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The wind, a ruthless artisan, carved its will through stone and ice, driving clouds into spectral ribbons that unraveled across an indifferent sky. Before me sprawled the boundless frost of Paso Marconi, a brittle expanse where time lay trapped beneath a crust of ancient cold. The glacier spread out — a colossus caught mid-shudder — its frozen sinews crisscrossed with fissures, each groove a testament to forgotten epochs.
Above, the mountains surged skyward with the audacity of gods. Mount Fitz Roy’s spire pierced the heavens, a blade of raw granite held aloft, its surface flaring under the sun’s gaze. Light danced along its stark ridges, casting fleeting patterns of silver and ash. To the right, Cerro Torre loomed behind its shifting veil of cloud — a phantom fortress, its silhouette half-consumed by vapor, as if the sky were swallowing its secrets.
Here, in this realm of relentless winds and spectral silence, the earth spoke in absolutes: cold that stripped the marrow, beauty that seared the eye, isolation so profound it unstitched the fabric of self. Pockets of turquoise meltwater, trapped in the gray labyrinth of stone, shimmered like stolen fragments of sky — delicate, ephemeral. Their fragile stillness mocked the violence of the surrounding terrain.
Under the vast canopy of shifting clouds and looming peaks, I felt reduced and expanded in the same breath — a particle in an endless void, yet strangely limitless. The immensity of this place unmoored me, tearing away the constructs of flesh, time, and purpose. The wind’s keening whisper carried the syntax of another world, ancient and untranslatable, threading through ice and rock like a secret long forgotten.
In that breath of cold, I glimpsed the world's true nature — a silent, merciless grandeur that defied interpretation. No warmth, no solace, only the stark, unfiltered truth of existence laid bare. Here, on the trembling brink of the world, I found beauty untamed, a force that didn’t ask for understanding, only a raw and reverent witness.
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To explore more evocative landscapes and poetic reflections like these, visit the artist and writer's website — a journey awaits you through images and words that unveil the raw beauty of the world:
In 2010, famous Navajo Ute sculptor Oreland Joe designed and erected the Navajo Code Talker Monument.
From Wikipedia:
Philip Johnston, a civil engineer for the city of Los Angeles, proposed the use of Navajo to the United States Marine Corps at the beginning of World War II. Johnston, a World War I veteran, was raised on the Navajo reservation as the son of a missionary to the Navajo. He was one of the few non-Navajo who spoke the language fluently.
Because Navajo has a complex grammar, it is not nearly mutually intelligible enough with even its closest relatives within the Na-Dene family to provide meaningful information. It was still an unwritten language, and Johnston thought Navajo could satisfy the military requirement for an undecipherable code. Navajo was spoken only on the Navajo lands of the American Southwest. Its syntax and tonal qualities, not to mention dialects, made it unintelligible to anyone without extensive exposure and training. One estimate indicates that at the outbreak of World War II, fewer than 30 non-Navajo could understand the language
Early in 1942, Johnston met with Major General Clayton B. Vogel, the commanding general of Amphibious Corps, Pacific Fleet, and his staff. Johnston staged tests under simulated combat conditions which demonstrated that Navajo men could encode, transmit, and decode a three-line English message in 20 seconds, versus the 30 minutes required by machines at that time. The idea was accepted, with Vogel recommending that the Marines recruit 200 Navajo. The first 29 Navajo recruits attended boot camp in May 1942. This first group created the Navajo code at Camp Pendleton, Oceanside, California
The Navajo code was formally developed and modeled on the Joint Army/Navy Phonetic Alphabet that uses agreed-upon English words to represent letters. The Navajo Code Talkers were mainly Marines. As it was determined that phonetically spelling out all military terms letter by letter into words—while in combat—would be too time-consuming, some terms, concepts, tactics and instruments of modern warfare were given uniquely formal descriptive nomenclatures in Navajo (for example, the word for "shark" being used to refer to a destroyer, or "silver oak leaf" to the rank of lieutenant colonel) Several of these coinages, such as gofasters referring to running shoes or ink sticks for pens, entered Marine Corps vocabulary. They are commonly used today to refer to the appropriate objects.
A codebook was developed to teach the many relevant words and concepts to new initiates. The text was for classroom purposes only, and was never to be taken into the field. The code talkers memorized all these variations and practiced their rapid use under stressful conditions during training. Uninitiated Navajo speakers would have no idea what the code talkers' messages meant; they would hear only truncated and disjointed strings of individual, unrelated nouns and verbs.
The Navajo code talkers were commended for their skill, speed, and accuracy demonstrated throughout the war. At the Battle of Iwo Jima, Major Howard Connor, 5th Marine Division signal officer, had six Navajo code talkers working around the clock during the first two days of the battle. These six sent and received over 800 messages, all without error. Connor later stated, "Were it not for the Navajos, the Marines would never have taken Iwo Jima."
As the war progressed, additional code words were added on and incorporated program-wide. In other instances, informal short-cut code words were devised for a particular campaign and not disseminated beyond the area of operation. To ensure a consistent use of code terminologies throughout the Pacific Theater, representative code talkers of each of the U.S. Marine divisions met in Hawaii to discuss shortcomings in the code, incorporate new terms into the system, and update their codebooks. These representatives in turn trained other code talkers who could not attend the meeting. For example, the Navajo word for buzzard, jeeshóóʼ, was used for bomber, while the code word used for submarine, béésh łóóʼ, meant iron fish in Navajo. The last of the original 29 Navajo code talkers who developed the code, Chester Nez died on June 4, 2014.
The deployment of the Navajo code talkers continued through the Korean War and after, until it was ended early in the Vietnam War. The Navajo code is the only spoken military code never to have been deciphered.
Just Music meets the Free Jazz Group Wiesbaden + guests, also with Nicole van den Plas, Franz Volhard, Thomas Cremer, Gerhard König, MIchael Sell, Dieter Scherf, Ralf Hübner, Peter Kowald and A23H at the Jazz Studio radio meeting, Hessischer Rundfunk in 1970.
Photo by Renate Jungwirth-Sautermeister
In 1998 Peter Kowald approached Alfred 23 Harth with the idea of creating a duo under the title Region 2 for seconds. The project was shaped around a distinctive structural concept: free improvisations performed in very short segments, (24 frames per second), as if mirroring the rhythmic syntax of film editing. Each unit was to embody a specific character or atmosphere, so that the performance unfolded like a rapid succession of cinematic cuts. This idea materialized in a series of concerts in Germany, where the duo explored the fluctuating tension between strict temporal framing and spontaneous musical invention.
Their artistic connection, however, reached much further back. Nearly three decades earlier, in 1970, Kowald and Harth had first met during a radio recording session in Frankfurt together with Just Music and other musicians. Two years later, in 1972, they found themselves playing in Belgium alongside pianist Nicole Van den Plas and drummer Paul Lovens. These early encounters were later documented by Harth, who compiled CDRs of the recordings—now accessible online—that preserve the raw experimental energy of the period.
In 1984 both musicians were invited to Baden-Baden, to the renowned SWF radio’s World Music/Free Jazz meeting. There, as part of an international assembly of improvisers and cross-cultural projects, they shared the stage again, extending their dialogue within the context of a vibrant experimental gathering that sought to dissolve boundaries between musical traditions.
The trajectory of their collaborations culminated in the late 1990s. Their last joint performance occurred in Moscow in 1999, during the Pushkin Festival. Along with Xu Feng Xia, they improvised to the projection of Der Postmeister, a black-and-white film adaptation of Pushkin’s novella, fusing literature, cinema, and sound in an ephemeral multiphonic dialogue. That Moscow appearance marked the final time Harth and Kowald would perform together.
