the absolute maximum, so an unending, unshakable drive. People often make a wrong turn in this cyber game and go back a few levels or get stuck. Those that keep on pushing, however, will come to find the effort has been worth it. And what awaits you in the end of it all? The greatest challenge to beating the game: YOUR OWN MIND. You will be forced to let go of every belief you held before you had reached the last level, to completely alter your mindset and perception of the world, of life, of yourself. But by the time you’ve gotten to that point, it will be as easy as falling off a cliff! (It is a kind of suicide after all — death and rebirth of spirit.)
Paul Jaisini does NOT, *I repeat* does NOT use mystery and obscurity to his advantage as a clever marketing ploy, no, he’s too next level for that with a consciousness so rich, he should wear a radioactive warning sign (he’ll melt your brain, best wear a tinfoil hat in his presence as I certainly would.) The statement he makes is loud and clear, hidden in plain site for those who take the time to connect the dots and have enough curiosity to fuel their journey into unknown territory (an open mind and flexible perception helps a lot). Actually, anyone with an IQ above 90 is sure to figure it out sooner or later. Hint: You don’t have to SEE an extraordinary thing with your eyes to know it exists, to understand it and realize its greatness — you can only feel it in your bone marrow, your spinal fluid, your heart and soul. The moment you do figure it out, as the skeleton key of the human soul, it will unlock the greatness and massive potential buried deep within, changing the doomed direction humanity is undoubtedly headed. I don’t speak in riddles, I speak in a clear direct way that intelligent humans will understand, so I’m counting on them.
GIG is an international group of artists and writers that support Paul Jaisini’s Gleitzeit. We started off as an unofficial fan club of Jaisini in 1996, comprised of only 6 individuals spanning 3 countries, and eventually escalated in status to an official fan group across the entire globe. A decade later it had grown to hundreds of fans. Nearly another decade later, there are thousands. Let’s not leave out another delightful group of vicious haters that have been around for nearly as long as us since the late 90s and have also grown in impressive numbers. Now, for the record (and please write this one down because I’m sick of repeating myself), Paul Jaisini himself is not part of our group and has nothing to do with us. He loves and hates us equally for butchering his name and making him appear as a narcissistic nut-job in his own words. He casts hexes on us for the blinding flash we layer over the art that members contribute to GIG — “disgusting-police-lights, seizure-inducing-laser-lightshow, bourgeois-myspace-effects retarded-raver shit” in Paul’s words. Ahh, how we love his sweet-talking us. In a desperate attempt to please him, those among us who make the art and animations have spent countless hours and sleepless nights trying to solve a crazy-complex quantum-physics type of equation = how to not create tacky or tasteless content. He does fancy some of it now, we got better, that’s something! In the reason stated below, our mission just got out of hand at some point.
What little is known about Paul Jaisini, even in all this time, is he’s a horrible perfectionist who slaughtered hundreds of innocent babies — I mean — artworks of remarkable beauty created by his own right hand (mostly paintings, some watercolors and drawings). He’s a fierce recluse who wants nothing to do with anyone or anything in life. But those few of us who know of an incredible talent he possesses (one could go as far as calling it a superpower), could not allow him to live his life without the recognition he FUCKING DESERVES more than any artist out there living today and, arguably, yesterday. We use whatever means necessary to reach more people, lots of flash and razzle-dazzle to lure them into our sinister trap of a higher awareness. Mwahaha! The visual boom you’ve witnessed in both cyber and real worlds, that is GIG’s doing — two damn decades of spreading an art virus — IVA. InVisibleArtitis… or a drug as in Intravenous Art. It’s whatever you want it to be, honey.
Our Gleitzeit International Group (GIG) started off innocently enough and gradually spiraled out of control to fight the haters, annoying the hell out of them as much as humanly possible. They don’t like what we do? WE DO MORE AND MORE OF IT. But never without purpose, without a carefully executed plan in mind collectively. If we have to tolerate an endless tidal wave of everyone’s vomit — e.g., idiotic memes and comics; dumbed-down one-liner quotes; selfies; so-called “art photography” passed through one-click app filters; mindless scribbles or random splatters by regular folks who have the nerve to call themselves serious/pro artists; primitive images of pets, babies, landscapes, random objects, etc… then people sure as shit are gonna tolerate what we put out, our animated and non-animated visual art designed for our beloved master, Paul Jaisini, who has shown us the light, the right path to follow, taught us great things and done so much for us — and so in our appreciation of him, we stamp his name on everything, for the sacrifices he has made in the name of art, to save our art verse, he’s a goddamn hero. There’s a book being written in his dedication where little will be left to the imagination about him.
If Paul Jaisini was as famous as Koons or Hirst, for example, people would know it’s not him posting stuff online with his name on it but fans creating fanart like myself among others. But noooooo, such a thing is unfathomable to most people - the promotion of another artist. Like, what’s in it for us? Uhh, nothing?? This is all NON-PROFIT bitches, the way art should be. It’s a passion FIRST, a commodity/commercial product/marketable item LAST and least. Its been that way for us since the early 90s to this day. Not a single member of GIG has sold an art work (neither has Paul Jaisini who’s a true professional) and we want to keep it that way. We do it for reasons far beyond ego. So advertising? Really? How the hell do you advertise or sell thin air, you know, invisible paintings, invisible anything? Ha ha, very funny indeed. The idea here is so simple, your neighbor’s dog can grasp it. Our motives: replace fast food for the mind with fine art, actual fine art. You know, creativity? Conscious thought? Talent? Skill? Knowledge? All that good stuff rolled into one to bring viewers more than a momentary ooohand aaahh reaction. Replace the recycled images ad nauseum; repetitious, worn-out ideas; disposable, gimmicky, money-driven fast art for simpletons. Stick with the highest of ideals and save the whole bloody planet.
