View allAll Photos Tagged Understanding
Date: 12/20/2020-4th Sunday of Advent
Subject: We Carry the Name of God
Recently, I have been reviewing the Ten Commandments. In doing so, I have gained a beautiful insight into the second commandment “thou shall not take the Lords name in vain.” My new understanding helped me to appreciate this commandment in the context of Mary and annunciation. I had always thought, from my LDS background, that it meant, we should never say the name of God in a blasphemous way. In my expanded understanding, I have learned that we should not “carry” or live out our faith in God in a disrespectful way and Mary, the mother of God was and is our best example on how to do this. We learn from Mary, how to “carry” Jesus not only in our hearts but in who we are and how we live.
In our Gospel reading the angel Gabriel says to Mary “Hail Mary full of Grace! The Lord is with you.” He continues to tell her “not to be afraid for she has found favor with God.” We know at this point in the story that Mary is something incredibly special to God-HIS grace surrounds her! The angel than tells Mary “Behold, you will conceive in your womb and bear a son, you shall name him Jesus. He will be great and will be called the Son of the Most High.” Mary is being asked to “literally” carry this Son of God within her! Up to this point, she has carried in her young life a belief in God-in word and deed-as represented by her life as a faithful Jew. Mary’s simple reply “How can this be?” is soon followed by “Behold, I am the handmaid of Lord. May it be done to me according to your word.”
With Mary’s yes, she carries Jesus the word in her womb, and when He is born Mary and Joseph will raise him through his adolescence. She will be there to support him through his ministry and passion. We read in scripture that she is with him when he suffers and dies upon the cross. Imagine the fear, and despair…only to witness the hope and joy of His resurrection on Easter morning. Mary’s life changed when she said Yes to God.
Advent is a season, with a purpose. It is the school we enter to increase our awareness of the grace that surrounds us and holds us in existence, as it did Mary when she said yes to God. We are also invited to recommit to “carrying God’s Name” in our hearts, in our minds and in the way we live our lives. In fact, Advent for us Catholics is a wake-up call, an external sign, for us to remember the most important event in world history that of the incarnation-where God emptied himself, taking on our humanity, to walk amongst us, to save us. Like Mary our “YES” to God does not come without fear of what might be required from us. To carry God in our lives is not a one time event, but a renewing of our commitment daily. We do this in our prayer life and most visibly in our communal worship, and in the way we treat our neighbors. It is so natural to be afraid in these uncertain times, but our hope will never come from a political party or an inoculation from COVID.
In these chaotic times of political turmoil, death and sickness what can possibly bring us “peace beyond understanding?” My hope is that you have found HIS presence that you carry within you. Our firm hope only comes from anticipating an uncertain future in which the Kingdom of God unfolds within us as “we” say YES to God. The season of Advent surrounds us with signs and symbols, for schooling and forming us to raise our awareness and anticipation of God in our lives and points to the promise that “He will be with us to the end of time.” Our hope does not end here! We also look forward to when Jesus Christ will come again!
Considering Mary’s beautiful and faithful life in God, we too are called to follow her example! The season of Advent calls upon us to do so. Every time we eat the “Body of Christ” we carry HIM literally within us. Where do we take him? How does He change us? Are we aware of the presence that we carry in our hearts?
I end with the words from the hymn from the fifteenth century:
Lift up your heads, ye mighty gates;
Behold, the King of glory waits;
The King of kings is drawing near;
The Savior of the world is here!
Fling wide the portals of your heart;
Make it a temple, set apart
From earthly use for heaven’s employ,
Adorned with prayer and love and joy.
Redeemer, come, with us abide;
Our hearts to thee we open wide;
Let us thy inner presence feel;
Thy grace and love in us reveal.
Thy Holy Spirit lead us on
Until our glorious goal is won;
Eternal praise, eternal fame
Be offered, Savior, to thy name!
Music: Psalmodia Evangelica
Text: Georg Weissel, 1590-1635
Thunderpussy - Welcome To The Disco
Right-click link. Select "Open in New Window"
www.youtube.com/watch?v=vXYqnf9kGCM
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Boy Harsher - Pain - live @ Blah Blah Blah Blah, Torino, 04/12/2017
www.youtube.com/watch?v=7CAKTE-V8wA
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Boy Harsher // Route du Rock 2019 // Careful // Fate + LA
This harried hummer was hurrying to the nectar dispenser at the industrial feed lot that my sister runs for indigent hummingbirds, thanks to a grant from the You Really Need To Eat More Sugar Foundation. Their premise is that hummingbirds eat a lot of sugar, and they're still skinny, so you can too.