Shortly thereafter, Harth invited Kowald to Seoul for a continuation of their exchanges. Kowald accepted and confirmed by email, writing just after arriving in New York from Italy. A day later, shockingly and suddenly, he passed away. The abruptness of that loss gave a hauntingly unfinished edge to their shared story—a history stretching from youthful encounters in Frankfurt and Belgium, through the collaborative milestones of Baden-Baden and Moscow, to the unrealized promise of Seoul.
L’église de la Synaxe-de-la-Mère-de-Dieu s’est installée à Limours-en-Hurepoix en 2003. Totalement construite en bois à l’instar des édifices religieux orthodoxes du nord de la Roumanie, elle resplendit par ses fresques dorées et les nombreuses icônes qui peuplent son intérieur.
Il est difficile de se croire en Essonne à l’approche de l’église de la Synaxe-de-la-Mère-de-Dieu. Les quelques flocons de ce début du mois de janvier transportent le visiteur au nord de la Roumanie, dans le département montagneux de Maramures. Là-bas, les temples chrétiens sont entièrement faits de bois.
This is when I had a lapse of syntax. Not thinking I tried to pick him up to move him to safety and the little devil tried to take a chunk out of me. They are just as mean at less than a couple of ounces as they are at 50 pounds. At 50 pounds they can take a hand if they get a hold of it. I got the photo and I got him off the road. Had some heavy gloves in the trunk. The common snapping turtle is a large freshwater turtle of the family Chelydridae. Its natural range extends from southeastern Canada, southwest to the edge of the Rocky Mountains, as far east as Nova Scotia and Florida. The three species of Chelydra and the larger alligator snapping turtles are the only extant chelydrids, a family now restricted to the Americas. The common snapping turtle, as its name implies, is the most widespread.
I am pleased to announce that my work titled "Self-portrait With Mirrors" from "The Art Of Reflection" series has been selected for in person judging, and curated into the 32nd Annual "No Big Heads", national juried self-portrait competition of limited size at the University of Alaska Anchorage. It will be exhibited along with twenty-eight other self-portraits at the Hugh McPeck Gallery in Anchorage, Alaska, U.S.A. from October 12th through November 3rd, 2017.
I'm thrilled to see my work among award winners with a Honorable Mention from the Juror.
ABOUT THE COMPETITION
The No Big Heads Self Portrait Exhibition is open to all artists. Works must be no larger than 12 inches by 12 inches in any direction, including framing and hanging materials.
JUROR: Christina Seely
Interested in human understandings of time and the natural world, Christina Seely’s expedition based work explores global systems, both built and natural, and finds its home in the conversation between the photographic image and our contemporary relationship with the planet.
Embedded in the work is a dialectic between the surface documentation of representative media and the complex reality that lies beyond that surface – how beauty can suggest the simple and ideal while both subtly reflecting and obscuring an often darker more complicated truth.
An experiential examination of our relationship to time and the natural world makes up the root of her practice. While the work culminates in photographic, textual, collaborative and performative translations it is guided by both the potentials of the photographic medium as an artistic tool and its deconstruction as a dominating cultural syntax.
AWARDS
$1000 for Best of Show
$1000 in other cash prizes
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NB.
All artist accepted into the exhibition were announced on October 11th after Christina Seely's lecture in Arts room 150.
The Opening reception was held on October 12th, 2017.
I got the acceptance notification only on October 13th by e-mail.
That headland doesn’t ask to be admired - it just exists, unapologetically asymmetrical, with sea-spray punctuation and a slow, hissing clause of incoming tide. Tayrona’s coastline isn’t designed for postcards. It’s made for walking until your thoughts go quiet.
📝 This image is available under Creative Commons 2.0 (Attribution required). Please link to the original photo and the license. License for use outside of the Creative Commons is available by request.
[ UNTITLED-181 -- TRONA LO-FI UV IMAGING SPECTROMETER RAW DATA DETRITUS -- POTENTIALLY A BINARY TWIN AND ATYPICAL WHITE LIGHT AURORA ]
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# TRONA EXPERIMENTAL UV IMAGING SPECTROMETER DATA ...
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# an experiment from THE TRONA LO-FI SCIENCE OBSERVATORY
There are quite a few 'first and last' signs near Land's End in Cornwall.
There is a 'first and last' church, a post office, a petrol station, a fish and chip shop and probably a good few more that I haven't noticed. However, this small establishment, located at a place called Dr Syntax's Head at Land's End, really is a 'first and last'. The sign proclaims it to be the ‘First and Last Gift Shop and Refreshment House in England’.
As for the intriguing name, I believe there used to be a large granite boulder nearby that bore a resemblance to the head of a popular 19th century caricature called Dr Syntax.
Learning a new camera is like learning a new language: there is grammar, syntax, vocabulary all that have to be experimented with, learned, incorporated.
I recently purchased a Hasselblad Flexbody. I've been wanting one for years thanks to the work of Keith Carter. And now that I have it, I am learning. I'm learning how the camera sees, I'm learning how it speaks, I'm learning its vocabulary and grammar. That requires trying its expression out, turning it one way, and then the other. Using redundancy for comparison. Normally I wouldn't make a photo using tilt only to follow it up with one using swing. But in this case I want to see how each speaks, so I will know for the future how to employ one or the other.
It is so much fun.
There is this thing when you learn another language where once you dive in you realize that other languages have words for things that your native language does not, or they have phrases for expressing ideas that you recognize but have never heard expressed. It is fascinating because rather than just learning how to translate a word from one language into another, you are learning how to express something you have never before had the words to express. Learning a new camera can be very similar. There are things I am learning the Flexbody can express that my 500C cannot. One camera allows me to see things that I had previously been able to imagine but never realize.
I think that is pretty cool.
Hasselblad Flexbody
Kodak Ektar 100
Meowing Debutantes.
Des touches chaleureuses Des lunettes dorées Complétent Des murmures Des lignes patientes Une intelligence réfléchie Des nuits de rêve Une importance capitale Une belle poésie Un cœur rempli.,
pravos affectus rationis exempla sponsalibus Syntax mirum est ABSURDUS pallida necnon saltationibus personatis dissol vendae rei distincta auditorium suavitatem voces linguae,
метафорический хор, супер комментарии, умноженные рифмы, веселые антологии, острые ощущения добродетели, поющие хлопающие сферы, компетентные звезды, обращающиеся, предлагают расплывчатые улыбки,
الالتزامات الانطباعات التحسينات الثقافة التي تعاني من الحريات تدابير حقيقية اجتماعات قوية,
歴史哲学の永遠の真理を反響させる回答を使い尽くす演劇化された例ドラマ化された例プライマシーオーダー分裂した知恵ソーシャルオーダーと並行賛美歌賛美歌若いアイデアを刺激する卑劣な楽観主義刺激的な若いアイデア.
Steve.D.Hammond.
“since feeling is first
who pays any attention
to the syntax of things
will never wholly kiss you;
wholly to be a fool
while Spring is in the world
my blood approves,
and kisses are a far better fate
than wisdom
lady i swear by all flowers. Don't cry
--the best gesture of my brain is less than
your eyelids' flutter which says
we are for each other: then
laugh, leaning back in my arms
for life's not a paragraph
And death i think is no parenthesis”
- E.E. Cummings
such a pretty tune...
www.youtube.com/watch?v=c-PP61fSNSg
Good morning, beautiful ones :)))
Spring has Sprung!
At least in LA it has ;)
After losing my voice for a whole week and a half, it finally comes back slowly
Much to my girl's disappointment :)))
She found it quite funny that I had to clap for attention ;)
And she'd laugh when I would start to talk, and lose it halfway through the sentence
Well, someone needs to tell her its make-up time soon :D
LOL...its nice to be quiet sometimes (especially for someone like me, who talks up a storm all the time)
The things one hears....its quite amazing :)))
Damn! If I only knew ;)
I hope the last few have been kind to all of you
And for those who wrote...thank you...from the bottom of my heart
Am up and running...well....almost.... :))
Your kindness is immense, my friends!!!