Fine art is often confused with craft-making. This often creates bad blood between classically trained artists who put out paintings that leave a lasting impression, that make strong conversation pieces, that are thought-provoking and deep… and trained craftspeople whose skills are adequate to create decorative pieces for homely environments — landscapes, still lifes, animals, pretty fairies, common things of fantasy, and other simplicity. Skills alone are not enough for high art, you need a vision, a purpose, the ability to tell a story with every stroke of your brush that will both fascinate and terrify the viewers, arousing powerful emotions, illuminating. I have yet to see a visible painting in my generation that does anything at all for me, other than evoke sheer outrage and disgust. What a terrible waste of space and valuable resources it all is.
Paul Jaisini leads, we follow. He wishes to remain unknown - so do most of us. I’m next in line, slipping into recluse mode, no longer wanting to attach my face, my human image to my art stuff. I wish to be a nameless, faceless artist as well, invisible like P.J., and in his footsteps I too have destroyed thousands of my own artistic photography and digital art made with tedious, labor-intensive handwork. The whole point of this destruction is achieving the finest results possible by letting go of the imperfect, purging it on a regular basis, to make way for the perfect. I love what I do so it doesn’t matter, I know I’ll keep producing as much as I’m discarding, keeping the balance. Hoarding is an enemy of progress, especially the digital kind as there’s absolutely no limit to it. It’s like carrying a load of bricks on your back you’ll never use or need.
The watering down of creativity that digital pack ratting has caused as observed over the years is most tragic. For the creative individual, relying on terabytes of stock photos or OSFAP as I call them (Once Size Fits All Photos) instead of making your own as you used to when you had no choice, being 100% original, is a splinter in the conscience. It’s not evil to use stock of, say, things you don’t have access to (outer space, deep sea, Antarctica, etc.), but many digital artists I know today can’t take their own shot of a pencil ‘cause they “ain’t got no time for that!” How did they have time before? Did time get so compressed in only a decade?
Ohhhhh, and the edits, textures, filters, plug-ins and what-have-you available out there to everyone and their cats… are responsible for the tidal wave of rubbish that eclipses the magnificent light of the real talents.
I can tell you with utmost sincerity there is no better feeling on earth than knowing your creation is ALL yours, every pixel and dot, from the first to the last. It’s not always possible to make it so, but definitely the most rewarding endeavor. I’m most proud of myself when I can accomplish that.
Back to Paul Jaisini, from the start there have been a number of theories floating around on what his real story is. One of my own theories is that he stands for the unknowns of the world who can’t get representation, can’t get exhibited at a decent gallery because highly gifted/trained artists aren’t good enough - those kind of establishments prefer bananas, balloon dogs, feces, gigantic dicks/cunts, and all kinds of what-the-fucks…
So again, you don’t get the Paul Jaisini thing? That’s your problem. Don’t hate others for getting it. People are good, very good, at making baseless assumptions and impulsively spewing it as truth. They criticize and judge as if they’re high authorities on the subject yet they clearly lack education in fine art or art history and possess little to no talent or skill to back up their bullshit. My little “credibility radar” never fails. When they say I know this or I know that, I reply don’t say “I know” or state things as fact as a general rule of thumb - instead say “I assume/believe” and state the reasons you feel thus to appear less immature, especially about a controversial topic like invisible art. I have zero respect or tolerance for egomaniacs who think they know it all and act accordingly like arrogant pricks. Who can stand those, right? Once again, a good example would be: I, Stelly Riesling, believe everything I’ve written in this little manifesto to be correct based on personal experience and observation from multiple angles, thorough research and sufficient data collected from verifiable sources (and don’t go copying-pasting my own words back at me, be original). Just because you or I say so doesn’t make it so. Just because you or me think or believe so doesn’t make it true or right. I only ask that my opinions are regarded respectfully and whoever opposes them does so in a mature, civilized manner. We should only be entitled to opinions that don’t bring out the worst in us.
I don’t normally take such a position, but the time has come to stand up for what I believe in! It’s quite amusing and comical how haters think calling me names, attacking me or my interests or members of the project I’m part of for years is going to change something. It only makes more evident the importance of what I’m doing so I push on harder still.
Words of advise to those who can identify with me, with my frustrations over people’s reluctance to change their miserable ways, with our declining art world…
DON’T waste time on people who sweat the small stuff, whose actions are consistently inconsistent with their words. DO waste time on people who always keep their eye on the ball—the bigger picture of life.
Paul Jaisini’s invisible paintings are more than hype, more than your lame assumptions. Here’s one I got that’s pure gold: a cult! It started out as A JOKE OF MINE that was used against me. I told a then-good friend that he should come join our little “art cult” in a clearly lighthearted manner, and later he takes this idea I put in his head first and accuses me of being in an (imaginary) cult—the jokes on me eh?. But wait, aren’t cults religious? Our group consists of people around the world of different faiths (or none at all) so how could that ever work? If religion was about making fine (non-pop) art mainstream and bringing awesome, fresh, futuristic concepts to the collective consciousness, the world would not be so fucked up today because talent, creativity, originality and individuality would be the main focus, not superficial poppycock; those things would be praised and encouraged and supported in society by all institutions, not demonized and stigmatized.
