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

  

CHAPTER ONE: A MILLION KILOS OF CONFETTI

 

- The Ignorant and The Divine

In any important role, a line must be drawn between the absolute and the excess, the worthy and the weak, the ignorant and the divine. The time we waste lessens the grief we seek and all the animals weep for love. It is not our lot to scream the injustice because the crime is still just a dime a dozen, a life in shambles, a rude answer on the wall. All will not be lost though, so don't give up the fight (right after these commercial messages). The definitive is not always the one, a one, one more of these and all is done. Raise your faces to the sun because you are god.

-Jan. 28/1986

Toronto, Canada.

 

I took a look at it once but wasn't quite sure if I had read it right so I looked again.

"What do you think?" He was standing there like some exquisite being from somewhere out there. His handwriting was disgusting and his grin was worse. "Well?"

I held it up to him and shook my head. "Sir ... " but I was lost for words.

"Ya, ya, so what is it?

"Umm ... you wrote this, right?" He nods his head.

"And… uh, the ideas transformed onto this ... this, uh masterpiece are entirely yours?"

Again he repeats the motion with that round thing on his shoulders.

"What the hell does it mean?"

He seems stunned - like as if a million kilos of confetti had just fallen on top of him.

I just couldn't help it. I had to leave.

  

CHAPTER TWO: THE ELEVENTH

 

- A Mystery of Fate

For the only reason anyone ever cries, for the truth that is so desperately sought (vainly bought), for the essence of being and the bouquet of roses, for the altar, for the weight of a guilt ladened conscience, for the easy answers, the easy lies, for the visions gained and the sweetly sung lullabies - dark and evil and stinking of burnt flesh, for the mysteries of fate and the illusion of its passing, for you (as god) and I (as you), for just one damned second of pleasure, we search for love.

-Jan. 28/1986

Toronto, Canada.

 

I could have just ignored him when he approached. I could have just walloped him one also. I was sure this wasn't as it seemed. What I wasn't sure of was...

"What do you figure it means?"

...was what the hell it meant. I stammered for a bit, bit the bullet with both teeth, bought tea with both feet, "Seethe here son," I said, "someday the world is going to catch up with you." I stunned myself with strange syntax and said, "Again."

He is on guard now, no doubt. "The eleventh."

He shakes his head in a desperately wild manner. It was like as if the negative was true.

I just couldn't believe it. I had to leave.

  

CHAPTER THREE: EYES OF DECADENCE

 

- To Be So Unsure

Not even as odd or the other side of the story or coin - this was won with the valor. And for what? With whose guidance? Under what context or pretext or any text from the book of love? Surely we don't regret. Surely we know we will die. So, not just with motive or plan, action or dissatisfaction- that was lost beyond all help. No, we needed more. Were we sure? Were we unsure? Were we? Are we? Are you? God plants His feet before you ... (She looks angry).

-Jan. 28/1986

Toronto, Canada.

 

I felt like I could cry. I wished he would up and die. I knew his game. It was the same as before... strange writing, devious grin, the obvious. I let time soak up a bit of the present then said, "Of course, the lunacy presents itself as just one of the boys."

"Yes, but..."

"And, the crap about love is a throw-you-off."

"Certainly, you romantic fool, but..."

I sway back and grunt loudly three times. "C-c-c ... dibbla dabbla, stop!"

He is looking directly at me with eyes of decadence.

"Nothing."

He starts laughing, laughing, laughing till his laughter turned to tears.

I just couldn't say it. I had to leave.

 

Vile Syntax: Skate Sub Sundays

 

MIA Skatepark in Miami, FL

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

  

Veyman-JKLP base frame (53pcs) continues the aesthetics of the

Veyman-CRKT, the Veyman-HK, and the Veyman Genesis.

 

Design notes:

The core maintained the hard angles with only the cockpit being curved, but the legs weren't working with hard angles so I went curvy. Aimed for minimal exposed studs and a clean look. More implied articulation and stance like the other Veyman frames. The winglets are an attempt to emulate the winglet hardpoints on attack helicopters. I wanted to keep the theme of modest parts count and a simplified parts list: 6 SNOT bricks but could be reduced to 4 and the double-handle plates in the legs can easily be swapped to a pair of more common single-handle plates. For MFZ gameplay configuration, there are no les than 15 hardpoints that can be used for attaching systems with minimal modification.

Dangling Syntax.

Беспощадно знакомства фантомов суеверия траурные монархи Внимания кровь,

irrespectueuses jugés décisions les avocats impressions chargées de surveiller ventures attaques,

στερημένους τρελοί συγκληθεί εκ νέου σάρωση καγκελάριος αναγκάστηκε επαναστάσεις δικαστές αίθουσα αγόρευση,

philosophi consequatur retracing ministrationum ludorumque operis magnificentia regia studio alumni vigilia plausu,

tiefe Delirium Vorrechte huschen Gefangenen Zusammensetzungen Persönlichkeiten Irren Bewusstsein übertragen,

dadansoddiad digonol ymadroddion gronynnau cyntefig immateriality dirgryniadau disgwrs dealltwriaeth a drefnwyd ymennydd,

تصورات اولى الخصوصيات الخلود المضيء التكتلات خضوعه العضوية مداولات طنين,

riflessioni turgidi sfidando condizioni inevitabili navigatori tempesta montane soffocante rabbia,

súile foreboding buadhach néaróg sealúchais mínádúrtha tones grandiloquent bhfeidhm sásamh imeacht,

収差はエネルギッシュ散在工夫ユーモラスな詩人の態度暗黙的に愛想.

Steve.D.Hammond.

My buddy darksyntax got me interested in MFZ and Intercept Orbit in particular, so I built this fleet. My ships are based off of some of the work I did for SHIPtember 2013 flickr theme month last year. I figure I'll probably end up tweaking them for specific systems for the game once the rules are known.

 

The frame aces and companies are DRevD's awesome design with just very minor alterations due to my parts availability.

 

Check out the Mobile Frame Zero website: mobileframezero.com/

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

 

Photographed from Dr Syntax's Head (no, me neither), Sennen Cove is just around the headland in the centre of the picture. Beyond that is Whitesand Bay (not to be confused with Whitsand Bay in the south-east of Cornwall) and then on the far left is Cape Cornwall. As the white caps on the sea suggest, it was a very blustery day and it was a relief to get over to the more sheltered south coast.

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

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

The monument was done by famous Navajo/Ute sculptor Oreland Joe in 2010 and was the first monument of it's kind dedicated to the Navajo Code Talkers.

 

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.

SHIDtember's back, baby!

 

5yrs ago today I posted The 8-Belle. Today I give you the Jovian Confederation ship JCS New Belfast, light tactical carrier.

 

Dual hangar bays with control tower, quad engine nacelles, main bridge, and multiple sensor systems.

 

108 studs (Duplo studs!), 67.5"/171.5cm. 100% Duplo; all SNOT is Duplo: no System or Toolo bricks, all parts are connected via studs (no "gravity connections"). She's mostly stable sitting on the table, but she wants to collapse under her own weight (she's a big girl); NOT swooshable. The stands are not built into the ship.

 

It took about 20hrs to build. No preplan, just a huge pile of Duplo and go!

 

More pics in my Duplo album.

Before the night falls

 

self-portrait

  

Chairil Anwar (26 July 1922 – 28 April 1949) was an Indonesian poet and member of the "1945 Generation" of writers. He is estimated to have written 96 works, including 70 individual poems. Anwar was born and raised in Medan, North Sumatra, before moving to Batavia with his mother in 1940, where he began to enter the local literary circles. After publishing his first poem in 1942, Anwar continued to write. However, his poems were at times censored by the Japanese, then occupying Indonesia. Living rebelliously, Anwar wrote extensively, often about death. He died in Jakarta of an unknown illness. His work dealt with various themes, including death, individualism, and existentialism, and were often multi-interpretable. Drawing influence from foreign poets, Anwar used everyday language and new syntax to write his poetry, which has been noted as aiding the development of the Indonesian language. His poems were often constructed irregularly, but with individual patterns.

Japanese Tit

 

The Japanese tit (Parus minor), also known as the Oriental tit, is a passerine bird which replaces the similar great tit in Japan and the Russian Far East beyond the Amur River, including the Kuril Islands. Until recently, this species was classified as a subspecies of great tit (Parus major), but studies indicated that the two species coexist in the Russian Far East without intermingling or frequent hybridization.

 

The species made headlines in March 2016, when Suzuki et al. reported in Nature Communications that they had found experimental evidence for compositional syntax in bird calls, marking the first such evidence for that type of syntax in nonhuman animals.

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

My 21st Mecha Mixel-Nixel Expeditionary Force (MMNEF) mech; this one from the Mixies tribe.

 

For more on the MMNEF click here.

 

I found this tribe to be heavy on plates and specialty pieces; I never seemed to have enough structure pieces like basic bricks and slopes. Not sure if it's related, but I did use a high percentage of the parts from this tribe; overall this is a large mech than most of the MMNEF. I do like the finished stance quite a bit.

 

C&C solicited as always!

What do you get when you mix a sleepless night with LDD?

 

Diarrhea. Armor diarrhea.

 

So pardon any glaring spelling or syntax issues, it tends to come with some sleep deprivation.