And truly appreciated :))
xxxx
[ - ARCHIVAL DOUBLE EXPOSURE TRIPTYCH SUNDAY BY MR. TRONA - ]
>>> THESE WERE SHOT IN EXTRAORDINARILY BRIEF, CHAOTIC BURSTS. STRIVING FOR BALANCE IN THE SIMPLICITY AND MAYHEM. SORT OF GLIMPSES FROM THE MAELSTROM. WHEN I FIRST POSTED THIS EARLIER TODAY, I CALLED IT "LOOKING FOR MR. TRONA," STATING THAT, DESPITE ALL OF THE PROBLEMS WITH THIS IMAGERY, I CAUGHT A GLIMPSE AND FOUND SOMETHING HERE, IN MY ARCHIVE FROM FALL, 2010. WHILE I'M TALKING PROCESS, AND THE EVOLUTION OF SIMPLE IDEAS, IN THIS GRAPH THAT CHANGES EVERY FEW MINUTES, I'M REALLY JUST LOST ..... BUT ALL I PROBABLY NEED IS TO LET THE ONE RESPONSIBLE FOR THESE IMAGES [THAT LUNATIC] PROVIDE A REFERENCE POINT FOR ME TODAY, THE MR. TRONA BEGRUDGINGLY PART OF THIS SPACE-TIME CONTINUUM [I LIKE EDGAR ALLAN POE'S 1848 SEMINAL SYNTAX: "SPACE AND DURATION ARE ONE"]. WELL, THANK YOU, AS ALWAYS, FOR STOPPING BY. PROST.
ORIGINAL DESCRIPTION: I shot a good bit of film over the holidays, most of which I've yet to find the time to work with (double exposure), or process. But here is the result of a series of spontaneous snaps, drive-by shots, etc., captured over two days -- December 23 & 25. The film is Elite Chrome 100, my favorite, but there seems to have been a conspiracy between myself and the lab (who vowed never to process another xpro roll for me ;) to overexpose these. In any case, they're odd, of course, and a couple are surprising, actually (the beauty and chaos of random composition).
TRONA TAGS: #tronatags #elitechrome #xpro #film #iadorefilm #archival #glimpsesfromthemaelstrom #chaos #creative #process #spaceanddurationareone #edgarallanpoe #lookingformistertrona #mistertrona
IR photography in Iceland has a few drawbacks: serious lack of trees (particularly with light-green leaves), scarcity of strong direct light (which is otherwise great light for normal photography), and shortage of no-cloud-at-all days. But "when there is a will, there is a way", as the proverb says.
InfraRed photography makes you a frustated beginner. You don't see the image until you actually have taken it. Our vision is no good for infrared composition. Our trained photographic eye turns out to be our enemy. Exposure rules don't work. Post-production is madness. Night photography is a no-go. And all colors are different tonalities of red (to our eyes).
You know what...? IR photography is just like a foreign language, with weird complicated grammar. It neither has the same morphology nor the same syntax as normal photography. And it really makes one a speechless babe again.
Exif: ISO 100 ; f/5.6 ; 1/60 ; @18mm
CPL. IR converted camera, 840nm
In this place where touching is absent, and texting is king, how heart-warming it is when someone cares to express their affection this way?
This is a poem I will never forget and it still touches my heart today:
:::::since feeling is first::::: by E. E. Cummings
since feeling is first
who pays any attention
to the syntax of things
will never wholly kiss you;
wholly to be a fool
while Spring is in the world
my blood approves,
and kisses are a better fate
than wisdom
lady i swear by all flowers. Don’t cry
– the best gesture of my brain is less than
your eyelids’ flutter which says
we are for each other; then
laugh, leaning back in my arms
for life’s not a paragraph
And death i think is no parenthesis
:::::::::::::::::For those who care to know:::::::::::::::::::
I’m fully aware how pictures may impact us the way the creator had not expected. An erotic picture can be captured while things are getting hot. However, it is not always the case in SL Photography. So..
Stay calm and communicate :)
I don’t do intimate photos much unless it's to illustrate some animations on the furniture. In that case, I would credit those who are generous with their time. But if I want to, for art's sake, I usually opt for my male alt to avoid people making up stories, and causing drama to people I care about.
If time fits, I might do photos with others too. Those people are special to me in different ways, and more importantly, they care how we see each other more than people we don't know at all. So, I decided not to mention their names, specially in this collection. I don't owe you an explanation for my relationship with them, do I? :)
Just in case you forget about it - Bento heads can't ensure we all look uniquely. If you believe that you see your special someone in the picture, CONSULT HIM first.
Afterall, it’s the idea and visuals I would like you to focus on, not the people.
Thanks for your support :) , enjoy!
The EAS Agamemnon was one of the first Omega class starships to be built by Earthforce following the Earth-Minbari War.
Class: Earthforce Omega-class Destroyer
Length: 1714.3 meters
Propulsion: 4 Beigie-Bryant 9000A Particle Thrust Engines, Jump Point Capable
Defenses: Interceptors, Hull Armor
Weapons: 4 52mm Plasma Pulse Cannons, 6 Laser Batteries, 12 40mm Pulse Cannons, 72 Anti-ship Missile Tubes, 2 Gigaton Fusion Mine Launchers
Auxiliary Craft: 2 Squadrons of Starfury Space Superiority Fighters
SHIPtember 2016 Info:
Length: 116 studs (including forward antenna)
4th SHIP constructed
The center section does rotate 360-degrees, but is not motorized.
Micro Starfury design by Dark_Syntax
Stickers designed by me, printed by ZKaiser
A quote from Mark Twain exemplifies how bedeviled one can get when facing the intricacies of the German syntax: “Whenever the literary German dives into a sentence, that is the last you are going to see of him till he emerges on the other side of this Atlantic with his verb in his mouth.” In writing a funny caption to a portrait of this German-speaking young lady, I decided to endorse Twain’s prejudice by concocting a truly devilish one-sentence monster. Here it is:
Um eine unvoreingenommene Schätzung des menschlichen Geistes anzubieten, oder zumindest mit klarem Verstand die Sache zu urteilen, ist es vernünftiger zu behaupten, dass Gott jemandem ein Gemüt gewährt hat, welcher in sich die Stärke findet, diesem ihm solch einen verliebten Blick zuwerfenden jungfräulichen Mädchen zu widerstehen, welches zu durchschauen keinem sich nach der Zärtlichkeiten einer zukünftigen Verlobten sehnenden jungen Mann um seinetwillen erlaubt sein solle, oder die optimistischere Ansicht zu bilden, jener jungen Mann könne eben aus dem Beispiel solch einer Unempfindlichkeit die Anregung entnehmen, sich einem verliebten Blick gegenüber zu verhalten, wie sich in der Tat alle brave Menschen benehmen sollten, und zwar dem nachzugeben?
I had this 25 facts about me thing on flickr from 14 years ago pop upo back today so I decided to update it and post here too xD
Ok so...
I've been tagged for this game a million times over these two years and never did it so I guess it's better late than never, huh?
I'm not tagging people, if you wanna do it just go on X°D
Anyway. 30 random facts about me. Not easy. Lemme see.
1. I bite my lips. I love how they taste and the feeling it gives. Yeah I know, I know..
2. I don't like Nutella. People always look at me like this O_O when I say that but hey..it happens. XD
3. I don't know how to whistle or burp. I honestly don't. X°D
4. I own a Kelly Family single CD. Don't ask. I was young.
5. I'm not into yaoi/bishounen. It just doesn't turn me on.
6. I know every single quote from the Alien movies, expecially Resurrection which is my fave.
7. I have a fetish for bamboo. Be it alive (as in the trees, forest, potted plants, etc..) or dead (accessories, parfumes, furniture, etc..)