Here is one thing I CAN state as solid fact: only one person close to Paul Jaisini knows the TRUE story, or at least some of it: EYKG. Everything else that has ever been said about him is myth, legend, gossip, speculation, the worst of which is said by jealous non-artists (wannabes, clones, posers, hang-ons, unoriginal ppl in general) and anti-artists (religious psychos, squares, losers and -duh- stupid ppl). Sadly, people are unable to see the bigger picture by letting their egos run their lives or repeating after others as parrots.
Commercial art, consumerism, and ignorance of the masses truly makes me want to curl up in a ball, not eat or drink or move until I die, just die in my sleep while dreaming of a better world, a world where real fine artists rule it with real fine art as they used to and life is beautiful once again….
Well I hope that settled THAT for now, or perhaps inadvertently made matters worse. I hope I didn’t sound too pissed from all these issues that keep popping up like penises on ChatRoulette… just got to me already! Can you tell? I had to put my foot down, stomp ‘em all!
To be continued, still lots more ignorance and pettiness to battle… Till then peace out my bambini. MWAH!
Planet Earth Needs your Help. If you are interested in saving the planet for our feathered friends, wild flowers, wild animals and nature areas, as well as humankind follow the links below to articles I and my girlfriend have published. Each article explains in mostly layman terms what scientist are observing and forecasting about climate change as well as offering things an individual can do to help reduce global warming.
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Our second article in our series on climate tipping points is on the dramatic decrease in arctic sea ice. Here is the link. planetearthneedsyou.blogspot.com/2020/12/what-will-happen...
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Morning fog rolls over the Virgin Australia Boeing 737-800's stored on Taxiway Golf, Adelaide Airport, South Australia.
Typhon was flying through the spirit of consciousness, when I designed thus engine in 1987 for Alice v W.......
There is also a shining white comet with silver "hair,"
shining in such a way that it can scarcely be looked at,
and of human appearance,
showing in itself the form of a god.
―Joannes Lydus, in De Ostentis
I suppose that the comets may be the agents
which have already effected great changes in all the planets,
and that they may be destined to effect many others―
till, in defined periods, the planets, by means of these agents,
may be all reduced to a state of fusion or gas ....
―Godfrey Higgins, Anacalypsis, Volume II
Typhon (/ˈtaɪfɒn, -fən/; Greek: Τυφῶν, Tuphōn [typʰɔ̂ːn]), also Typhoeus (/taɪˈfiːəs/; Τυφωεύς, Tuphōeus), Typhaon (Τυφάων, Tuphaōn) or Typhos (Τυφώς, Tuphōs), was a monstrous snaky giant and the most deadly creature in Greek mythology. According to Hesiod, Typhon was the son of Gaia and Tartarus. However one source has Typhon as the son of Hera alone, while another makes Typhon the offspring of Cronus. Typhon and his mate Echidna were the progenitors of many famous monsters. Typhon attempted to overthrow Zeus for the supremacy of the cosmos. The two fought a cataclysmic battle, which Zeus finally won with the aid of his thunderbolts. Defeated, Typhon was cast into Tartarus, or buried underneath Mount Etna, or the island of Ischia. In later accounts Typhon was often confused with the Giants.According to Hesiod's Theogony (c. 8th – 7th century BC), Typhon was the son of Gaia (Earth) and Tartarus: "when Zeus had driven the Titans from heaven, huge Earth bore her youngest child Typhoeus of the love of Tartarus, by the aid of golden Aphrodite".The mythographer Apollodorus (1st or 2nd century AD) adds that Gaia bore Typhon in anger at the gods for their destruction of her offspring the Giants.Numerous other sources mention Typhon as being the offspring of Gaia, or simply "earth-born", with no mention of Tartarus.However, according to the Homeric Hymn to Apollo (6th century BC), Typhon was the child of Hera alone. Hera, angry at Zeus for having given birth to Athena by himself, prayed to Gaia, Uranus, and the Titans, to give her a son stronger than Zeus, then slapped the ground and became pregnant. Hera gave the infant Typhon to the serpent Python to raise, and Typhon grew up to become a great bane to mortals.
Depiction by Wenceslas Hollar
Several sources locate Typhon's birth and dwelling place in Cilicia, and in particular the region in the vicinity of the ancient Cilician coastal city of Corycus (modern Kızkalesi, Turkey). The poet Pindar (c. 470 BC) calls Typhon "Cilician,"and says that Typhon was born in Cilicia and nurtured in "the famous Cilician cave",[8] an apparent allusion to the Corycian cave in Turkey.[9] In Aeschylus' Prometheus Bound, Typhon is called the "dweller of the Cilician caves",and both Apollodorus and the poet Nonnus (4th or 5th century AD) have Typhon born in Cilicia.