 

Enjoy the coming barrage of big (small) green, metal shooty things.

 

Hour 1: Aegis 1V

 

The Aegis 1V is the complementary vehicle to the Vanguard 1AF tanks.

 

Designed for the "sword and shield" operational doctrine, the Aegis tank forms the defensive element of the pair, while Vanguards are geared for the offensive role.

 

Armed with an auto loading 105 mm cannon, Aegis tanks boast one of the fastest rates of fire among all Atlantic Federation armor. Although it is not capable of traversing along the horizontal arc, The gun is capable of elevating to +20, and depressing to -10. In addition to the gun's relatively good range of elevation and depression, the front wheel can depress or elevate, adding an additional +5/-5 degrees.

 

Although frontal hull armor is a mere 40 mm thick, the good slope increases the relative thickness of the armor by quite a bit.

 

The Aegis 1V is held in reserve and is never expected to spearhead or lead an offensive.

 

God, I'm drowsy. ;)

 

Perks and quirks:

 

Good visibility (+1)

slat armor (+1)

Hydraulics (+1)

 

Auto loader (0)

super slope (0)

 

Turretless (-2)

Not OSHA compliant (-1)

 

This pictures are from the city walk in the London Biennale 2006. Now they are part of the Space Syntax Office.

Dumbarton Central Railway Station

~Empty Room~

The clock disserts on punctuation, syntax.

The clock's voice, thin and dry, asserts, repeats.

The clock insists: a lecturer demonstrating,

Loudly, with finger raised, when the class has gone.

 

But time flows through the room, light flows through the room

Like someone picking flowers, like someone whistling

Without a tune, like talk in front of a fire,

Like a woman knitting or a child snipping at paper.

 

// By Arthur Seymour John Tessimond

Chers amis,

 

Depuis plusieurs mois, nous pensions faire évoluer la salle à l'étage de l'écomusée du domaine des oiseaux de Mazères, qui présentait jusqu'à présent les différentes étapes de la fabrication du foie gras. Le DDO va fêter prochainement ses 17 ans d'existence, il aurait été dommage de ne pas mettre en avant l'aspect ornithologique évident du site. Lors d'une réunion à la mairie de Mazères, en fin d'année 2020, avec Jessica, nous avons présenté un projet complet aux élus locaux, qui l'ont budgétisé et validé.

 

Ce projet consiste à l'aménagement d'une salle exclusivement ornithologique divisée en 5 parties :

 

1. Une baie vitrée panoramique équipée d'une longue vue, permettant d'observer l'environnement extérieur. Elle sera située face aux nids de cigognes.

2. Des figurines en bois représentant quelques espèces visibles au domaine, placées dans des caissons. Grace à un pupitre, le visiteur pourra choisir une espèce et jouer son chant.

3. Une exposition photographique (Ce projet commun se structure en différentes étapes, nous allons revenir sur ce point).

4. Une maquette en relief interactive du domaine des oiseaux, représentant le site et ses observatoires.

5. Un arbre grandeur nature sur lequel seront installés nichoirs et oiseaux en bois.

 

Pour la partie exposition photographique, nous aurions besoin de photographies d'oiseaux uniquement réalisées au domaine des oiseaux. Nous n'avons pas de liste d'espèces particulière. 40 images d'espèces différentes seront sélectionnées, dont 30 au format A3 paysage (42.0 X 29.7 cm) et 10 au format carré (30.0 X 30.0 cm).

 

Si vous souhaitez participer à cette exposition permanente, envoyez vos images à cette adresse : lesamisdudomainedesoiseaux@gmail.com selon les conditions ci-dessous :

 

• Être membre de l'association des Amis du Domaine des Oiseaux.

• Pour cette exposition de grande qualité, nous avons besoin de vos meilleures images traitées, sans signature, au format jpeg, avec minimum 2000 pixels pour le plus grand côté en respectant le ratio du format A3 (42.0 X 29.7 cm).

• Avant expédition, nommez vos photos suivant cette syntaxe :

nom-espèce-nom-prénom-photographe.jpeg

• Dans vos 3 propositions de photos, soumettez nous deux images au format A3, une image au format carré. Privilégiez la diversité des espèces, en favorisant la photo de l'oiseau la plus exceptionnelle.

• Vous avez jusqu'au 20 janvier 2022 pour nous faire parvenir les images.

 

Nous nous efforcerons de sélectionner un maximum de photographes, en tenant compte des critères quantitatifs, qualitatifs et techniques.

Par avance, merci à tous pour vos contributions, nous vous tiendrons informés régulièrement de l'avancement du chantier.

 

Bien amicalement,

Christophe RAMOS,

Président LADDDO

 

PS : Pour visualiser le projet en image, cliquez sur ce lien : lesamisdudomainedesoiseaux.wordpress.com/2021/12/19/proje...

 

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

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

  

Sporting the livery of the New Hashima Police Department, the Kaizen drone is a massable field unit for damage control - when riots are deemed uncontrollable and casualties are unavoidable.

 

I had a blast building this - its my fastest build to date, taking a little under 5 hours (including edits) and also probably the most solid (excluding the arms). Some of Simon's drones provided inspiration for the shaping around the "eye," and the general concept came from Oscar Molin's Syntax drone.

 

Hope you like it!

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

  

When I had to make a long distance walk from my sisters Villa outside of Malmö this summer, I had some hours to my self so I started talking Danish to my self, well I tried to, but I noticed that I had problems both in syntax, the breathing and in finding the right words… really scary…

 

But I have lived isolated with my mum as only company and she is a monolingual Swedish speaker…

 

A couple of months ago I noticed that my inner speech (that was normally default English while alone) had switched to Swedish… and when I helped two tourists downtown finding their way in Malmö my speech was uncontrolled, all different accents came up, even some American English… I have lost my voice, that is so scary…

 

But a strange thing is that my German (wich was never good when I lived in Austria before) seem to be slightly better!!?? What is happening in my MushroomBrain…

 

My guess is that my delicate facial muscles are untrained in producing the sounds of Danish and English, but German which I have trained some on by speaking to mum was kept…

 

I wonder if I will rediscover my old voice? I miss sounding as me :) also I seem to put words in a Swedish order rather than the word structuring of the english language…

 

Such a strange thing language is :) and especially my brain…

 

Peace and Noise!

 

/ MushroomBrain linguistically confused

A Mobile Frame Zero company of RU15-11's.

 

C6 concept by micah bauer

My C6 album

 

RU15-11 Mobile Frame Hangar post

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

The Veyman-LDB is a simpler variant of the Veyman-CRKT at a miserly 47pcs (48 w/ the dorsal mount).

Richard Serra: Junction/Cycle

Two new sculptures

 

Gagosian Gallery is pleased to present Junction (2011) and Cycle (2010), two new sculptures by Richard Serra. Serra has pushed the unique sculptural syntax that he developed over the last fifteen years to arrive at entirely new forms in two of his most complex and challenging works to date.

Born in 1938, Richard Serra is one of the most significant artists of his generation. His groundbreaking bodies of work in both sculpture and drawing have been celebrated with major retrospectives at The Museum of Modern Art (“Richard Serra Sculpture Forty Years,” 2007 and “Richard Serra/Sculpture,” 1986) and the current “Richard Serra Drawings: A Retrospective" at The Metropolitan Museum of Art, which will travel this year to SFMOMA and the Menil Collection in Houston. He has produced large-scale, site-specific sculptures for architectural, urban and landscape settings spanning the globe, from Iceland to New Zealand. In addition to his 2008 MONUMENTA installation Promenade at the Grand Palais in Paris, Serra conceived The Matter of Time, an eightpart permanent installation at the Guggenheim Bilbao in 2005.

  

14 September, 2011 - 26 November, 2011

 

exhibition

 

Gagosian Gallery, New York, USA

   

I took this picture in Siegen, Germany, where this sculpture was built.

View large on black

  

© 2011 Werner Schnell - All rights reserved !

 

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

  

for improved vision

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

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

Auf Augenhöhe mit dem Licht ...

Raumfolge - Wortfolge - Imagination ...

Syntax und Weisheit guter Architektur . . .

 

_DSC9756_pa2

A company of Veyman Genesis frames for Mobile Frame Zero.

 

Equipped systems L to R:

Y, B, G8, SSRx3

RaRa, Y, Y, B

RdRd, Y, B, G

RdRd, Y, B, G

Systems: M2a assault rifle (Rd), A22b shoulder-integrated mortar “thumper” (Ra), S7 forcefield buckler (B), Mk5 comm’s pack (Y), Orbital uplink (Y), J7 jump pack, R2a single-use rockets (SSR)

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 sketch exchange wit my nig

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

  

Mobile Frame Hanger September Frame Chef

Mobile Frame Hangar post

more pics in the set

Not the best light in this one, but a certain Doctor Syntax may be interested in the, no doubt, familiar nooks & crannies of 'The Boochle', shown here.

  

Life Nothing but Language

 

Life nothing but language,

an always perfect phrase, perhaps verse,

generally without any adjectives,

an unornamented column, generally split.

Life nothing but language,

but there is a word, always a word, and a name

here, there, insuring the eternal

perfection of the period, perhaps verse,

perhaps interjection, verse, verse.