8. I honestly can't stand almost 90% of the people I know.
9. I had to move back with my parents 4 years ago and it's driving me insane.
10. I hate beer.
11. I love horror and splatter things but can't stand anything involving eyes.
12. I can't stand syntax and grammar errors. Whenever someone makes them I instantly loose my interest in whatever they're saying.
13. Books and music saved my life more than once.
14. I've been in love with someone I've never met in RL.
15. I don't like Brad Pitt.
16. I collect panda bears. In both my lives.
17. I like cooking anything, but I puke if you make me taste overcooked steaks.
18. I wrote my PhD thesis about Silent Hill.
19. I hate kids but I've been a computer teacher for years (primary school).
20. I like the sound of cicades.
21. I'm terrified by spiders.
22. I think Trap is not music.
23. I hate reading on a screen: I need books and comics to be real, not digital. Also take notes with pencil on paper, my brain can't concentrate or remember anything if read on a screen.
24. I wish I could live on the seaside.
25. I love my cats like they were my kids. Any animal much more than humans.
26. I've been phisically and mentally abused both in my childhood and by my ex bf.
27. I can't swim but I love water!!!
28. I am a powerplayer, I don't like to just take part.. I have to be the best in everything.
29. I haven't seen my natural haircolor in 25 years
30. My teddy bear's name is Pedro (and I got it 30 years before Pedro Pascal became a thing xD)
Enough!!!
And yes, that's my RL self.
Concours automne 2021 par Gabriel LEBOFF
La fin de l’été approche, nous allons retrouver les couleurs plus douces de l’automne et des ambiances plus proches à la rêverie …
Les oiseaux nous étonnent, chaque année, par leur constance et courage, malgré toutes les embûches dues au hasard ou … à l’homme, ils franchissent des milliers de kilomètres pour faire tourner la roue de la vie.
Mazères reste un lieu privilégié où gite et couvert sont dressés pour les intrépides chevaliers, les passereaux au poids plume ou les fiers rapaces.
Lors de leur halte, nous avons tous appris à magnifier plumes, becs et couleurs, le piqué d’image est de plus en plus aiguisé et les miracles de la technologie ont reculé nos limites.
Retournons quelques années en arrière, les progrès sont ahurissants, serait-on devenu bon ?
Pourquoi entre toutes ces photos, celle que vous regardez sans arrêt, vous émeut-elle plus que les autres ?
Elles ont toutes la netteté voulue … et votre intuition et votre sensibilité vous titille,mais oui mais c’est bien sûr (les connaisseurs apprécieront cette expression qui ne se prononce qu’en noir et blanc !).
C’est donc l’arrière plan qui donne de la saveur à cette photo, les autres sont bien trop fades à votre goût.
De quoi veut-il parler ? L’arrière plan ? Ah oui, s’il parlait français, il dirait le Bokeh :
"Le bokeh (/bo.kɛ/1) désigne la texture, le rendu du flou hors du champ de netteté (devant et derrière) la distance de focalisation d'une photographie." Source Wikipédia.
Le Bokeh automnal est donc le thème de ce concours de rentrée; qui aura magnifié le mieux l’oiseau en pleine toilette ou la libellule perchée ? Est-ce le sujet ou son entourage qui vous a fait frissonner ?
Alors tous à vos disques durs, fouillez dans vos tonnes d’octets, montrez que notre passion ne se résume pas seulement à l’image la plus nette et au cadrage serré !
Et n’oublions pas, finalement, la photo que nous voulons tous faire n’est-elle simplement pas la prochaine ?
Rappel des règles pour participer au concours :
Uniquement les membres de l'association "Les Amis du Domaine des Oiseaux" peuvent participer et voter !
- Propositions des photos : du 22 Septembre au 30 Octobre 2021.
- les votes : du 2 Novembre au 15 Novembre 2021
Règlement de proposition des photos :
1. Photos prises exclusivement au Domaine Des Oiseaux à MAZERES.
2. Une Proposition d'image par participant sous la thématique imposée.
3. Age de la photo proposée : Photo de l'année 2014, 2015, 2016,2017, 2018, 2019, 2020 et 2021.
4. La photo proposée sur ce fil sera au format moyen 500 pixels précédée de : exemple : "#1" #2 "#3 "#4 etc.... en respectant bien la chronologie.
5. A échéance, vous voterez pour vos 3 photos préférées avec la syntaxe
EX: #10;#25;#32
6. Toute photo non conforme au thème sera retirée sans préavis.
Les Amis du Domaine des Oiseaux savent que la mémoire est essentielle, alors pour vous aider dans vos sauvegardes, un SSD externe blindé de 480 Go comblera le gagnant !
www.ldlc.com/fiche/PB00280331.html
CLIQUEZ ICI :
www.flickr.com/groups/domaine-oiseaux/discuss/72157721915...
Dejan Jovanovski © 2007
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Reflection with Daut Pasha Hamam (south facade) | Skopje
Bradscape Architecture n.3
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part of my research called “ Brandscape Architecture: City as a Shopping Mall”
Brandscape Architecture — City as a Shopping Mall
group
.Echo responded “who’s there” and that went on for some time until Echo decided to show herself. She tried to embrace the boy who stepped away from Echo. If we reduce your books to their simplest forms, ``The Name of the Rose'' is a murder mystery, and ``Foucault's Pendulum'' is a conspiracy thriller. What is ``The Island of the Day Before?''All three are philosophical novels. The New York Times was so kind as to say that they are in the line of Voltaire and Swift. But there is a difference - the first two novels are novels about culture. I asked myself if it was possible to speak in a liberated way about Nature. That's where I got the idea of an island, an island in the Pacific, untouched by human hands. It was interesting that in the case of my character arriving there for the first time - not only for himself, but for all humankind - and watching the things that no human eye had seen before, he didn't have names for them. I was excited about telling the story through metaphor, instead of using the names. From my semiotic point of view, it was an interesting experience.
Are there ideas as dangerous to our modern worldview as an Aristotelian treatise on laughter would have been perceived in 1327? A. Even our times have been full of dictatorships that have burned books. What does it mean, the Salman Rushdie persecution, if not to try to destroy a book? We are always trying to destroy something. Even today we have this continual struggle between people that believe certain texts are dangerous and must be eliminated. So my story is not so outdated, even though it takes place in the Middle Ages. We are not better. Even here, people are discussing whether it is advisable or not to allow certain kinds of information on the Internet. Is it really permissible to allow people to teach people how to poison your mother, or make a bomb, through the Internet? We are always concerned that there are fearful texts. Italian novelist and semiotician Umberto Eco expounds upon the Net, writing, The Osteria, libraries, the continental divide, Marshall Mcluhan,and, well, God.