The b scholia to Iliad 2.783, preserving a possibly Orphic tradition, has Typhon born in Cilicia, as the offspring of Cronus. Gaia, angry at the destruction of the Giants, slanders Zeus to Hera. So Hera goes to Zeus' father Cronus (whom Zeus had overthrown) and Cronus gives Hera two eggs smeared with his own semen, telling her to bury them, and that from them would be born one who would overthrow Zeus. Hera, angry at Zeus, buries the eggs in Cilicia "under Arimon", but when Typhon is born, Hera, now reconciled with Zeus, informs him.
According to Hesiod, Typhon was "terrible, outrageous and lawless",immensely powerful, and on his shoulders were one hundred snake heads, that emitted fire and every kind of noise:
Strength was with his hands in all that he did and the feet of the strong god were untiring. From his shoulders grew a hundred heads of a snake, a fearful dragon, with dark, flickering tongues, and from under the brows of his eyes in his marvellous heads flashed fire, and fire burned from his heads as he glared. And there were voices in all his dreadful heads which uttered every kind of sound unspeakable; for at one time they made sounds such that the gods understood, but at another, the noise of a bull bellowing aloud in proud ungovernable fury; and at another, the sound of a lion, relentless of heart; and at another, sounds like whelps, wonderful to hear; and again, at another, he would hiss, so that the high mountains re-echoed.
The Homeric Hymn to Apollo describes Typhon as "fell" and "cruel", and neither like gods nor men.Three of Pindar's poems have Typhon as hundred-headed (as in Hesiod), while apparently a fourth gives him only fifty heads, but a hundred heads for Typhon became standard. A Chalcidian hydria (c. 540–530 BC), depicts Typhon as a winged humanoid from the waist up, with two snake tails below.Aeschylus calls Typhon "fire-breathing".For Nicander (2nd century BC), Typhon was a monster of enormous strength, and strange appearance, with many heads, hands, and wings, and with huge snake coils coming from his thighs.
Apollodorus describes Typhon as a huge winged monster, whose head "brushed the stars", human in form above the waist, with snake coils below, and fire flashing from his eyes:
In size and strength he surpassed all the offspring of Earth. As far as the thighs he was of human shape and of such prodigious bulk that he out-topped all the mountains, and his head often brushed the stars. One of his hands reached out to the west and the other to the east, and from them projected a hundred dragons' heads. From the thighs downward he had huge coils of vipers, which when drawn out, reached to his very head and emitted a loud hissing. His body was all winged: unkempt hair streamed on the wind from his head and cheeks; and fire flashed from his eyes.
The most elaborate description of Typhon is found in Nonnus's Dionysiaca. Nonnus makes numerous references to Typhon's serpentine nature,giving him a "tangled army of snakes",snaky feet,and hair.According to Nonnus, Typhon was a "poison-spitting viper",whose "every hair belched viper-poison", and Typhon "spat out showers of poison from his throat; the mountain torrents were swollen, as the monster showered fountains from the viperish bristles of his high head",and "the water-snakes of the monster's viperish feet crawl into the caverns underground, spitting poison!".
Following Hesiod and others, Nonnus gives Typhon many heads (though untotaled), but in addition to snake heads,Nonnus also gives Typhon many other animal heads, including leopards, lions, bulls, boars, bears, cattle, wolves, and dogs, which combine to make 'the cries of all wild beasts together',and a "babel of screaming sounds". Nonnus also gives Typhon "legions of arms innumerable", and where Nicander had only said that Typhon had "many" hands, and Ovid had given Typhon a hundred hands, Nonnus gives Typhon two hundred.
According to Hesiod's Theogony, Typhon "was joined in love" to Echidna, a monstrous half-woman and half-snake, who bore Typhon "fierce offspring".First, according to Hesiod, there was Orthrus,the two-headed dog who guarded the Cattle of Geryon, second Cerberus,the multiheaded dog who guarded the gates of Hades, and third the Lernaean Hydra,the many-headed serpent who, when one of its heads was cut off, grew two more. The Theogony next mentions an ambiguous "she", which might refer to Echidna, as the mother of the Chimera (a fire-breathing beast that was part lion, part goat, and had a snake-headed tail) with Typhon then being the father.
While mentioning Cerberus and "other monsters" as being the offspring of Echidna and Typhon, the mythographer Acusilaus (6th century BC) adds the Caucasian Eagle that ate the liver of Prometheus, the mythographer Pherecydes of Leros (5th century BC), also names Prometheus' eagle,and adds Ladon (though Pherecydes does not use this name), and the dragon that guarded the golden apples in the Garden of the Hesperides (according to Hesiod, the offspring of Ceto and Phorcys).The lyric poet Lasus of Hermione (6th century BC) adds the Sphinx.
Later authors mostly retain these offspring of Typhon by Echidna, while adding others. Apollodorus, in addition to naming as their offspring Orthrus, the Chimera (citing Hesiod as his source) the Caucasian Eagle, Ladon, and the Sphinx, also adds the Nemean lion (no mother is given), and the Crommyonian Sow, killed by the hero Theseus (unmentioned by Hesiod).
Hyginus (1st century BC),in his list of offspring of Typhon (all by Echidna), retains from the above: Cerberus, the Chimera, the Sphinx, the Hydra and Ladon, and adds "Gorgon" (by which Hyginus means the mother of Medusa, whereas Hesiod's three Gorgons, of which Medusa was one, were the daughters of Ceto and Phorcys), the Colchian Dragon that guarded the Golden Fleece and Scylla.The Harpies, in Hesiod the daughters of Thaumas and the Oceanid Electra,[48] in one source, are said to be the daughters of Typhon.