Life nothing but language,

fetus sucking up with compassionate tongue

the blood which child will splatter— oh busy metaphor!

milk spurting in adolescent spring,

semen of mature men, word, word.

Life nothing but language,

as the old ones know, who repeat,

against BLACK WINDOWS, scintillating images

that spangle their overcast trajectories.

Life nothing but language —

we all know how

to conjugate those verbs, name

those names:

to love, to make, to destroy,

man, woman and beast, devil and angel

and god perhaps, and nothing.

Life nothing but language,

life always perfect,

only the dead words imperfect,

words with which a young man, in winter's terraces, against the rain,

tries to make it eternal — as if he were missing

another, immortal syntax

for the life that is perfect

eternal

language.

 

mario faustino

Here, stone is no longer mere matter — it becomes memory. Each stratum, each mineral vein exudes a buried past, a frozen yet shifting time. A topography of forgetfulness, carved by silence and the weight of vanished worlds.

 

But within this earthy mass, a rupture appears. Sharp blades — black, metallic, foreign — pierce the scene like intrusions of an alien syntax. They are not of this world. They slice through reality with surgical precision, as if the image itself has been opened, dissected — laid bare for a cosmic autopsy.

 

The contrast is striking: the organic texture of the stone against the brutal geometry of the forms. It’s the clash of two temporalities — erosion, sacred and slow, and incursion, instantaneous and technological. The rock bears the weight of the world; the blades carry the scream of the future.

 

This image suggests a silent ritual, a collision between deep earth and dissident artifact. A psychic landscape as much as a physical one. And perhaps this is the heart of the piece: the mute tension between natural chaos and mental structure. A sacred fracture in the skin of the world.

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

  

" Life's longing for itself."

 

...........................................

 

Thank you to the Featured Photographers......

 

1. by the window , 2. treasures , 3. syntax , 4. beach string

'miu37' .....'LOVE STITCHING RED' ....' wild goose chase'

 

Mosaic Gallery ...

... This is a nice way to show some of my favourite photos...

Created by fd's flickr toys Mosaic

( apologies, the blue links are absent )

 

I've been playing around with my Ion Cannon Frigate over the last few days. I think its almost finished and ready to escort my SHIPtember 2015 build.

 

Thanks to my buddy Bryon for some of the suggestions he made. And thanks to Pierre for the suggestion of replacing the front cannon with a technic half-pin.

 

1) I changed out the 1x2 curved slopes on the front to the 1x2 slope with cutout

2) Added more white to the middle section to continue the stripe.

3) Modified the right side "wing" to try and more accurately portray the asymmetrical design portions of the ship.

4) Added some bits of white electrical tape to simulate the stripe affect more accurately.

The Hermetic Order of the Golden Dawn and the Golden Dawn.The Breaking of the Golden Dawn

They had to fight from the start against Arthur Edward Waite, who, at the head of a group of followers, wanted to modify the system of leadership, for reasons he explained in 1903: to be caliph instead of the caliph, then make The Order give up all magic, overhaul all rituals, and all for good reason: Waite claims the Third Order doesn't exist. Waite and Blackden then founded their own Order, with a temple they named Isis-Urania after the first temple of the Golden Dawn. Brodie-Inner makes his Edinburgh temple independent.Following the Golden Dawn on the Tarot track is much easier indeed: Waite in 1910 gives his drawn version of the mysteries described in "book T" of the Golden Dawn, the "Rider tarot", and accompanies it with a book where he says too much or not enough. The particularity of this game is that, unlike Book T, the Minors are small scenes illustrating the principle attached to them. But no keywords, no visible alchemy or Qabala everywhere: Waite's mysticism emanates from all magic. From the book and the game, then from Book T when it began to be distributed under the coat, many creations flourished, up to recent authors such as the game of Hanson-Roberts, Salvador Dali or the Sacred rose…while that of Crowley inspired Barbara Walker, specialist in feminine magic, the German Haindl, Gill, Clark, or the Italian Mario…in his “Tarot of the Ages”… Attempts from Book T itself gave birth to the game of Robert Wang, supervised by Israel Regardie, the game of Gareth Knight, the game of Geoffroy Dowson, the very faithful game of Sandra Tabatha Cicero...

Paul Foster Case, member of the Order, founds the BOTA (Builders of Adytum), where everyone must paint their game themselves, according to Case's book; the drawing differs slightly from Waite, and has the Minors abstracted.

 

History, technology and survival

 

What is fascinating when one approaches the Hermetic Order of the Golden Dawn is to see how this structure so brief - from 1887 to 1903: barely sixteen years! - Has dared to touch all areas of occultism, both Western and Eastern, has carried out a gigantic synthesis of contradictory or unusual teachings, and has influenced all the schools of the 20th century throughout the English- and French-speaking world. Audacities forged by Golden Dawn seekers are considered gospel by many esoteric groups, either directly from Golden Dawn because they were founded by a former member, or indirectly through the discovery of their work and the adaptation of the said works to their own research. We are going to see first of all which are the researchers whose discoveries or affirmations have been used by the GD; then we will see the history of the Order itself, and finally the continuators of the GD and its current influence.

 

Masters of the Golden Dawn

 

We can first see a theoretician of ceremonial magic, Cornelius Agrippa, whose work was centered on the analogies between objects, elements, man, and the cosmos. Acting on one according to certain rules, one could act on the other by way of sympathy and by the union of all in all. Henri-Corneille Agrippa de Nettesheim, (1486-1535) is a man who alternately occupies multiple official functions, as theologian, philosopher, linguist, jurist and astrologer, zigzagging with the hunters of the Inquisition who want the head of this man free from any school. His books are a classic reference on talismans and other magic rituals. If the name of Paracelsus (1493-1541) is not unknown to the GD, it is Agrippa who is the "essential" base. Another important base, although much more obscure, will be the angelic system developed by John Dee, (1527-1608), Welsh scholar, following revelations seen in rock crystal by the medium Kelly, visions that Dee took notes. He explains three magics: natural (by sympathy), acting on the elemental; mathematics (numbers and figures) for the celestial world; and religious, acting on the supra-celestial world through a kabbalistic system based on angels. This system includes a true new language, with grammar, syntax, symbolism, only adapted to the angels who can come called by their true names. This carries with it enormous and illegible implications, which Dee called “the Enochian”, in reference to Enoch who was taken up to heaven without dying.

 

Enochian magick is one of the pillars of the secret teaching of the GD. Good books (in English) have been devoted to him, and a divinatory game was even developed a short time ago in order to facilitate the evocative work of the follower. Of course, the great classics of alchemy (Corpus Hermeticus, the Fama Fraternitatis, the Confessio Fraternitatis) and grimoires (especially the Clavicles of Solomon and the Book of Abramelin the Wise) are also used, dissected, reworked and reorganized.

The vogue aroused by Francis Barrett's "The Magus" (1801) grew steadily, despite the blunders with which it was riddled, to the point that Barrett founded a magic association, of which Montagne Summers (1880-1948) and Frédérick Hockley were members. But France will have a great part in the elaboration of the rituals of the future Order: indeed, one of the avowed references of the GD is Papus, jointly with Eliphas Lévi and Court de Gébelin.The old methods and the slow technological revolution since the liturgical catechism. appeared as a trophy . The stigmata are an alchemical ordeal and the symbolism of the way of the cross of an initiation. The Hermetic Order of the Golden Dawn

 

The references

 

Papus (1865-1916) began to write in 1884, at the age of 19, and his written work - like his occult work as founder and unifier of various traditions - was followed with passion across the Channel.

 

Eliphas Lévi (1810-1875) is considered the Great Kabbalist of the century, and his books are scrutinized, dissected, commented on with feverishness. He made known Antoine Court de Gébelin who had revealed the secrets of the primitive world in 1775 and who had given back to the game of tarot peddled in the countryside its letters of nobility.

 

The efforts of the Parisian Rosicrucians (Stanislas de Guaita, Joséphin Péladan) resuscitate the old dream of reviving all these specifically Western forgotten heritages, in the face of the growing Orientophilia due to Madame Blavatski's Theosophy: the Templars and their rites, the Rose+ Cross and their alchemy, the druids and their Celtic secrets, the Egyptian gods and the strength of their symbols, the Enochian mysteries revealed to John Dee and still untapped, divination and communication with the Invisible as sources of esoteric knowledge... Further energized in London by the lightning advances of the Theosophical Society, revealing an invisible world to converse with, and the demonstrations of the spiritualist Douglas-Home, the project is becoming more and more 'in tune with the times'.

 

The founders

 

It was to originate in the minds of three Freemason friends who were also members of the "Societas Rosicruciana In Anglia" (SRIA): Doctor William Wynn Westcott, (friend of Mme Blavatski, reader of John Dee, and Grand- Master of the Societas from 1878); Samuel Liddel Mathers, who later styled himself MacGregor Mathers, claiming descent from the Scottish Clan MacGregor; and William Robert Woodman their friend. One will note in the same Societas Kenneth Mackenzie, admirer of Eliphas Lévi whom he had gone to meet in Paris, and Doctor Felkin. All these names will become familiar to you, because it is around them, and barely a dozen other names, that everything will be built.The foundation : One of the legends has it that the seer Frédérick Hockley, pupil of Francis Barrett and teacher of Mackenzie, died in 1885, leaving behind him a vast library, including manuscripts encrypted with probably a code of the "Polygraphy" of the Abbé Tritheme, initiator of Cornelius Agrippa.