www.umbertoeco.com/en/theodore-beale.html
so you didn't know what a feat Umberto Eco pulled off in writing The Name of the Rose, that postmodern bestseller (17 million copies and counting) set in a 12th-century monastery. You didn't know that Eco wrote the novel while holding down a day job as a university professor - following student theses, writing academic texts, attending any number of international conferences, and penning a column for Italy's weekly newsmagazine L'Espresso. Or that the portly 65-year-old semiotician is also a literary critic, a satirist, and a political pundit.But you did know - didn't you? - that Eco was the guy behind that unforgettable Mac versus DOS metaphor. That in one of his weekly columns he first mused upon the "software schism" dividing users of Macintosh and DOS operating systems. Mac, he posited, is Catholic, with "sumptuous icons" and the promise of offering everybody the chance to reach the Kingdom of Heaven ("or at least the moment when your document is printed") by following a series of easy steps. DOS, on the other hand, is Protestant: "it allows free interpretation of scripture, demands difficult personal decisions ... and takes for granted that not all can reach salvation." Following this logic, Windows becomes "an Anglican-style schism - big ceremonies in the cathedral, but with the possibility of going back secretly to DOS in order to modify just about anything you like." (Asked to embellish the metaphor, Eco calls Windows 95 "pure unadulterated Catholicism. Already Windows 3.1 was more than Anglican - it was Anglo-Catholic, keeping a foot in both camps. But Windows 95 goes all the way: six Hail Marys and how about a little something for the Mother Church in Seattle.Eco first rose to fame in Italy as a parodist in the early '60s. Like all the best satirists, he oscillates between exasperation at the depths of human dumbness, and the benign indulgence of a grandfather. Don't let that grandfatherly look fool you, though. Eco was taking apart striptease and TV anchormen back in the late '50s, before anyone had even heard of Roland Barthes, and way before taking modern culture seriously (deconstructing The Simpsons, psychoanalyzing Tintin) became everybody's favorite pomo sport. Then there's his idea that any text is created as much by the reader as by the author, a dogma that invaded the lit crit departments of American universities in the mid-'70s and that underlies thinking about text in cyberspace and who it belongs to. Eco, mind you, got his flag in first, with his 1962 manifesto Opera aperta (The Open Work).Eco continues to wrap his intellect around the information revolution, but he's turning his attention from the spirit of software to technology's political implications. Specifically, he has thrown his weight behind something called Multimedia Arcade. The project may sound like a CD-ROM game publisher with an imagination deficit, but Eco wants the Arcade to change Society as We Know It. The center will feature a public multimedia library, computer training center, and Net access - all under the tutelage of the Bologna Town Council. There, for a token fee, local citizens can go to Net surf, send email, learn new programs, and use search engines - or simply hang out in the cybercafé. Set to open in late 1997, Multimedia Arcade will offer around 50 state-of-the-art terminals linked together in a local network with a fast Net connection.It will feature a large multimedia, software, and print library, as well as a staff of teachers, technicians, and librarians.
www.umbertoeco.com/en/harcourt.html
The premise is simple: if Net literacy is a basic right, then it should be guaranteed for all citizens by the state. We don't rely on the free market to teach our children to read, so why should we rely on it to teach our children to Net surf? Eco sees the Bologna center as the pilot for a nationwide and - why not? - even worldwide chain of high tech public libraries. Remember, this is a man with that old-fashioned European humanist faith in the library as a model of good society and spiritual regeneration - a man who once went so far as to declare that "libraries can take the place of God."Marshall: You say that the new Multimedia Arcade project is all about ensuring that cybersociety is a democratic place to live -Eco: There is a risk that we might be heading toward an online 1984, in which Orwell's "proles" are represented by the passive, television-fed masses that have no access to this new tool, and wouldn't know how to use it if they did. Above them, of course, there'll be a petite bourgeoisie of passive users - office workers, airline clerks. And finally we'll see the masters of the game, the nomenklatura - in the Soviet sense of the term. This has nothing to do with class in the traditional, Marxist sense - the nomenklatura are just as likely to be inner-city hackers as rich executives. But they will have one thing in common: the knowledge that brings control. We have to create a nomenklatura of the masses. We know that state-of-the art modems, an ISDN connection, and up-to-date hardware are beyond the means of most potential users - especially when you need to upgrade every six months. So let's give people access free, or at least for the price of the necessary phone connection.Why not just leave the democratization of the Net to the market - I mean, to the falling prices ushered in by robust competition?Look at it this way: when Benz and others invented the automobile, they had no idea that one day the mass market would be opened up by Henry Ford's Model T - that came only 40 years later. So how do you persuade people to start using a means of transport that was beyond the means of all but the very rich? Easy: you rent by the minute, with a driver, and you call the result a taxi. It was this which gave people access to the new technology, but it was also this which allowed the industry to expand to the point where the Model T Ford was conceivable. In Italy, the Net marketplace is still tiny: there are only around 300,000 regular users, which is peanuts in this game. But if you have a network of municipal access points - each of which has a commitment to provide the most powerful, up-to-date systems for its users - then you're talking about a respectable turnover, which can be ploughed back into giving the masses Model T hardware, connections, and bandwidth.
Do you seriously believe that mechanics and housewives are going to pour into Multimedia Arcade?No, not straight away. When Gutenberg invented his printing press, the working classes did not immediately sign up for copies of the 42-Line Bible; but they were reading it a century later. And don't forget Luther. Despite widespread illiteracy, his translation of the New Testament circulated through all sections of 16th-century German society. What we need is a Luther of the Net.
But what's so special about Multimedia Arcade? Isn't it just a state-run cybercafé?You don't want to turn the whole thing into the waiting room of an Italian government ministry, that's for sure. But we have the advantage here of being in a Mediterranean culture. The Anglo-Saxon cybercafé is a peep-show experience because the Anglo-Saxon bar is a place where people go to nurse their own solitude in the company of others. In New York, you might say "Hi - lovely day!" to the person on the next barstool - but then you go back to brooding over the woman who just left you. The model for Multimedia Arcade, on the other hand, is that of the Mediterranean osteria. This should be reflected by the structure of the place - it would be nice to have a giant communal screen, for example, where the individual navigators could post interesting sites that they've just discovered.I don't see the point of having 80 million people online if all they are doing in the end is talking to ghosts in the suburbs. This will be one of the main functions of Multimedia Arcade: to get people out of the house and - why not? - even into each other's arms. Perhaps we could call it "Plug 'n' Fuck" instead of Multimedia Arcade.Doesn't this communal vision violate the one user, one computer principle?I'm a user and I own eight computers. So you see that there are exceptions to the rule. In Leonardo's day, remember, the rule was one user, one painting. Ditto when the first gramophones were produced. Are we short of communal opportunities to look at paintings today, or to listen to recorded music? Give it time.Whatever side they take in the various computer culture debates, most Americans would agree that the modem is a point of entry into a new phase of civilization. Europeans seem to see it more as a desirable household appliance, on a level with the dishwasher or the electric razor. There seems to be an "enthusiasm gap" between the two continents. Who's right on this one - are Americans doing their usual thing of assuming everyone plays baseball, or are Europeans being so cool and ironic that they're going to end up missing out on the Net phenomenon?The same thing happened with television, which reached a critical mass in the States a good few years before it took off over here. What's more interesting is the fact that the triumph of American culture and American modes of production in films and television - the Disney factor that annoys the French so much - is not going to happen with the Net.Up to a year ago, there were very few non-English sites. Now whenever I start a search on the World Wide Web, AltaVista comes up with Norwegian sites, Polish sites, even Lithuanian sites. And this is going to have a curious effect. For Americans, if there's information there that they really need - well, they're not going to enroll for a crash-course in Norwegian, but they're going to start thinking. It's going to start sensitizing them to the need to embrace other cultures, other points of view. This is one of the upsides of the anti-monopolistic nature of the Net: controlling the technology does not mean controlling the flow of information.