The sea serpents which attacked the Trojan priest Laocoön, during the Trojan War, were perhaps supposed to be the progeny of Typhon and Echidna.
According to Hesiod, the defeated Typhon is the source of destructive storm winds.
Typhon challenged Zeus for rule of the cosmos.The earliest mention of Typhon, and his only occurrence in Homer, is a passing reference in the Iliad to Zeus striking the ground around where Typhon lies defeated.Hesiod's Theogony gives us the first account of their battle. According to Hesiod, without the quick action of Zeus, Typhon would have "come to reign over mortals and immortals".In the Theogony Zeus and Typhon meet in cataclysmic conflict:
[Zeus] thundered hard and mightily: and the earth around resounded terribly and the wide heaven above, and the sea and Ocean's streams and the nether parts of the earth. Great Olympus reeled beneath the divine feet of the king as he arose and earth groaned thereat. And through the two of them heat took hold on the dark-blue sea, through the thunder and lightning, and through the fire from the monster, and the scorching winds and blazing thunderbolt. The whole earth seethed, and sky and sea: and the long waves raged along the beaches round and about at the rush of the deathless gods: and there arose an endless shaking. Hades trembled where he rules over the dead below, and the Titans under Tartarus who live with Cronos, because of the unending clamor and the fearful strife.
Zeus with his thunderbolt easily overcomes Typhon,who is thrown down to earth in a fiery crash:
So when Zeus had raised up his might and seized his arms, thunder and lightning and lurid thunderbolt, he leaped from Olympus and struck him, and burned all the marvellous heads of the monster about him. But when Zeus had conquered him and lashed him with strokes, Typhoeus was hurled down, a maimed wreck, so that the huge earth groaned. And flame shot forth from the thunderstricken lord in the dim rugged glens of the mount, when he was smitten. A great part of huge earth was scorched by the terrible vapor and melted as tin melts when heated by men's art in channelled crucibles; or as iron, which is hardest of all things, is shortened by glowing fire in mountain glens and melts in the divine earth through the strength of Hephaestus. Even so, then, the earth melted in the glow of the blazing fire.
Defeated, Typhon is cast into Tartarus by an angry Zeus.
Epimenides (7th or 6th century BC) seemingly knew a different version of the story, in which Typhon enters Zeus' palace while Zeus is asleep, but Zeus awakes and kills Typhon with a thunderbolt.Pindar apparently knew of a tradition which had the gods, in order to escape from Typhon, transform themselves into animals, and flee to Egypt.Pindar calls Typhon the "enemy of the gods",and says that he was defeated by Zeus' thunderbolt.In one poem Pindar has Typhon being held prisoner by Zeus under Etna,and in another says that Typhon "lies in dread Tartarus", stretched out underground between Mount Etna and Cumae.In Aeschylus' Prometheus Bound, a "hissing" Typhon, his eyes flashing, "withstood all the gods", but "the unsleeping bolt of Zeus" struck him, and "he was burnt to ashes and his strength blasted from him by the lightning bolt."
According to Pherecydes of Leros, during his battle with Zeus, Typhon first flees to the Caucasus, which begins to burn, then to the volcanic island of Pithecussae (modern Ischia), off the coast of Cumae, where he is buried under the island.Apollonius of Rhodes (3rd century BC), like Pherecydes, presents a multi-stage battle, with Typhon being struck by Zeus' thunderbolt on mount Caucasus, before fleeing to the mountains and plain of Nysa, and ending up (as already mentioned by the fifth-century BC Greek historian Herodotus) buried under Lake Serbonis in Egypt.
Like Pindar, Nicander has all the gods but Zeus and Athena, transform into animal forms and flee to Egypt: Apollo became a hawk, Hermes an ibis, Ares a fish, Artemis a cat, Dionysus a goat, Heracles a fawn, Hephaestus an ox, and Leto a mouse.
The geographer Strabo (c. 20 AD) gives several locations which were associated with the battle. According to Strabo, Typhon was said to have cut the serpentine channel of the Orontes River, which flowed beneath the Syrian Mount Kasios (modern Jebel Aqra), while fleeing from Zeus,and some placed the battle at Catacecaumene ("Burnt Land"),a volcanic plain, on the upper Gediz River, between the ancient kingdoms of Lydia, Mysia and Phrygia, near Mount Tmolus (modern Bozdağ) and Sardis the ancient capital of Lydia.
In the versions of the battle given by Hesiod, Aeschylus and Pindar, Zeus' defeat of Typhon is straightforward, however a more involved version of the battle is given by Apollodorus.No early source gives any reason for the conflict, but Apollodorus' account seemingly implies that Typhon had been produced by Gaia to avenge the destruction, by Zeus and the other gods, of the Giants, a previous generation of offspring of Gaia. According to Apollodorus, Typhon, "hurling kindled rocks", attacked the gods, "with hissings and shouts, spouting a great jet of fire from his mouth." Seeing this, the gods transformed into animals and fled to Egypt (as in Pindar and Nicander). However "Zeus pelted Typhon at a distance with thunderbolts, and at close quarters struck him down with an adamantine sickle"Wounded, Typhon fled to the Syrian Mount Kasios, where Zeus "grappled" with him. But Typhon, twining his snaky coils around Zeus, was able to wrest away the sickle and cut the sinews from Zeus' hands and feet. Typhon carried the disabled Zeus across the sea to the Corycian cave in Cilicia where he set the she-serpent Delphyne to guard over Zeus and his severed sinews, which Typhon had hidden in a bearskin. But Hermes and Aegipan (possibly another name for Pan)stole the sinews and gave them back to Zeus. His strength restored, Zeus chased Typhon to mount Nysa, where the Moirai tricked Typhon into eating "ephemeral fruits" which weakened him. Typhon then fled to Thrace, where he threw mountains at Zeus, which were turned back on him by Zeus' thunderbolts, and the mountain where Typhon stood, being drenched with Typhon's blood, became known as Mount Haemus (Bloody Mountain). Typhon then fled to Sicily, where Zeus threw Mount Etna on top of Typhon burying him, and so finally defeated him.