Woodford, a friend of Mackenzie, receives these documents from him. He is not a Mason, but knows Westcott's taste for grimoires. He hands her the texts, which Westcott passes on to Mathers for decoding. In these manuscripts, which turn out to be abbreviated kabbalistic notes, Westcott finds the address of a Rosicrucian connected with the oldest and surest branch of the original true Rose+Cross, Die Goldenne Dammerung (The Dawn Doree): Anna Sprengel, in Nuremberg. He contacted her immediately and obtained the right to establish an English branch of the Order of the Rose+Croix under the name of The Hermetic Order of the Golden Dawn, which was done in 1887. Mathers was named Imperator. The first Temple (equivalent to a Masonic Lodge) was opened in 1888 under the name of Isis-Urania. Recruitment is rapid among the Brothers of the Societas, but the Order is also open to non-Masons, and to women. In 1891, Mathers announced the death of Anna Sprengel and the decision to continue working outside the "third Order", the German Rose+Croix. The GD then included an external order, and since 1892 two internal orders, where all the decisions concerning the rituals and the axes of work were taken. Woodman died in 1891. Westcott and Mathers remain sole leaders of the Order.

 

Secret names and ranks

 

The custom of “nomen” in Latin, the sacred language of the Rosicrucians, is established: at the rank of Neophyte, a nomen was chosen. The texts of the Order sent to the followers bore as signature the initials of the nomen of the author. For example, note that of Mathers: Frater Deo Duce and Comite Ferro (DDCF), that of Westcott: Frater Sapere Aude (SA), that of Anna Sprengel: Soror Sapiens Dominabitur Astris (SDA). One will be struck by the resemblance to the customs of the Strict Templar Observance of Germany, transformed into a Masonic rite known as the “Rectified Scottish Regime” by the Lyonnais occultist Jean-Baptiste Willermoz in 1785. The decoration of the temples and numbers of accessories or costumes were heavily inspired by ancient Egypt, apart from the symbolic creations specific to the GD. Here are the names of the ranks of the Outer Order (Golden Dawn): Neophyte, Zealator, Theoricus, Practicus, Philosophus. In the Inner Order (Ordo Rosae Rubae et Aurae Crucis) (The Red Rose and the Golden Cross), nine months after the ceremony of the Portal or the Veil of the Temple, one received the degree of Adeptus Minor which was subdivided into Zelator Adeptus and Theoricus Adeptus; then came the ranks of Adeptus Major, and finally Adeptus Exemptus. The chiefs carried, in the Third Order, the titles of Magister Templi, Magus and finally of Ipsissimus.

 

Teaching content

 

Let us now see the panorama of what the follower of the Golden Dawn must know, or experience, or deepen, aided in this by strict rituals and finicky astrological calendars: 1) To the rank of Neophyte was given a partial view of all the activities of the Order, and of the already important rituals such as the Qabalistic Sign of the Cross and the Minor Ritual of the Pentagram.

2) The other degrees correspond to the Tree of the Sephiroth, the ubiquitous key in the Golden Dawn at all levels; the Zelator corresponds to Malkuth, the Theoricus to Yesod, etc.

In the First Order magical works are not very developed; rather, we insist on self-knowledge through exercises such as "the Middle Pillar" based on kundalini and the Sephirotic tree, introspection, visions in drawings called Tattvas following a Hindu technique, the practice of Geomancy, Tarot, and learning the theoretical bases of Qabalah, astrology, etc. The first principles of the almighty imagination are explained and put into action, principles which will be at the origin of all the theories and methods of creative visualization of which the New Age is fond. 3) In the Second Order, ceremonial magic takes a prominent place, the Tarot is used in another way, and the Adept is supposed to master many rituals, know how to make and consecrate various objects, Lotus staff, Rose+croix personal and pantacles, knowing how to study the why and how of the rituals he once underwent in the first Order, and entering the Enochian world. 4) The Third Order was only in contact with the two founders; it was nicknamed "the Grand White Lodge of Adepts" and received its directives from "mahatmas" whom Mathers contacted, in the purest Theosophical style, by clairvoyance, astral projection, mysterious appointment, or unknowingly....Most theoretical texts have been published in English. The collection by Israel Regardie, a member of the Order, gives only the texts, with little commentary; the French version is well explained by active members of the Order; the publications of Waite or Crowley bear the mark of the remodeling due to their authors; and many followers, members or not, such as Gareth Knight, Robert Wang, Gerald Schueler, Dion Fortune, Moryason...use the techniques, sometimes adapting them. The researcher who would like to operate concretely should make a rigorous synthesis of these different sources... Unless he receives directly from a true Adept the oral teachings which accompany the texts.

And, of course, each follower calls himself “the sole holder of THE TRUE Golden Dawn”! But let's not anticipate. Let us only reflect on techniques as diverse as they are divergent, often based on subjective parapsychological phenomena and clearly affirmed traditions, brought together for the first time, the link being established by constants such as the Tarot, the Qabalah, the Enochian mysteries... Such a conflagration of diverse and passionate thoughts could only explode, both for human reasons due to the development of the pride inherent in all magic, and for purely eggregoric reasons, due to the reworking of rituals and structures as time went by. as the experiences of the Inner Order (RR and AC) impacted the Outer Order (GD).

 

The flaw

 

The flaw came to light with the departure of Doctor Westcott in 1897. The Golden Dawn had been open for ten years. The official reason for leaving is as follows: having forgotten in a "cab" official documents of the Order implicating him, Westcott was summoned by the English authorities to choose between his post of coroner (medical examiner) and his membership of the Order. Rumors about magic around the corpses did not allow a serene exercise of this profession to a follower... We can legitimately suppose that the autocratic character of Mathers was for a lot in the final choice of Westcott, founder of the first hour. Freed from any moderator, MacGregor Mathers had a field day, ruling and deciding everything. Who will be able to judge whether, on the esoteric plane, Mathers' decisions were good or not? Either way, the full powers of the Imperator began to unnerve the spirits - the embodied spirits of his co-followers.

With Westcott's departure begins the decline of the Order as such. One of the points which aroused the anger of the "rebels" was the initiation into the Order in 1898 of a young magician, Aleister Crowley, who, against the opposition of the Brothers and Sisters, was raised to the degree of Adeptus Minor ( the highest grade concretely practiced in the Interior Order) by Mathers himself at the "Ahathoor" Temple in Paris on January 16, 1900.

So much has been said of Crowley that he can't be as black as that. If his personal life was a succession of sexual debauchery and excess, his initiatory written work is fascinating, lucid and balanced. But in Victorian England, even in a secret society where angels, demons and entities roam, Crowley was seen as the reincarnation of Satan himself, a legend he maintained with that mocking smile that we see in certain photos, drawing on his pipe and loving to make the ladies in feathered hats shiver with fright...Mathers' revelation. But finally a satanic legend pays off, and a famous actress, Florence Farr, the leader of the Isis-Urania Temple in London since April 1897, resigns from her post to Mathers. And there, an incredible thing will happen, a clap of thunder in a serene sky: Mathers believes to see in this resignation an underground action of Westcott, and he answers to Florence Farr a letter, dated February 16, 1900 from Paris, which I translated here: "...I cannot let you mount a combination to create a schism with the idea of working secretly or openly under the orders of Sapere Aude (=Westcott) under the false impression that he has been given a power on the work of the Second Order by Soror Dominabitur Astris (=Anne Sprengel). So all of this forces me to tell you completely (and don't get me wrong, I can prove to the hilt every word I say here, and more...) and if I'm confronted with SA I'd say the same , if only for the love of the Order, and in these circumstances which would really kill the reputation of SA, I beg you to keep the secret from the Order for the moment, although in fact you are perfectly free to show him this, if you consider it appropriate after careful consideration".

 

"(Wescott) was NEVER in communication, at any time, either personally or in writing, with the Secret Heads of the (Third) Order, he had himself forged - or caused to be forged - the alleged correspondence between him and them , and my tongue having been bound all these years by an Oath of Secrecy intended for this purpose, lent to him, asked by him, to me, before showing me what he had done, or caused to be done, or both. You must understand that I say little on this subject, given the extreme gravity of the matter, and once again I ask you, both for his love and that of the Order, not to force me to go further forward on this subject. Mathers does not go so far as to deny the existence of Anna Sprengel - whom he confused for a time with an adventurer, Loleta Jackson, alias Madame Horos, alias Swami Viva Ananda - but the word was out: all the German Rosicrucian guarantee was a bluff, a huge bluff, as was the fanciful "History of the Order" by the same Westcott.