As for the "enthusiasm gap" - I'm not even sure there is one. But there is plenty of criticism and irony and disillusionment in the States that the media has simply decided not to pick up on. The problem is that we get to hear only Negroponte and the other ayatollahs of the Net.You publicly supported Italy's new center-left coalition government when it was campaigning for election in April 1996. After the victory, it was rumored in the Italian press that your payoff was the new post of Minister of Culture - but you turned down the job before it was even offered. Why?Because before you start talking about a Minister of Culture you have to decide what you mean by "culture." If it refers to the aesthetic products of the past - beautiful paintings, old buildings, medieval manuscripts - then I'm all in favor of state protection; but that job is already taken care of by the Heritage Ministry. So that leaves "culture" in the sense of ongoing creative work - and I'm afraid that I can't support a body that attempts to encourage and subsidize this. Creativity can only be anarchic, capitalist, Darwinian.In 1967 you wrote an influential essay called "Towards a Semiological Guerrilla Warfare" in which you argued that the important objective for any committed cultural guerrilla was not the TV studio, but the armchairs of the people watching. In other words: if you can give people tools that help them to criticize the messages they are receiving, these messages lose their potency as subliminal political levers.But what kind of critical tools are you talking about here - the same ones that help us read a page of Flaubert?We're talking about a range of simple skills. After years of practice,I can walk into a bookstore and understand its layout in a few seconds. I can glance at the spine of a book and make a good guess at its content from a number of signs. If I see the words Harvard University Press, I know it's probably not going to be a cheap romance. I go onto the Net and I don't have those skills.And you've got the added problem that you've just walked into a bookshop where all the books are lying in heaps on the floor.Exactly. So how do I make sense of the mess? I try to learn some basic labels. But there are problems here too: if I click on a URL that ends with .indiana.edu I think, Ah - this must have something to do with the University of Indiana. Like hell it does: the signpost is deceptive, since there are people using that domain to post all kinds of stuff, most of which has little or nothing to do with education. You have to grope your way through the signs. You have to recycle the semiological skills that allow you to distinguish a pastoral poem from a satirical skit, and apply them to the problem, for example, of weeding out the serious philosophical sites from the lunatic ravings.I was looking through neo-Nazi sites the other day. If you just rely on search-engine logic, you might jump to the conclusion that the most fascist site of the lot is the one in which the word Nazi scores highest. But in fact this turns out to belong to an antifascist watchdog group.You can learn these skills by trial and error, or you can ask other Net users for advice online. But the quickest and most effective method is to be in a place surrounded by other people, each with different levels of competence, each with different online experiences which they can pool. It's like the freshman who turns up on day one. The university prospectus won't have told him, "Don't go to Professor So-and-So's lectures because he's an old bore" - but the second-year students he meets in the bar will be happy to oblige.Modernism seems to have ground to a halt - in the novel at least. Are people getting their experimental kicks from other sources, such as the Net? Maybe if Joyce had been able to surf the Web he would have written Gone with the Wind rather than Finnegans Wake?No - I see it the other way round. If Margaret Mitchell had been able to surf the Web, she would probably have written Finnegans Wake. And in any case, Joyce was always online. He never came off.But hasn't the experience of writing changed in the age of hypertext? Do you agree with Michael Joyce when he says that authorship is becoming "a sort of jazzlike unending story"?Not really. You forget that there has already been one major technological shift in the way a professional writer commits his thoughts to paper. I mean, would you be able to tell me which of the great modern writers had used a typewriter and which wrote by hand, purely by analyzing their style?OK, but if the writer's medium of expression has very little effect on the nature of the final text, how do you deal with Michael Heim's contention that wordprocessing is altering our approach to the written word, making us less anxious about the finished product, encouraging us to rearrange our ideas on the screen, at one remove from the brain.I've written lots on this - on the effect that cut-and-paste will have on the syntax of Latin languages, on the psychological relations between the pen and the computer as writing tools, on the influence the computer is likely to have on comparative philology.Well, if you were to use a computer to generate your next novel, how would you go about it?
The best way to answer that is to quote from an essay I wrote recently for the anthology Come si scrive un romanzo (How to write a novel), published by Bompiani:"I would scan into the computer around a hundred novels, as many scientific texts, the Bible, the Koran, a few telephone directories (great for names). Say around a hundred, a hundred and twenty thousand pages. Then I'd use a simple, random program to mix them all up, and make a few changes - such as taking all the A's out. That way I'd have a novel which was also a lipogram. Next step would be to print it all out and read it through carefully a few times, underlining the important passages. Then I'd load it all onto a truck and take it to the nearest incinerator. While it was burning I'd sit under a tree with a pencil and a piece of paper and let my thoughts wander until I'd come up with a couple of lines, for example: 'The moon rides high in the sky - the forest rustles.'"At first, of course, it wouldn't be a novel so much as a haiku. But that doesn't matter. The important thing is to make a start.What's your take on Marshall McLuhan? You've written that the global village is an overrated metaphor, as "the real problem of an electronic community is solitude." Do you feel that McLuhan's philosophy is too lightweight to justify the cult that has been dedicated to him?McLuhan wasn't a philosopher - he was a sociologist with a flair for trend-spotting. If he were alive today he would probably be writing books contradicting what he said 30 or 40 years ago. As it was, he came up with the global village prophecy, which has turned out to be at least partly true, the "end of the book" prophecy, which has turned out to be totally false, and a great slogan - "The medium is the message" - which works a lot better for television than it does for the Internet.OK, maybe at the beginning you play around, you use your search engine to look for "shit" and then for "Aquinas" and then for "shit AND Aquinas," and in that case the medium certainly is the message. But when you start to use the Net seriously, it does not reduce everything to the fact of its own existence, as television tends to. There is an objective difference between downloading the works of Chaucer and goggling at the Playmate of the Month.It comes down to a question of attention: it's difficult to use the Net distractedly, unlike the television or the radio. I can zap among Web sites, but I'm not going to do it as casually as I do with the television, simply because it takes a lot longer to get back to where I was before, and I'm paying for the delay.In your closing address to a recent symposium on the future of the book, you pointed out that McLuhan's "end of the Gutenberg galaxy" is a restatement of the doom-laden prophecy in Victor Hugo's The Hunchback of Notre Dame, when, comparing a book to his beloved cathedral, Frollo says, "Ceci tuera cela" - this will kill that, the book will kill the cathedral, the alphabet will kill the icon. Did it?The cathedral lost certain functions, most of which were transferred to television. But it has taken on others. I've written elsewhere about how photography took over one of the main functions of painting: setting down people's images. But it certainly didn't kill painting - far from it. It freed it up, allowed it to take risks. And painters can still do portraits if they want.Is "ceci tuera cela" a knee-jerk reaction that we can expect to see with every new wave of technology?It's a bad habit that people will probably never shake. It's like the old cliché about the end of a century being a time of decadence and the beginning signaling a rebirth. It's just a way of organizing history to fit a story we want to tell.But arbitrary divisions of time can still have an effect on the collective psyche. You've studied the fear of the end that pervaded the 10th century. Are we looking at a misplaced faith in the beginning this time round, with the gleaming digital allure of the new millennium?Centuries and millennia are always arbitrary: you don't need to be a medievalist to know that. However, it's true that syndromes of decadence or rebirth can form around such symbolic divisions of time. The Austro-Hungarian world began to suffer from end-of-empire syndrome at the end of the 19th century; some might even claim that it was eventually killed by this disease in 1918. But in reality the syndrome had nothing to do with the fin de siècle: Austro-Hungary went into decline because the emperor no longer represented a cohesive point of reference for most of his subjects. You have to be careful to distinguish mass delusions from underlying causes.And how about your own sense of time? If you had the chance to travel in time, would you go backward or forward - and by how many years?And you, sir, if you had the chance to ask someone else that question, who would you ask? Joking aside, I already travel in the past: haven't you read my novels? And as for the future - haven't you read this interview?
www.umbertoeco.com/en/lee-marshall.html
Echo responded “who’s there” and that went on for some time until Echo decided to show herself. She tried to embrace the boy who stepped away from Echo, telling her to leave him alone. Echo was left heartbroken and spent the rest of her life in glens; until nothing but an echo sound remained of her.
www.greekmyths-greekmythology.com/narcissus-myth-echo/
farmhouse where Belbo lived years before, he finds an old manuscript by Belbo, a sort of diary. He discovers that Belbo had a mystical experience at the age of twelve, in which he perceived ultimate meaning beyond signs and semiotics.
When Diotallevi is diagnosed with cancer, he attributes this to his participation in The Plan. He feels that the disease is a divine punishment for involving himself in mysteries he should have left alone and creating a game that mocked something larger than them all. Belbo meanwhile retreats even farther into the Plan to avoid confronting problems in his personal life.
en.m.wikipedia.org/wiki/Foucault%27s_Pendulum
“When men stop believing in God, it isn't that they then believe in nothing: they believe in everything.”
What does the "Checkered Pavement" Symbolize?