Oppian (2nd century AD) says that Pan helped Zeus in the battle by tricking Typhon to come out from his lair, and into the open, by the "promise of a banquet of fish", thus enabling Zeus to defeat Typhon with his thunderbolts.
The longest and most involved version of the battle appears in Nonnus's Dionysiaca (late 4th or early 5th century AD).Zeus hides his thunderbolts in a cave, so that he might seduce the maiden Plouto, and so produce Tantalus. But smoke rising from the thunderbolts, enables Typhon, under the guidance of Gaia, to locate Zeus's weapons, steal them, and hide them in another cave.Immediately Typhon extends "his clambering hands into the upper air" and begins a long and concerted attack upon the heavens.Then "leaving the air" he turns his attack upon the seas.Finally Typhon attempts to wield Zeus' thunderbolts, but they "felt the hands of a novice, and all their manly blaze was unmanned."
Now Zeus' sinews had somehow – Nonnus does not say how or when — fallen to the ground during their battle, and Typhon had taken them also.But Zeus devises a plan with Cadmus and Pan to beguile Typhon.Cadmus, desguised as a shepherd, enchants Typhon by playing the panpipes, and Typhon entrusting the thuderbolts to Gaia, sets out to find the source of the music he hears.Finding Cadmus, he challenges him to a contest, offering Cadmus any goddess as wife, excepting Hera whom Typhon has reserved for himself.Cadmus then tells Typhon that, if he liked the "little tune" of his pipes, then he would love the music of his lyre – if only it could be strung with Zeus' sinews.So Typhon retrieves the sinews and gives them to Cadmus, who hides them in another cave, and again begins to play his bewitching pipes, so that "Typhoeus yielded his whole soul to Cadmos for the melody to charm".
With Typhon distracted, Zeus takes back his thunderbolts. Cadmus stops playing, and Typhon, released from his spell, rushes back to his cave to discover the thunderbolts gone. Incensed Typhon unleashes devastation upon the world: animals are devoured, (Typhon's many animal heads each eat animals of its own kind), rivers turned to dust, seas made dry land, and the land "laid waste".
The day ends with Typhon yet unchallenged, and while the other gods "moved about the cloudless Nile", Zeus waits through the night for the coming dawn.Victory "reproaches" Zeus, urging him to "stand up as champion of your own children!"Dawn comes and Typhon roars out a challenge to Zeus. And a cataclysmic battle for "the sceptre and throne of Zeus" is joined. Typhon piles up mountains as battlements and with his "legions of arms innumerable", showers volley after volley of trees and rocks at Zeus, but all are destroyed, or blown aside, or dodged, or thrown back at Typhon. Typhon throws torrents of water at Zeus' thunderbolts to quench them, but Zeus is able to cut off some of Typhon's hands with "frozen volleys of air as by a knife", and hurling thunderbolts is able to burn more of typhon's "endless hands", and cut off some of his "countless heads". Typhon is attacked by the four winds, and "frozen volleys of jagged hailstones."Gaia tries to aid her burnt and frozen son.Finally Typhon falls, and Zeus shouts out a long stream of mocking taunts, telling Typhon that he is to be buried under Sicily's hills, with a cenotaph over him which will read "This is the barrow of Typhoeus, son of Earth, who once lashed the sky with stones, and the fire of heaven burnt him up".
Most accounts have the defeated Typhon buried under either Mount Etna in Sicily, or the volcanic island of Ischia, the largest of the Phlegraean Islands off the coast of Naples, with Typhon being the cause of volcanic eruptions and earthquakes.
Though Hesiod has Typhon simply cast into Tartarus by Zeus, some have read a reference to Mount Etna in Hesiod's description of Typhon's fall: And flame shot forth from the thunderstricken lord in the dim rugged glens of the mount when he was smitten. A great part of huge earth was scorched by the terrible vapor and melted as tin melts when heated by men's art in channelled crucibles; or as iron, which is hardest of all things, is shortened by glowing fire in mountain glens and melts in the divine earth through the strength of Hephaestus. Even so, then, the earth melted in the glow of the blazing fire.