 

The fall of the Imperator

 

Florence waits a few days, asks Westcott for an explanation, who calmly denies it, regretting that the witnesses from the first hour are dead. Florence then divulges Mathers' letter to all the Adepts in London, who on March 3 elect a Committee of Seven to hold Mathers to account. Mathers proudly refuses to show any evidence, does not recognize any authority above him except the leaders of the Third Order. On March 23, he dismissed Florence Farr from her duties; on March 29, the Second Order meeting in plenary assembly dismissed Mathers and expelled him from the Golden Dawn, all orders combined. Mathers threatens them with all possible karmic punishments, affirms that one cannot impeach him without his agreement because of magic bonds. Crowley joins him in Paris, comes up against the secession of the Ahatoor temple, and organizes with Mathers a veritable "duel of sorcery" between them and the "rebels". It's tragic to see a mind as vast as Mathers sink in this war of leaders for a power that is crumbling anyway. Each Temple thinks of itself as the sole holder of the "true" rituals, since their personal experiences have been positive (and they were logically positive, given the magnificent work of the founders on the rituals). In addition, each Frater or Soror with a different experience - through the visualization of the Tattvas among other things - feels invested with the duty to "save the true Golden Dawn".

This phenomenon of fragmentation was precipitated by the existence of secret working groups within the Order itself, an existence desired by Mathers as early as 1897 for the purpose of deepening the knowledge acquired. Florence Farr had thus founded a group called “La Sphère”. Enter William Butler Yeats, (1865-1939) Irish, future Nobel Prize for Literature in 1923. After having been leader of Isis-Urania, he left the Order in 1901, the same year as the trial of Théo Horos. and his wife for fraud and sexual offenses, trials where the name and practices of the Golden Dawn were called into question with the distorting amplification that you can guess, and above all the publication of pieces of Ritual of the Neophyte where the oath pronounced by the recipient was considered blasphemy. The demoralizing effect on the followers of the Outer Order accentuated the ravages of the war of leaders... In 1902, the Second Order gave itself a triumvirate to lead it: PW Bullock, quickly replaced by Doctor RW Felkin; MW Blackden, Egyptologist, and JW Brodie-Inner. The tarot forms another set of beliefs, values and processes to replace them, Magdalene translated the Ark of the Covenant into a tree where the branches became cards for a deck....As far as the Golden Dawn initiation on the TOWER is concerned; the couple is falling apart, and an inevitable fight is going to happen.Translation "You must remain in control of the situation and keep your cool. Avoid saying anything that might hurt others. As far as your life is concerned, your romantic relationship may be coming to an end.

Take this as a warning - if you really care about your relationship, it's time for you to do some damage control or open up a line of communication to clear up any misunderstandings. " iation into the system of telepathic speech and quantum science was transmitted by medieval chivalry, which brought to the West the sacred science that had survived in the East. The knight is this transmitting agent, and he inspired the language of the alchemists, which symbolises the force that enables a chemical reaction and therefore a transformation of matter. In chemistry, transmutation has not yet been mastered, but it is a common phenomenon among alchemists. Alchemists are Initiates or, better still, Adepts.

 

www.ledifice.net/7215-3.html

 

The initiatory process for accessing the coded language of the ancient knights probably came to the USA via Rosicrucians inspired by wonderful tales such as The Alchemical Wedding attributed to the name of Christian Rozenkreuz or Goethe's The Wonderful Tale and the Beautiful Lily. Both drew their inspiration from Eastern philosophers, as did Dante, Shakespeare and Hugo. The initiation process was adapted to the tarot deck by Marie Magdalena . Mary Magdalene and Jesus, two great Essene initiates, when they came to Earth, their souls split into five parts to incarnate in as many different bodies. This journey took place between the Resurrection in 33 AD and the Ascension in 73 AD. During these years, Mary Magdalene, Jesus and their children travelled through France, the Netherlands and England. Later, Mary Magdalene and Jesus travelled to Spain, where they met Mary of Bethany and her daughter Sarah. Magda left us the tarot as a tutorial for accessing pure consciousness free of the ego that came mainly from the Romans and was unfortunately taken over by. Rome and therefore by the various occupants of a high command located on the banks of the Tiber. The genesis of the Golden Dawn. is to take our spiritual history early and rediscover this primordial alignment between earthly and cosmic forces. The initiatory process, represented by the imagiers of the Middle Ages, was left dormant in Marseille by Magda. Magda, with her tarot perhaps drawn in the Baumes cave not far from Marseille, has survived to this day. The founders of Golden Dawn asked the Rider Waite Smith trio to recreate a more modern system of representation than the tarot left by Magda and already illustrated by imagiers keen on coded language. Example our knight has worked well, he's a good knight, good night...

 

The image shows the path to follow to become a magician like Magda or, from a more recent, slightly phallocratic and Western point of view, a magician like Jesus.

 

We start with the knight of the sword, and the sword is the intellect. The tower here by. Strasbourg (birth of the free masons). it's this card which sees two guys fall. in jest, it's the loss of ego and weightlessness useful for splitting the soul into thirds. The ace. de baton is the one that Hermes Trimegoiste receives but. it is also that of Moses, it became. the caduceus of. doctors. The page of pentacle brings the philosophical gold to make this transmutation made possible by the operating mode.

 

The Knight of Swords is often taken to represent a confident and articulate young man, who may act impulsively. The problem is that this Knight, though visionary, is unrealistic. He fights bravely, but foolishly. In some illustrations, he is shown to have forgotten his armor or his helmet.A young man stands alone in a field. Pretty flowers, a ploughed field and fruit trees surround him, symbols of the harvest and Abundance to come. He is holding a Denarius in his hand. He looks at it intently. He studies it. The sky is clear. This Jack is quietly building his road to material success.

 

Like all the Jacks in the Tarot, the Jack of Pence represents a beginning, the first stages of a project. The Suit of Pence is the Suit associated with the Earth Element, material possessions and everything we hold dear - our health, our values, our skills. The Jack of Pence symbolises an awareness of the importance of all the material aspects of life. Wands are associated with fire energy, and the Ace of Wands is the core representation of fire within the deck. The card shows a hand that is sticking out of a cloud while holding the wand.

 

When we look at this card, we can see that the hand is reaching out to offer the wand, which is still growing. Some of the leaves from the wand have sprouted, which is meant to represent spiritual and material balance and progress. In the distance is a castle that symbolizes opportunities available in the future.The Ace of Wands calls out to you to follow your instincts. If you think that the project that you've been dreaming of is a good idea, and then just go ahead and do it. The Tower card depicts a high spire nestled on top of the mountain. A lightning bolt strikes the tower which sets it ablaze. Flames are bursting in the windows and people are jumping out of the windows as an act of desperation. They perhaps signal the same figures we see chained in the Devil card earlier. They want to escape the turmoil and destruction within. The Tower is a symbol for the ambition that is constructed on faulty premises. The destruction of the tower must happen in order to clear out the old ways and welcome something new. Its revelations can come in a flash of truth or inspiration.

 

Symbolism of the House of God or the House of God? or Tower for Rider-Waite-Smith in Golden Dawn system: the decisive question of the determinant in the name of the card. I've just been talking about language. And when it comes to language, it's important to be aware of the name of the card. It's a curious name for a tower, alas a dungeon, a fortress used both to protect itself from enemies and to symbolise its power and mark out its territory. It's hard to make the connection between a house and a fortified tower (there are crenellations). The name on the card doesn't match the drawing: symbolism behind it. Joy! Some anti-Cathos tarot cards, generally from the 19th century, call the card the House of God. Wrong! It is not the House of God. It is the House of God. Or Maison Dieu. This also requires a few notes.

The House of God leaves no room for ambiguity: it's a church, a place of worship. The tarot card is not to be taken as such.

The medieval house of God is something else again. "Another meaning of house, "building for specialised use" (12th c.), gave rise to a large number of expressions that appeared in Old French, then again in the 19th-20th c.: the oldest are based on the assimilation between the house and the temple of God (c. 1120, maison Dieu): the hospital where the poor were housed and cared for also received the name Maison Dieu (1165), analogous to hôtel-Dieu, and convents and monasteries that of maison (1165).".

The Maison-Dieu gave rise to legions of small villages and hamlets, particularly on the route to Santiago de Compostela.

Any esoteric researcher knows that when they come across villages with this name, they can stop. The likelihood of finding something symbolic, esoteric or occult in the area is relatively high. God's house (today in US Golden Dawn) is therefore a building where the poor, the sick and pilgrims can find refuge, comfort and care. We're a long way from Babel!.....? And if I remember the meaning of the card[2] at level 2, I'd be happy to add the following: "There is nothing in this world, apart from the spirit, that should not perish from slow or sudden dissociation. Heaven is outside. It is also within. And when its fire consumes or sets ablaze, strips the skin or strikes with lightning, it is always because a fault has been committed against harmony and disorder has arisen... This is how accidents, illnesses, cancers, revolutions and wars arise. Thus perish empires, peoples and races: from false notes." As always, there are many ideological undertones with the Rosicrucians. Food for thought.

 

www.vincentbeckers-cours-de-tarot.net/maison-dieu-symboli...