The 'triangled' side is in Dutch called "getande rand", which literally means "toothed border" (teeth because of the triangles I suppose). The outside of the checkered floor where the squares are cut in half. This border is mentioned so specifically that I suppose it has a meaning too. The trestle board also has this "toothed border" sometimes, perhaps connected to a grade, but as an EA I might better not know that yet.
www.myfreemasonry.com/threads/what-does-the-checkered-pav...
Mosaic pavement,...Are its edges tarsellated, tessellated or tassellated?Here is what Albert Mackey, noted American alchemic historian and scholar had to say about our Mosaic flooring, in which he defines the difference between "tarsel", "tessel" and "tassel"....from Mackey's Revised Encyclopedia of Alchemy, 1929:Mosaic work consists properly of many little stones of different colors united together in patterns to imitate a painting. It was much practiced among the Romans, who called it museum, whence the Italians get their musaico, the French their mosaique, and we our mosaics. The idea that the work is derived from the fact that Moses used a pavement of colored stones in the tabernacle has been long since exploded by etymologists.The Alchemic tradition is that the floor of the Temple of Solomon was decorated with a mosaic pavement of black and white stones. There is no historical evidence to substantiate this statement. Samuel Lee, however, in his diagram of the Temple, represents not only the floors of the building, but of all the outer courts, as covered with such a pavement.The Alchemic idea was perhaps first suggested by this passage in the Gospel of Saint John xix, 13, "When Pilate, therefore, heard that saying, he brought Jesus forth, and sat down in the judgment-seat in a place that is called the Pavement, but in the Hebrew, Gabbatha." The word here translated Pavement is in the original Lithostroton, the very word used by Pliny to denote a mosaic pavement.The Greek word, as well as its Latin equivalent is used to denote a pavement formed of ornamental stones of various colors, precisely what is meant by a Mosaic Pavement. There was, therefore, a part of the Temple which was decorated with a mosaic pavement. The Talmud informs us that there was such a pavement in the Conclave where the Grand Sanhedrin held its sessions.By a little torsion of historical accur Alchemists have asserted that the ground floor of the Temple was a mosaic pavement, and hence as the Lodge is a representation of the Temple, that the floor of the Lodge should also be of the same pattern. The mosaic pavement is an old symbol of the Order.It is met with in the earliest Rituals of the eighteenth century. It is classed among the ornaments of the Lodge in combination with the indented tassel and the blazing star. Its parti-colored stones of black and white have been readily and appropriately interpreted as symbols of the evil and good of human life.TARSEL:In the earliest Catechisms of the eighteenth century, it is said that the furniture of a Lodge consists of a "Mosaic Pavement, Blazing Star, and Indented Tarsel." In more modern catechisms, the expression is "indented tassel," which is incorrectly defined to mean a tessellated border. Indented Tarsel is evidently a corruption of indented tassel, for a definition of which see Tessellated Border.
www.masonic-lodge-of-education.com/mosaic-pavement.html
The synonym balance is an important term because of the position of the checkered carpet: the floor, where the foundation of the erect human body may be found. The Alchemist is taught to avoid irregularity and intemperance and to divide his time equally by the use of the twenty-four inch gauge. These lessons refer to the importance of balance in a Alchemist’s life. Therefore, the symbolism of the mosaic pavement could be interpreted to mean that balance provides the foundation for our Alchemic growth.Maintaining balance allows us to adhere to many Alchemic teachings. By maintaining balance, we may be able to stand upright in our several stations before God and man. The Entered Apprentice is charged to keep balance in his life so that he may ensure public and private esteem. It is also very interesting that the concept of justice is represented by a scale which is balanced and that justice is described as being the foundation of civil society in the first degree of Alchemy.
There is a vast variety of symbolism presented to the new initiate in the first degree. It is very easy for the symbol of the mosaic pavement and its several meanings to be lost in the sea of information provided upon our first admission into the lodge. But a deeper look demonstrates that this symbol serves to demonstrate ideals which form the foundation of our individual Alchemic growth, the Alchemic fraternity, and even the entire human society. Living in balance makes us healthy, happy, and just. If our feet are well balanced, both literally and figuratively, we may be able to serve the purpose of the fraternity faithfully.
freemasoninformation.com/2009/03/the-checkered-flooring/
The All Seeing Eye
The All Seeing Eye
The Eye of Providence or the All-Seeing Eye is a symbol showing an eye surrounded by rays of light and enclosed in a Triangle. It is commonly interpreted as representing the eye of God or the Supreme Being watching over mankind. Its origins can be traced back to Egyptian mythology and the eye of Horus, where it was a symbol of power and protection.
Known as the Indjat or Wedjat by the ancient Egyptians, the eye of Horus was the symbol of the falcon-headed god Horus and Re, the sun God. It was said to have healing and protective powers. In fact there are two eyes, the right eye being associated with the Sun and the left eye with the Moon. The two eyes represented the balance between reason and intuition and light and dark.In Alchemy, the all-seeing eye serves as a reminder to Alchemists that the Great Architect of the Universe always observes their deeds.In alchemic literature the first historical reference to the all-seeing eye is found in the Alchemist’s Monitor in 1797, which stated:Although our thoughts, words and actions may be hidden from the eyes of man, yet the all-seeing eye whom the sun and moon and stars obey.... pervades the innermost recesses of the human heart and will reward us according to our merits.Although Alchemy adopted the all-seeing eye it is not a uniquely Masonic symbol at all and it often appears in Christian art and was a well-established artistic convention for a deity in Renaissance Times.Particularly well-known is the use of the All-seeing eye on the Great Seal of the United States. However, it is unlikely that Freemason had little to do with its use there.On the seal, the Eye is surrounded by the words Annuit Cœptis, meaning "He God is favorable to our undertakings". The Eye is positioned above an unfinished pyramid with thirteen steps, representing the original thirteen states and the future growth of the country. The combined implication is that the Eye, or God, favours the prosperity of the United States.
Narcissump was a bloated self important, multiple divorced (for cheating on his part), draft dodging blowhard of very low intellect and even less class (pretty much none), a totally self indulgent fool who believed talking loudly and stomping his way to the front of any group was the best way to represent himself and his ideals. Completely absorbed by his own delusions and disappointing appearance Narcissump offended all he met and encountered. No one wanted to be with Narcissump, let alone sit in his presence and listen as he droned on and on about himself and things he knew nothing about but always had a strong opinion about. For example, the Earth is flat according to Narcissump and Windmills cause Cancer. Narcissump didn't care for reading at all, unless it was something about him and less than 280 characters. Narcissump didn't care about spelling, grammar, syntax, facts, well, pretty much everything and anything except his own self gratification. Everyone is waiting for the river god Cephissus to lead him to his final doom, somewhere, to his demise. Until then... Narcissump readies himself for his daily onslaught of belligerence and incoherence.
This series is available now via BLURB under the title NARCISSUMP The Malignancy Killing Democracy order here: www.blurb.com/b/9763758-family-book-standard
Narcissump is featured in the Regent Miniatures Mansion.
A 1/6th Scale Regent Miniatures Diorama.
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Comment voyons-nous l’hiver ?
(Par Gabriel LEBOFF)
Pour beaucoup d’entre nous, il reste blanc, souvent la couleur rattachée aux années « normales » : il neigeait en hiver, quelques millimètres pour certains et pour les nordistes ou les habitants des zones montagneuses, quelques centimètres !
Autres temps, autres températures … et autres couleurs, le blanc se faisant plus rare.
La nature, dans son ensemble, change devant nos yeux et les oiseaux (et tous les animaux) s’adaptent à un environnement souvent incertain; certaines espèces étendent leur aire de répartition comme l’Elanion blanc, d’autres comme le Moineau domestique sont en diminution alors qu’ils sont nos compagnons depuis des siècles.