The first certain references to Typhon buried under Etna, as well as being the cause of its eruptions, occur in Pindar:Son of Cronus, you who hold Aetna, the wind-swept weight on terrible hundred-headed Typhon, and:among them is he who lies in dread Tartarus, that enemy of the gods, Typhon with his hundred heads. Once the famous Cilician cave nurtured him, but now the sea-girt cliffs above Cumae, and Sicily too, lie heavy on his shaggy chest. And the pillar of the sky holds him down, snow-covered Aetna, year-round nurse of bitter frost, from whose inmost caves belch forth the purest streams of unapproachable fire. In the daytime her rivers roll out a fiery flood of smoke, while in the darkness of night the crimson flame hurls rocks down to the deep plain of the sea with a crashing roar. That monster shoots up the most terrible jets of fire; it is a marvellous wonder to see, and a marvel even to hear about when men are present. Such a creature is bound beneath the dark and leafy heights of Aetna and beneath the plain, and his bed scratches and goads the whole length of his back stretched out against it. Thus Pindar has Typhon in Tartarus, and buried under not just Etna, but under a vast volcanic region stretching from Sicily to Cumae (in the vicinity of modern Naples), a region which presumably also included Mount Vesuvius, as well as Ischia.
Many subsequent accounts mention either Etna[98] or Ischia. In Prometheus Bound, Typhon is imprisoned underneath Etna, while above him Hephaestus "hammers the molten ore", and in his rage, the "charred" Typhon causes "rivers of fire" to pour forth. Ovid has Typhon buried under all of Sicily, with his left and right hands under Pelorus and Pachynus, his feet under Lilybaeus, and his head under Etna; where he "vomits flames from his ferocious mouth". And Valerius Flaccus has Typhon's head under Etna, and all of Sicily shaken when Typhon "struggles". Lycophron has both Typhon and Giants buried under the island of Ischia. Virgil, Silius Italicus and Claudian, all calling the island "Inarime", have Typhon buried there. Strabo, calling Ischia "Pithecussae", reports the "myth" that Typhon lay buried there, and that when he "turns his body the flames and the waters, and sometimes even small islands containing boiling water, spout forth." In addition to Typhon, other mythological beings were also said to be buried under Mount Etna and the cause of its vocanic activity. Most notably the Giant Enceladus was said to be entombed under Etna, the volcano's eruptions being the breath of Enceladus, and its tremors caused by the Giant rolling over from side to side beneath the mountain. Also said to be buried under Etna were the Hundred-hander Briareus,and Asteropus who was perhaps one of the Cyclopes.
Typhon's final resting place was apparently also said to be in Boeotia.The Hesiodic Shield of Heracles names a mountain near Thebes Typhaonium, perhaps reflecting an early tradition which also had Typhon buried under a Boeotian mountain.And some apparently claimed that Typhon was buried beneath a mountain in Boeotia, from which came exhaltations of fire.
Homer describes a place he calls the "couch [or bed] of Typhoeus", which he locates in the land of the Arimoi (εἰν Ἀρίμοις), where Zeus lashes the land about Typhoeus with his thunderbolts.[107] Presumably this is the same land where, according to Hesiod, Typhon's mate Echidna keeps guard "in Arima" (εἰν Ἀρίμοισιν). But neither Homer nor Hesiod say anything more about where these Arimoi or this Arima might be. The question of whether an historical place was meant, and its possible location, has been, since ancient times, the subject of speculation and debate. Strabo discusses the question in some detail. Several locales, Cilicia, Syria, Lydia, and the island of Ischia, all places associated with Typhon, are given by Strabo as possible locations for Homer's "Arimoi".
Pindar has his Cilician Typhon slain by Zeus "among the Arimoi",[111] and the historian Callisthenes (4th century BC), located the Arimoi and the Arima mountains in Cilicia, near the Calycadnus river, the Corycian cave and the Sarpedon promomtory.[112] The b scholia to Iliad 2.783, mentioned above, says Typhon was born in Cilicia "under Arimon",and Nonnus mentions Typhon's "bloodstained cave of Arima" in Cilicia. Just across the Gulf of Issus from Corycus, in ancient Syria, was Mount Kasios (modern Jebel Aqra) and the Orontes River, sites associated with Typhon's battle with Zeus,and according to Strabo, the historian Posidonius (c. 2nd century BC) identified the Arimoi with the Aramaeans of Syria.
Alternatively, according to Strabo, some placed the Arimoi at Catacecaumene, while Xanthus of Lydia (5th century BC) added that "a certain Arimus" ruled there. Strabo also tells us that for "some" Homer's "couch of Typhon" was located "in a wooded place, in the fertile land of Hyde", with Hyde being another name for Sardis (or its acropolis), and that Demetrius of Scepsis (2nd century BC) thought that the Arimoi were most plausibly located "in the Catacecaumene country in Mysia".[119] The 3rd-century BC poet Lycophron placed the lair of Typhons' mate Echidna in this region.
Another place, mentioned by Strabo, as being associated with Arima, is the island of Ischia, where according to Pherecydes of Leros, Typhon had fled, and in the area where Pindar and others had said Typhon was buried. The connection to Arima, comes from the island's Greek name Pithecussae, which derives from the Greek word for monkey, and according to Strabo, residents of the island said that "arimoi" was also the Etruscan word for monkeys.
Typhon's name has a number of variants. The earliest forms of Typhoeus and Typhaon, occur prior to the 5th century BC. Homer uses Typhoeus,Hesiod and the Homeric Hymn to Apollo use both Typhoeus and Typhaon. The later forms Typhos and Typhon occur from the 5th century BC onwards, with Typhon becoming the standard form by the end of that century.