 

The Hermetic Order of the Golden Dawn was founded by persons claiming to be in communication with the Secret Chiefs. One of these Secret Chiefs (or a person in contact with them) was supposedly the (probably fictional) Anna Sprengel, whose name and address were allegedly decoded from the Cipher Manuscripts by William Wynn Westcott. In 1892, S. MacGregor Mathers (another founder) claimed that he had contacted these Secret Chiefs independently of Sprengel, and that this confirmed his position as head of the Golden Dawn.[1] He declared this in a manifesto four years later saying that they were human and living on Earth, yet possessed terrible superhuman powers.[1] He used this status to found the Second Order within the Golden Dawn,[2] and to introduce the Adeptus Minor ritual. The Hermetic Order of the Golden Dawn (Latin: Ordo Hermeticus Aurorae Aureae), more commonly the Golden Dawn (Aurora Aurea), was a secret society devoted to the study and practice of occult Hermeticism and metaphysics during the late 19th and early 20th centuries. Known as a magical order, the Hermetic Order of the Golden Dawn was active in Great Britain and focused its practices on theurgy and spiritual development. Many present-day concepts of ritual and magic that are at the centre of contemporary traditions, such as Wicca[1] and Thelema, were inspired by the Golden Dawn, which became one of the largest single influences on 20th-century Western occultism.[ The three founders, William Robert Woodman, William Wynn Westcott and Samuel Liddell Mathers, were Freemasons. Westcott appears to have been the initial driving force behind the establishment of the Golden Dawn. The Golden Dawn system was based on hierarchy and initiation, similar to Masonic lodges; however, women were admitted on an equal basis with men. The "Golden Dawn" was the first of three Orders, although all three are often collectively referred to as the "Golden Dawn". The First Order taught esoteric philosophy based on the Hermetic Qabalah and personal development through study and awareness of the four classical elements, as well as the basics of astrology, tarot divination, and geomancy. The Second or Inner Order, the Rosae Rubeae et Aureae Crucis, taught magic, including scrying, astral travel, and alchemy. The Third Order was that of the Secret Chiefs, who were said to be highly skilled; they supposedly directed the activities of the lower two orders by spirit communication with the Chiefs of the Second Order.

The Hermetic Order of the Golden Dawn has been considered one of the most important Western magical systems for over a century. Although much of their knowledge has been published, to really enter the system required initiation within a Golden Dawn temple--until now. Regardless of your magical knowledge or background, you can learn and live the Golden Dawn tradition with the first practical guide to Golden Dawn initiation. Self-Initiation into the Golden Dawn Tradition by Chic and Sandra Tabatha Cicero offers self-paced instruction by two senior adepts of this magical order. For the first time, the esoteric rituals of the Golden Dawn are clearly laid out in step-by-step guidance that's clear and easy-to-follow. Studying the Knowledge Lectures, practicing daily rituals, doing meditations, and taking self-graded exams will enhance your learning. Initiation rituals have been correctly reinterpreted so you can perform them yourself. Upon completion of this workbook, you can truly say that you are practicing the Golden Dawn tradition with an in-depth knowledge of qabalah, astrology, Tarot, geomancy, spiritual alchemy, and more, all of which you will learn from Self-Initiation into the Golden Dawn Tradition. No need for group membership

Instructions are free of jargon and complex language

Lessons don't require familiarity with magical traditions

Grade rituals from Neophyte to Porta. Link with your Higher Self

If you have ever wondered what it would be like to learn the Golden Dawn system, Self-Initiation into the Golden Dawn Tradition explains it all. The lessons follow a structured plan, adding more and more information with each section of the book. Did you really learn the material? Find out by using the written tests and checking them with the included answers. Here is a chance to find out if the Golden Dawn system is the right path for you or to add any part of their wisdom and techniques to the system you follow. Start with this book now. At the beginning of the twentieth century the esoteric order of the Golden Dawn deposited part of its magical wisdom in Tarot decks. The Golden Dawn Magical Tarot uses symbology and colours as adhered to by the Order of the Golden Dawn. The major arcana show abstract and very vibrant scenes, but the minors are overly repetitive. Little changes between the cards of a suit but the number of cups or pentacles.More than thirty years ago, U.S. Games Systems published the The Golden Dawn Tarot, revealing for the first time many truths and secrets of the Hermetic Order of the Golden Dawn, and its interpretation of the tarot. The card designs follow the symbolic framework of the Inner Tradition. The foundational documents of the original Order of the Golden Dawn, known as the Cipher Manuscripts, are written in English using the Trithemius cipher. The manuscripts give the specific outlines of the Grade Rituals of the Order and prescribe a curriculum of graduated teachings that encompass the Hermetic Qabalah, astrology, occult tarot, geomancy, and alchemy. According to the records of the Order, the manuscripts passed from Kenneth R. H. Mackenzie, a Masonic scholar, to the Rev. A. F. A. Woodford, whom British occult writer Francis King describes as the fourth founder[2] (although Woodford died shortly after the Order was founded).[3] The documents did not excite Woodford, and in February 1886 he passed them on to Freemason William Wynn Westcott, who managed to decode them in 1887.[2] Westcott, pleased with his discovery, called on fellow Freemason Samuel Liddell MacGregor Mathers for a second opinion. Westcott asked for Mathers' help to turn the manuscripts into a coherent system for lodge work. Mathers, in turn, asked fellow Freemason William Robert Woodman to assist the two, and he accepted.[2] Mathers and Westcott have been credited with developing the ritual outlines in the Cipher Manuscripts into a workable format.[c] Mathers, however, is generally credited with the design of the curriculum and rituals of the Second Order, which he called the Rosae Rubae et Aureae Crucis ("Ruby Rose and Golden Cross" or the RR et AC).

 

www.loscarabeo.com/en/products/tarocchi-iniziatici-della-...

 

A. E. Waite and A. Crowley were inspired by that philosophy, as well as famous poets, intellectuals and artists. Today the Golden Dawn Tarot comes back to light in a new form that translate the secret instructions transmitted only to the initiates of the Brotherhood into extraordinary images.

In a professional draw, The Magician, also known as The Bateleur, indicates that you are highly competent in your field, and that you know how to use your skills and knowledge to achieve your professional goals. So use your natural talents to shine! This is not the time to lose self-confidence, to hide or worse to minimise the extent of your abilities. On the contrary! Show what you can do, and accept the challenges that come your way.

 

From a slightly more divinatory point of view, you can also expect to receive positive feedback from your manager or a potential employer.In esoteric decks, occultists, starting with Oswald Wirth, turned Le Bateleur from a mountebank into a magus. The curves of the magician's hat brim in the Marseilles image are similar to the esoteric deck's mathematical sign of infinity. Similarly, other symbols were added. The essentials are that the magician has set up a temporary table outdoors, to display items that represent the suits of the Minor Arcana: Cups, Coins, Swords (as knives). The fourth, the baton (Clubs) he holds in his hand. The baton was later changed to represent a literal magician's wand.

 

The illustration of the tarot card "The Magician" from the Rider–Waite tarot deck was developed by A. E. Waite for the Hermetic Order of the Golden Dawn in 1910. Waite's magician features the infinity symbol over his head, and an ouroboros belt, both symbolizing eternity. The figure stands among a garden of flowers, to imply the manifestation and cultivation of desires.

 

In French Le Bateleur, "the mountebank" or the "sleight of hand artist", is a practitioner of stage magic. The Italian tradition calls him Il Bagatto or Il Bagatello. The Mantegna Tarocchi image that would seem to correspond with the Magician is labeled Artixano, the Artisan; he is the second lowest in the series, outranking only the Beggar. Visually the 18th-century woodcuts reflect earlier iconic representations, and can be compared to the free artistic renditions in the 15th-century hand-painted tarots made for the Visconti and Sforza families. In the painted cards attributed to Bonifacio Bembo, the Magician appears to be playing with cups and balls. How can we put our spiritual knowledge and beliefs into practice on a daily basis? That's the question posed by Le Magicien. How do you go from thinking of spirituality as a series of intellectual concepts to actually living them? How can you apply them to embody your Authentic Being and bring to life what you really want?

 

The Magician indicates that these answers are already within you and that you have the tools - symbolised by the Tarot Suits on the table - to move towards self-fulfilment. The Magician is very 'hands-on' and advises you to test to find what gives you the greatest sense of well-being and grounding; to practise your Magic to develop yourself and reach your full potential. Intuitive practices create the link between Body, Soul and Spirit... Open your Heart to Intuition and practise!

vivre-intuitif.com/apprendre-le-tarot/signification/majeu...