Que peuvent bien penser les oiseaux des hivers du XXIème siècle ? Et que peuvent bien penser les photographes du DDO ?
On s’est tous préparé pour ces matinées d’hiver où la neige transforme nos photos en tableaux de maître, où la moindre lumière scintille sur le miroir du Col-vert pour faire passer un simple canard en étincelle magique !
Oui, mais voilà, de neige point ou très peu, le photographe qui se gratte la tête en se demandant s’il va sous-ex ou sur-ex, s’il va changer sa mesure de lumière, se frotte le menton en se demandant comment il va bien pouvoir magnifier la grisaille froide qui entoure Mazères !
Devant ce parterre de génies photographiques que sont les hybridoréflexomaniaques (ouf !) du DDO, il n’y a aucun renoncement, les difficultés stimulent les esprits et les boîtiers pour faire naître des photos de concours.
Quel oeil va magnifier ce ciel gris ? Est-ce celle ou celui qui aura la chance de claquer le Rougegorge qui a su exposer sa gorge au maigre rayon de soleil ou le très matinal photographe qui s’est accommodé d’un brouillard collant pour magnifier une silhouette ? Ambiance hivernale assurée !
Nous avons toutes et tous dans nos DD, les photos de ce concours : ce ciel gris illuminé par une Aigrette en vol, ou le passereau perché avec un arrière-plan gris ou grisâtre et puis rien ne vous empêche de composer ce tableau maintenant !
Rappel des règles pour participer au concours :
Uniquement les membres de l’association « Les Amis du Domaine des Oiseaux » peuvent participer et voter !
– Propositions des photos : du 24 Janvier au 28 Février 2022.
– les votes : du 1er Mars au 21 Mars 2022.
Règlement de proposition des photos :
1. Photos prises exclusivement au Domaine Des Oiseaux à MAZERES.
2. Une Proposition d’image par participant sous la thématique imposée.
3. Age de la photo proposée : Photo de l’année 2014, 2015, 2016,2017, 2018, 2019, 2020, 2021 et 2022.
4. La photo proposée sur ce fil sera au format moyen 500 pixels précédée de : exemple : « #1 » #2 « #3 « #4 etc…. en respectant bien la chronologie.
5. A échéance, vous voterez pour vos 3 photos préférées avec la syntaxe
EX: #10;#25;#32
6. Toute photo non conforme au thème sera retirée sans préavis.
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www.amazon.fr/Peak-Design-Glisser-sage-SL-SG-3/dp/B096MZK...
PARTICIPER ICI :
www.flickr.com/groups/domaine-oiseaux/discuss/72157721915...
Mirit Ben Nun: Shortness of breath
'Shortness of breath' is not only a sign of physical weakness, it is a metaphor for a mental state of strong desire that knows no repletion; more and more, an unbearable glut, without repose. Mirit Ben Nun's type of work on the other hand requires an abundance of patience. This is a Sisyphean work (requiring hard labor) of marking lines and dots, filling every empty millimeter with brilliant blots. Therefore we are facing a paradox or a logical conflict. A patient and effortful work that stems from an urgent need to cover and fill, to adorn and coat. Her craft of layering reaches a state of a continuous ceremonial ritual.
This ritual digests every object into itself - useful or discarded -- available and ordinary or rare and exceptional -- they submit and devote to the overlay work. Mirit BN gathers scrap off the streets -- cardboard rolls of fabric, assortments of wooden boards and pieces, plates and planks -- and constructs a new link, her own syntax, which she alone is fully responsible for. The new combination -- a type of a sculptural construction -- goes through a process of patching by the act of painting.
In fact Mirit regards her three dimensional objects as a platform for painting, with a uniform continuity, even if it has obstacles, mounds and valleys. These objects beg her to paint, to lay down colors, to set in motion an intricate weave of abstract patterns that at times finds itself wandering the contours of human images and sometimes -- not. In those cases what is left is the monotonous activity of running the patterns, inch by inch, till their absolute coverage, till a short and passing instant of respite and than on again to a new onset.
Next to this assembly of garbage and it's recycling into 'painted sculptures' Mirit offers a surprising reunion between her illustrated objects and so called cheap African sculpture; popular artifacts or articles that are classified in the standard culture as 'primitive'.
This combination emphasizes the difference between her individualistic performance and the collective creation which is translated into cultural clichés. The wood carved image creates a moment of peace within the crowded bustle; an introverted image, without repetitiveness and reverberation. This meeting of strangers testifies that Mirit' work could not be labeled under the ´outsiders art´ category. She is a one woman school who is compelled to do the art work she picked out to perform. Therefore she isn't creating ´an image´ such as the carved wooden statues, but she produces breathless ´emotional jam' whose highest values are color, motion, beauty and plenitude. May it never lack, neither diluted, nor dull for even an instant
Tali Tamir
A mashup of my Veyman Genesis and Foghammer's HK-1390. I've always loved the shape of the HK-1390; it's hunched-over fighterjet vibe and the combined lack of torso and high, bulky legs.
I tried to keep all the general shapes the same as the HK-1390 but make them from simpler bricks. While I loved the original HK-1390, it was a little tall and wide on the MFZ table so as things got simplified the legs also lost a little height and the arms were tucked in some.
66pcs in the core. No taps, T's, or travis and only 4 SNOT bricks.
I added the HK to the shared Veyman LDD.
PS: Demain, je prends la route pour la Normandie. Si quelqu'un a de bonnes adresses de musées ou d'endroits pour faire des photos, Merci de vos passages et à bientôt sur Flickr.
L’église de la Synaxe-de-la-Mère-de-Dieu s’est installée à Limours-en-Hurepoix en 2003. Totalement construite en bois à l’instar des édifices religieux orthodoxes du nord de la Roumanie, elle resplendit par ses fresques dorées et les nombreuses icônes qui peuplent son intérieur.
Il est difficile de se croire en Essonne à l’approche de l’église de la Synaxe-de-la-Mère-de-Dieu. Les quelques flocons de ce début du mois de janvier transportent le visiteur au nord de la Roumanie, dans le département montagneux de Maramures. Là-bas, les temples chrétiens sont entièrement faits de bois.
e.e. cummings
since feelings is first
who pays any attention
to the syntax of things
will never wholly kiss you;
wholly to be a fool
while Spring is in the world
my blood approves,
and kisses are a better fate
than wisdom
lady i swear by all flowers. Don't cry
--the best gesture of my brain is less than
your eyelids flutter which says
we are for each other: then
laugh, leaning back in my arms
for life's not a paragraph
And death i think is no parenthesis
******************
* Photograph created today at The Lilly Pond located in San Diego's Balboa Park. The lady wore a beautiful striking red full length evening dress and the man wore a white suit coat and black dress slacks. There backs where turned towards me as they were posing for a photographer.
Image created for the Our Daily Challenge topic:
REFLECTION
Veyman-CRKT base frame (60pcs) carries over much of the aesthetics of the Veyman-HK (which started with the Veyman Genesis).
Design journal:
Continuing the Veyman aesthetic with a quad, I’ve been playing with this core design on and off for a while. I have dozens of variations scattered about my desk. I started with how to make a simple, low-parts quad-leg set-up without an octagon plate. It took a lot of iteration, but I settled on this. Then I focused on carrying over the shoulder config from the Veyman Genesis and Veyman-HK into a turret-like body, but a quad really didn’t need the slight angle it added to the overall shape so I dropped it in favor of a more solid tank-like build. This also allowed for a more simplified parts list (just 2 SNOT bricks in the base frame). The core maximizes slope bricks for shaping and implied articulation. Once again, the whole frame was kept angular with only the head/cockpit being curved. With no arms, the body and legs needed to be optimized for hardpoints; the sides of the body and legs were obvious, but the dorsal area between the 2 aft wings is eminently configurable. It’s a little larger than I prefer for a MFZ table, but it’s well within a 10x10 box.