Though several possible derivations of the name Typhon have been suggested, the derivation remains uncertain.Consistent with Hesiod's making storm winds Typhon's offspring, some have supposed that Typhon was originally a wind-god, and ancient sources associated him with the Greek words tuphon, tuphos meaning "whirlwind".Other theories include derivation from a Greek root meaning "smoke" (consistent with Typhon's identification with volcanoes), from an Indo-European root meaning "abyss" (making Typhon a "Serpent of the Deep"), and from Sapõn the Phoenician name for the Ugaritic god Baal's holy mountain Jebel Aqra (the classical Mount Kasios) associated with the epithet Baʿal Zaphon.
Mythologist Joseph Campbell makes parallels to the slaying of Leviathan by YHWH, about which YHWH boasts to Job. Ogden calls the Typhon myth "the only Graeco-Roman drakōn-slaying myth that can seriously be argued to exhibit the influence of Near Eastern antecedents", connecting it in particular with Baʿal Zaphon's slaying of Yammu and Lotan, as well as with the Hittite myth of Illuyankas. From its first reappearance, this latter myth has been seen as a prototype of the battle of Zeus and Typhon. Walter Burkert and Calvert Watkins each note the close agreements.
Comparisons can also be drawn with the Mesopotamian monster Tiamat and her slaying by Babylonian chief god Marduk.The similarities between the Greek myth and its earlier Mesopotamian counterpart do not seem to be merely accidental. A number of west Semitic (Ras Shamra) and Hittite sources appear to corroborate the theory of a genetic relationship between the two myths.
Typhon's story seems related to that of another monstrous offspring of Gaia: Python, the serpent killed by Apollo at Delphi, suggesting a possible common origin. Besides the similarity of names, their shared parentage, and the fact that both were snaky monsters killed in single combat with an Olympian god, there are other connections between the stories surrounding Typhon, and those surrounding Python. Although the Delphic monster killed by Apollo is usually said to be the male serpent Python, in the Homeric Hymn to Apollo, the earliest account of this story, the god kills a nameless she-serpent (drakaina), subsequently called Delphyne, who had been Typhon's foster-mother. Delphyne and Echidna, besides both being intimately connected to Typhon—one as mother, the other as mate—share other similarities.Both were half-maid and half-snake,a plague to men,and associated with the Corycian cave in Cilicia.
Python was also perhaps connected with a different Corycian Cave than the one in Cilicia, this one on the slopes of Parnassus above Delphi, and just as the Corcian cave in Cilicia was thought to be Typhon and Echidna's lair, and associated with Typhon's battle with Zeus, there is evidence to suggest that the Corycian cave above Delphi was supposed to be Python's (or Delphyne's) lair, and associated with his (or her) battle with Apollo.
Typhon bears a close resemblance to an older generation of descendants of Gaia, the Giants.They, like their younger brother Typhon after them, challenged Zeus for supremacy of the cosmos,were (in later representations) shown as snake-footed,and end up buried under volcanos.
While distinct in early accounts, in later accounts Typhon was often confused or conflated with the Giants.The Roman mythographer Hyginus (64 BC – 17 AD) includes Typhon in his list of Giants,while the Roman poet Horace (65 – 8 BC), mentions Typhon, along with the Giants Mimas, Porphyrion, and Enceladus, as together battling Athena, during the Gigantomachy.The Astronomica, attributed to the 1st-century AD Roman poet and astrologer Marcus Manilius,and the late 4th-century early 5th-century Greek poet Nonnus, also consider Typhon to be one of the Giants.
From apparently as early as Hecataeus of Miletus (c. 550 BC – c. 476 BC), Typhon was identified with Set, the Egyptian god of destruction.This syncretization with Egyptian mythology can also be seen in the story, apparently known as early as Pindar, of Typhon chasing the gods to Egypt, and the gods transforming themselves into animals.Such a story arose perhaps as a way for the Greeks to explain Egypt's animal-shaped gods.Herodotus also identified Typhon with Set, making him the second to last divine king of Egypt. Herodotus says that Typhon was deposed by Osiris' son Horus, whom Herodutus equates with Apollo (with Osiris being equated with Dionysus),and after his defeat by Horus, Typhon was "supposed to have been hidden" in the "Serbonian marsh" (identified with modern Lake Bardawil) in Egypt.
There is not a lot of color in my flower garden now, so I opted to put a boxwood plant into a recycle can. Thought I would get a snap with the 50mm and share.
"Orcs were evil beings that served Morgoth, Sauron and Saruman in The Lord Of The Rings and lived in Middle-earth. Orcs were cannibalistic creatures that seem to feel no pain in battle."
And here's batch 12.
The new usual amount of 5 orcs has been reduced to 4 for this one,
as it will be a while until a next batch will be seen. Hope you like 'em!
Go ahead and rate the orcs,
and if you can think of any improvements I should make, list them for every orc that you think needs one.
Also, I'm thinking of trying to make all
of my current orcs better and perfect enough, so if you can give me any suggestions on what kind of things you think that would be best on every orc.
(Such as some kind of style, or perhaps
a few different good styles)
Hope you liked this batch as well,
C&C is welcome as always.
In other news...
Started building a Fell Beast.
I previously started making a head design, but that didn't work out so well then, so I have re-made it and I'm starting to be satisfied with it so far!
Fell Beasts are hard to make, but it looks like I'm on the right track.
If I can finish it in time, it will show up in my Osgiliath MOC.
ARMY (up to batch 10 is shown)
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Batch 13:
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