The Magician - or Bateleur in the Tarot de Marseille - points his wand towards Heaven, while his other hand points towards Earth. This gesture signifies that he captures the Energy of the Universe, that it flows through him, to manifest itself in the world, in everyday life. In front of him, the attributes of the four Tarot Suits are placed on the table: a Rod, a Cup, a Sword and a Denarius. Each represents an Element: Fire, Water, Air and Earth. The magician thus has everything at his disposal to manifest his dreams and desires, to materialize them, to make them possible, tangible. In this Energy, the possibilities are infinite, as underlined by the symbol above his head and belt, a snake biting its own tail. The Magician is associated with the planet Mercury, the planet of competence, logic and intelligence. His number is 1, the number of beginnings. The Magician , also known as The Magus or The Juggler, is the first trump or Major Arcana card in most traditional tarot decks. It is used in game playing and divination; in the English-speaking world, the divination meaning is much better known. Within the card game context, the equivalent is the Pagat which is the lowest trump card, also known as the atouts or honours. In the occult context, the trump cards are recontextualized as the Major Arcana and granted complex esoteric meaning. The Magician in such context is interpreted as the first numbered and second total card of the Major Arcana, succeeding the Fool, which is unnumbered or marked 0. The Magician as an object of occult study is interpreted as symbolic of power, potential, and the unification of the physical and spiritual worlds. The Magician is one tarot card that is filled with symbolism. The central figure depicts someone with one hand pointed to the sky, while the other hand points to the ground, as if to say "as above, so below". This is a rather complicated phrase, but its summarization is that earth reflects heaven, the outer world reflects within, the microcosm reflects the macrocosm, earth reflects God. It can also be interpreted here that the magician symbolizes the ability to act as a go-between between the world above and the contemporary, human world. On his table, the magician also wields all the suits of the tarot. This symbolizes the four elements being connected by this magician - the four elements being earth, water, air, and fire. The infinity sign on his head indicates the infinite possibilities of creation with the will. Upright Magician Meaning. The Magician is the representation of pure willpower. With the power of the elements and the suits, he takes the potential innate in the fool and molds it into being with the power of desire. He is the connecting force between heaven and earth, for he understands the meaning behind the words "as above so below" - that mind and world are only reflections of one another. Remember that you are powerful, create your inner world, and the outer will follow. Remember that you are powerful, create your inner world, and the outer will follow. When you get the Magician in your reading, it might mean that it's time to tap into your full potential without hesitation. It might be in your new job, new business venture, a new love or something else. It shows that the time to take action is now and any signs of holding back would mean missing the opportunity of becoming the best version of yourself. Certain choices will have to be made and these can bring great changes to come. Harness some of the Magician's power to make the world that you desire most.

labyrinthos.co/blogs/tarot-card-meanings-list/the-magicia...

 

Symbolism

Rider–Waite

If The Fool - The Mate symbolises the desire to discover, The Magician is "The Alchemist" of the Major Arcana, the one who can create everything from nothing, transforming lead into gold. The Magician card is therefore the card of "manifestation" par excellence, i.e. to make possible, to concretise and to have an impact on one's environment and the world. The Magician is a card that highlights your unique talents... unique talents that serve your unique and authentic desires.

 

With the Magician, success is within reach. You're ready to use your abilities and skills to achieve your goals. The desire to do something new, to start a cycle, is very strong. In Magician's Energy, you feel optimistic and in a conquering frame of mind. You're able to use all the resources at your disposal to achieve this: your skills, those close to you and all the tools - intuitive or otherwise - that are at your disposal.

 

The Magician is a card that also evokes concentration and focus. So this is not the time to spread yourself too thin or try to do everything at once. It's all about staying focused on a single objective and putting all your energy and resources into it. The Magician warns against distractions, or even temptations, that could lead you astray and compromise the achievement of your objective.

  

The Magician is depicted with one hand pointing upwards towards the sky and the other pointing down to the earth, interpreted widely as an "as above, so below" reference to the spiritual and physical realms. On the table before him are a wand, a pentacle, a sword, and a cup, representing the four suits of the Minor Arcana. Such symbols signify the classical elements of fire, earth, air, and water, "which lie like counters before the adept, and he adapts them as he wills". The Magician's right hand, pointed upwards, holds a double-ended white wand; the ends are interpreted much like the hand gestures, in that they represent the Magician's status as conduit between the spiritual and the physical. His robe is similarly also white, a symbol of purity yet also of inexperience, while his red mantle is understood through the lens of red's wildly polarised colour symbolism—both a representative of willpower and passion, and one of egotism, rage, and revenge. In front of the Magician is a garden of Rose of Sharon roses and lily of the valley lillies....

 

Fairy Tale of the Green Snake and the Beautiful Lily from Goethe, Johann Wolfgang was demonstrating the "culture of aspiration", or the Magician's ability to cultivate and fulfill potential of the ouroboros wo symbolized the Green Snake in this tale, the Magician is an. alchemist. The Magician is associated with the planet Mercury the Ouroboros alchemist , and hence the signs of Gemini the two will-o-wisp and Virgo Lily in astrology.

 

Marseilles

Although the Rider–Waite Tarot deck is the most often used in occult contexts, other decks such as the Tarot of Marseilles usually used for game-playing have also been read through a symbolic lens. Alejandro Jodorowsky's reading of the Magician as Le Bateleur draws attention to individual details of the Marseilles card, such as the fingers, table, and depiction of the plants, in addition to the elements shared between the Rider–Waite and Marseilles decks.[10] The Magician in the Marseilles deck is depicted with six fingers on his left hand rather than five, which Jodorowsky interprets as a symbol of manipulating and reorganizing reality. Similarly, the table he stands behind has three legs rather than four; the fourth leg is interpreted as being outside the card, a metafictional statement that "[i]t is by going beyond the stage of possibilities and moving into the reality of action and choice that The Magician gives concrete expression to his situation". Rather than flowers, the Magician of the Marseilles deck is depicted with a small plant between his feet. The plant has a yonic appearance and has been interpreted as the sex organs of either a personal mother or the abstract concept of Mother Nature.

 

en.wikipedia.org/wiki/The_Magician_(tarot_card)

  

Divination

Like the other cards of the Major Arcana, the Magician is the subject of complex and extensive analysis as to its occult interpretations. On the broad level, the Magician is interpreted with energy, potential, and the manifestation of one's desires; the card symbolizes the meetings of the physical and spiritual worlds ("as above, so below") and the conduit converting spiritual energy into real-world action.

 

Tarot experts have defined the Magician in association with the Fool, which directly precedes it in the sequence; Rachel Pollack refers to the card as "in the image of the trickster-wizard". A particularly important aspect of the card's visual symbolism in the Rider–Waite deck is the magician's hands, with one hand pointing towards the sky and the other towards the earth. Pollack and other writers understand this as a reflection of the Hermetic concept of "as above, so below", where the workings of the macrocosm (the universe as a whole, understood as a living being) and the microcosm (the human being, understood as a universe) are interpreted as inherently intertwined with one another. To Pollack, the Magician is a metaphysical lightning rod, channeling macrocosmic energy into the microcosm.

 

According to A. E. Waite's 1910 book Pictorial Key To The Tarot, the Magician card is associated with the divine motive in man. In particular, Waite interprets the Magician through a Gnostic lens, linking the card's connection with the number eight (which the infinity symbol is visually related to) and the Gnostic concept of the Ogdoad, spiritual rebirth into a hidden eighth celestial realm. Said infinity symbol above the Magician's head is also interpreted as a symbol of the Holy Spirit, the prophetic and theophanic aspect of the Trinity. Like other tarot cards, the symbolism of the Magician is interpreted differently depending on whether the card is drawn in an upright or reversed position. While the upright Magician represents potential and tapping into one's talents, the reversed Magician's potential and talents are unfocused and unmanifested. The reversed Magician can also be interpreted as related to black magick and to madness or mental distress.[14] A particularly important interpretation of the reversed Magician relates to the speculated connection between the experiences recognized in archaic societies as shamanism and those recognized in technological societies as schizophrenia; the reversed Magician is perceived as symbolizing the degree to which those experiences and abilities are unrecognized and suppressed, and the goal is to turn the card 'upright', or re-focus those experiences into their positive form.

 

In art

The Surrealist (Le surréaliste), 1947, is a painting by Victor Brauner. The Juggler provided Brauner with a key prototype for his self-portrait: the Surrealist's large hat, medieval costume, and the position of his arms all derive from this figure who, like Brauner's subject, stands behind a table displaying a knife, a goblet, and coins.

 

www.amazon.fr/Self-Initiation-into-Golden-Dawn-Tradition/...

 

Founding of the First Temple

In October 1887, Westcott claimed to have written to a German countess and prominent Rosicrucian named Anna Sprengel, whose address was said to have been found in the decoded Cipher Manuscripts. According to Westcott, Sprengel claimed the ability to contact certain supernatural entities, known as the Secret Chiefs, that were considered the authorities over any magical order or esoteric organization. Westcott purportedly received a reply from Sprengel granting permission to establish a Golden Dawn temple and conferring honorary grades of Adeptus Exemptus on Westcott, Mathers, and Woodman. The temple was to consist of the five grades outlined in the manuscripts.

 

In 1888, the Isis-Urania Temple was founded in London. In contrast to the S.R.I.A. and Masonry,[6] women were allowed and welcome to participate in the Order in "perfect equality" with men. The Order was more of a philosophical and metaphysical teaching order in its early years. Other than certain rituals and meditations found in the Cipher manuscripts and developed further, "magical practices" were generally not taught at the first temple. For the first four years, the Golden Dawn was one cohesive group later known as the "First Order" or "Outer Order". A "Second Order" or "Inner Order" was established and became active in 1892. The Second Order consisted of members known as "adepts", who had completed the entire course of study for the First Order. The Second Order was formally established under the name Ordo Rosae Rubeae et Aureae Crucis (the Order of the Red Rose and the Golden Cross) Eventually, the Osiris temple in Weston-super-Mare, the Horus temple in Bradford (both in 1888), and the Amen-Ra temple in Edinburgh (1893) were founded. In 1893 Mathers founded the Ahathoor temple in Paris.

en.wikipedia.org/wiki/Hermetic_Order_of_the_Golden_Dawn

Secret Chiefs: in various occultist movements, Secret Chiefs are said to be transcendent cosmic authorities, a spiritual hierarchy responsible for the operation and moral calibre of the cosmos, or for overseeing the operations of an esoteric organization that manifests outwardly in the form of a magical order or lodge system. Their names and descriptions have varied through time, differing among those who have claimed experience of contact with them. They are variously held to exist on higher planes of being or to be incarnate; if incarnate, they may be described as being gathered at some special location, such as Shambhala, or scattered through the world working anonymously. One early and influential source on these entities is Karl von Eckartshausen, whose The Cloud upon the Sanctuary, published in 1795, explained in some detail their character and motivations. Several 19th and 20th century occultists claimed to belong to or to have contacted these Secret Chiefs and made these communications known to others: Aleister Crowley (who used the term to refer to members of the upper three grades of his order, A∴A∴), Dion Fortune (who called them the "esoteric order"), and Max Heindel (who called them the "Elder Brothers").

While in Algeria in 1909, Aleister Crowley, along with Victor Neuburg, recited numerous Enochian Calls or Aires. After the fifteenth Aire, he declared that he had attained the grade of Magister Templi (Master of the Temple), which meant that he was now on the level of these Secret Chiefs, although this declaration caused many occultists to stop taking him seriously if they had not done so already. He also described this attainment as a possible and in fact a necessary step for all who truly followed his path.[a] In 1947, when Aleister Crowley died, he left behind a sketch of one of the Secret Chiefs, Crowley's invisible mentor that he called LAM. The sketch looks like a grey alien. The church invisible, invisible church, mystical church or church mystical, is a Christian theological concept of an "invisible" Christian Church of the elect who are known only to God, in contrast to the "visible church"—that is, the institutional body on earth which preaches the gospel and administers the sacraments. Every member of the invisible church is "saved", while the visible church contains all individuals who are saved though also having some who are "unsaved".[1] According to this view, Bible passages such as Matthew 7:21–27, Matthew 13:24–30, and Matthew 24:29–51 speak about this distinction.

 

Views on the relation with Visible church

Distinction between two churches

The first person in church history to introduce a view of an invisible and a visible church is Clement of Alexandria. Some have also argued that Jovinian and Vigilantius held an invisible church view.

 

The concept was advocated by St Augustine of Hippo as part of his refutation of the Donatist sect, though he, as other Church Fathers before him, saw the invisible Church and visible Church as one and the same thing, unlike the later Protestant reformers who did not identify the Catholic Church as the true church.[8] He was strongly influenced by the Platonist belief that true reality is invisible and that, if the visible reflects the invisible, it does so only partially and imperfectly (see theory of forms). Others question whether Augustine really held to some form of an "invisible true Church" concept.

 

The concept was insisted upon during the Protestant reformation as a way of distinguishing between the "visible" Roman Catholic Church, which according to the Reformers was corrupt, and those within it who truly believe, as well as true believers within their own denominations. John Calvin described the church invisible as "that which is actually in God's presence, into which no persons are received but those who are children of God by grace of adoption and true members of Christ by sanctification of the Holy Spirit... [The invisible church] includes not only the saints presently living on earth, but all the elect from the beginning of the world." He continues in contrasting this church with the church scattered throughout the world. "In this church there is a very large mixture of hypocrites, who have nothing of Christ but the name and outward appearance..." (Institutes 4.1.7) Richard Hooker distinguished "between the mystical Church and the visible Church", the former of which is "known only to God."[11]

 

John Wycliffe, who was a precursor to the reformation, also believed in an invisible church made of the predestinated elect. Another precursor of the reformation, Johann Ruchrat von Wesel believed in a distinction between the visible and invisible church.

 

Pietism later took this a step further, with its formulation of ecclesiolae in ecclesia ("little churches within the church").

 

Non-distinction

Roman Catholic theology, reacting against the protestant concept of an invisible Church, emphasized the visible aspect of the Church founded by Christ, but in the twentieth century placed more stress on the interior life of the Church as a supernatural organism, identifying the Church, as in the encyclical Mystici corporis Christi of Pope Pius XII, with the Mystical Body of Christ. In Catholic doctrine, the one true Church is the visible society founded by Christ, namely, the Catholic Church under the global jurisdiction of the bishop of Rome.

  

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This encyclical rejected two extreme views of the Church:

 

A rationalistic or purely sociological understanding of the Church, according to which it is merely a human organization with structures and activities, is mistaken. The visible Church and its structures do exist but the Church is more, as it is guided by the Holy Spirit:

Although the juridical principles, on which the Church rests and is established, derive from the divine constitution given to it by Christ and contribute to the attaining of its supernatural end, nevertheless that which lifts the Society of Christians far above the whole natural order is the Spirit of our Redeemer who penetrates and fills every part of the Church.

An exclusively mystical understanding of the Church is mistaken as well, because a mystical "Christ in us" union would deify its members and mean that the acts of Christians are simultaneously the acts of Christ. The theological concept una mystica persona (one mystical person) refers not to an individual relation but to the unity of Christ with the Church and the unity of its members with him in her. This is where we can find direct contrast to Christian philosophy like the preachings of Rev.Jesse Lee Peterson, yet the personification is similar. There is another view, that contrasts these two school-of-thought, and that is from Albert Eduard Meier, as he includes Electric Theory in his teachings, similar to Creationism.

Eastern Orthodox theologian Vladimir Lossky too characterizes as a "Nestorian ecclesiology" that which would "divide the Church into distinct beings: on the one hand a heavenly and invisible Church, alone true and absolute; on the other, the earthly Church (or rather 'the churches'), imperfect and relative".

 

en.wikipedia.org/wiki/Church_invisible

  

The fall of the Imperator

 

Florence waits a few days, asks Westcott for an explanation, who calmly denies it, regretting that the witnesses from the first hour are dead. Florence then divulges Mathers' letter to all the Adepts in London, who on March 3 elect a Committee of Seven to hold Mathers to account. Mathers proudly refuses to show any evidence, does not recognize any authority above him except the leaders of the Third Order.

 

On March 23, he dismissed Florence Farr from her duties; on March 29, the Second Order meeting in plenary assembly dismissed Mathers and expelled him from the Golden Dawn, all orders combined. Mathers threatens them with all possible karmic punishments, affirms that one cannot impeach him without his agreement because of magic bonds.

 

Crowley joins him in Paris, comes up against the secession of the Ahatoor temple, and organizes with Mathers a veritable "duel of sorcery" between them and the "rebels". It's tragic to see a mind as vast as Mathers sink in this war of leaders for a power that is crumbling anyway.

 

Each Temple thinks of itself as the sole holder of the "true" rituals, since their personal experiences have been positive (and they were logically positive, given the magnificent work of the founders on the rituals). In addition, each Frater or Soror with a different experience - through the visualization of the Tattvas among other things - feels invested with the duty to "save the true Golden Dawn".

 

This phenomenon of fragmentation was precipitated by the existence of secret working groups within the Order itself, an existence desired by Mathers as early as 1897 for the purpose of deepening the knowledge acquired.

 

Florence Farr had thus founded a group called “La Sphère”. Enter William Butler Yeats, (1865-1939) Irish, future Nobel Prize for Literature in 1923. After having been leader of Isis-Urania, he left the Order in 1901, the same year as the trial of Théo Horos. and his wife for fraud and sexual offenses, trials where the name and practices of the Golden Dawn were called into question with the distorting amplification that you can guess, and above all the publication of pieces of Ritual of the Neophyte where the oath pronounced by the recipient was considered blasphemy.he demoralizing effect on the followers of the Outer Order accentuated the ravages of the war of leaders... In 1902, the Second Order gave itself a triumvirate to lead it: PW Bullock, quickly replaced by Doctor RW Felkin; MW Blackden, Egyptologist, and JW Brodie-Inner.

 

The Breaking of the Golden Dawn

 

They had to fight from the start against Arthur Edward Waite, who, at the head of a group of followers, wanted to modify the system of leadership, for reasons he explained in 1903: to be caliph instead of the caliph, then make The Order give up all magic, overhaul all rituals, and all for good reason: Waite claims the Third Order doesn't exist.

 

Waite and Blackden then founded their own Order, with a temple they named Isis-Urania after the first temple of the Golden Dawn. Brodie-Inner makes his Edinburgh temple independent.

 

Felkin reacts with a magical act: he abolishes the name "Golden Dawn" and gives it the name "Stella Matutina". It is this branch that is the legal (and spiritual?) successor to the Hermetic Order of the Golden Dawn. It is under this name that Dion Fortune or Israel Regardie will know the Order. We are in 1903. The history of the Order is over: begins that of its heirs.The Continuators

 

The Golden Dawn had almost as many successors as the Martinist order of Papus, while having the original branch that survives alongside its imitators.

 

Crowley

 

One of the most famous followers of the spirit of GD is of course Crowley. After founding his Order, Astrum Argentinum, he received the patents of the Ordo Templis Orientiis during one of his many trips to the Orient - from where he also brought back yogas.

 

One of the fundamental designs of the OTO represents an oval containing an Egyptian-style eye at the top, in the middle a beaked dove at the bottom, and at the bottom a Flaming Cup stamped with the Templar cross. He had frequent contact with Rudolf Steiner, who found himself imbued with Golden Dawn for many of his afterlife theories.