Strobist Info: I used an exposure (1/80, f16 and iso 200) that allowed for the ambient light on the sunlit trees to register, and then employed enough strobes to get some good light on the birds. To the left of the bird there was a light stand with a bare YN560-II and a bare YN560, and to the right of the bird there was a bare Strobie 130 on a light stand. All strobes in manual mode were triggered by a Yongnuo RF-603N.
Other hummingbird pictures I've taken are in my Hummingbirds set. www.flickr.com/photos/9422878@N08/sets/72157627149575339/
All of my pictures of all kinds of birds can be seen in my Birds set. www.flickr.com/photos/9422878@N08/sets/72157628206812625/
This picture was in Explore, and the algorithm that they use is way beyond my understanding. Other images of mine that have somehow made it into explore can be seen in my Explored set. www.flickr.com/photos/9422878@N08/sets/72157618630302105/
image taken and processed by the subconscious mind.
no cloning, every head is real and broken! not including mine.
Understanding Sunday: Pentacon 29mm / 2.8 MC Auto (M42)
PENTACON auto MC 29mm f/2.8
Pentacon 29/2.8 comes in a straight line from the Meyer Optik Görlitz Orestegon 29mm f/2.8. Produced in the years 1970/1991. During this period changed several times. Initially, a copy of the version of Meyer Orestegon 29mm f/2.8, then the electric version, and in the end version of the MC - There are also non-electric versions of the MC. It is a wide-angle lens with a very good f/2.8. Version of what I test is one of the last what was produced. Great multilayer coatings MC. The quality of workmanship as good as the old lenses Meyer. The lens has only 6 aperture blades. In a digital camera to take pictures with this lens requires a lot of attention already. Pictures are not sharp - just above f/11 we can talk longer with acceptable results. All the magic of color lenses Meyer here almost disappeared. You have to make an effort for it to have a picture in itself is a beautiful thing.
Focal length [mm]: 29
Maximum aperture: 22
Minimum Aperture: 2.8
Fixing: M42x1
Minimum distance [m]: 0.25
Filter Diameter [mm]: M55x0.75
Number of diaphragm blades: 6
Diameter [mm]: 64
Length [mm]: 53
Weight [g]: 210
Ref: m42lens.blogspot.com/2014/04/pentacon-auto-mc-29mm-f28.html
© All rights reserved.
The New Mexico Photography Field School Landscape Photography Class.
I am deeply grateful to my teacher Craig Varjabedian and his workshop assistant Jay Packer. They were wonderfully skilled guides in helping me to orient myself to the basics of landscape photography. Their understanding and grasp of technical and aesthetic aspects of picture taking and the ineffable mysteries of photography are simply awesome and a delight. www.photofieldschool.com/craig.html
Craig Varjabedian is a fine-art photographer of the lands and peoples of the American West and Southwest and is Director of the Field School. He was born in Canada and began photographing at the age of thirteen. He has subsequently sustained an artistic career spanning over thirty years, which began in earnest in 1971 and involved studies with Phil Davis at the University of Michigan and Paul Caponigro in Santa Fe. Varjabedian’s first one-man show was at the Albuquerque Museum in 1994. Since that time he has been widely exhibited in museums and galleries throughout the United States. Grants from the National Endowment for the Arts, the Samuel H. Kress Foundation and the McCune Charitable Foundation have been awarded to Varjabedian over the course of his photographic career in recognition of his powerful imagery. His pursuit of an intensely personal vision has culminated in images of moments made extraordinary by light and life. He approaches his subjects receptively, preferring to utilize an intuitive approach rather than arranging forms and recording surface details. In the final analysis, Varjabedian’s photographs allow viewers to share in the authentic experience of an artistic process which celebrates luminous and heartfelt experience.
Upcoming books of his photographs include Four & Twenty Photographs: Stories from Behind the Lens (Spring 2007) and a book on Ghost Ranch (Spring 2008), both with Santa Fe author Robin Jones, which will be available from the University of New Mexico Press. The late Beaumont Newhall, preeminent photographic historian, wrote, “The remarkable photographs by Craig Varjabedian are not only beautiful but also extremely valuable documents of architecture, culture, and lifestyle of Northern New Mexico.”
www.photofieldschool.com/craig.html
I took this photo at Ghost Ranch where Georgia O'keefe lived and painted. It is said that she claimed that if she painted a nearby mountain enough times god had told her that it would be hers. She is buried there. This is a spiritually and artistically inspiring awsome place.
Ghost Ranch was part of a land grant to Pedro Martin Serrano from the King of Spain in 1766. The grant was called Piedra Lumbre (shining rock). The name "Ghost Ranch", or the local name Rancho de los Brujos, was derived from the many tales of ghosts and legends of hangings in the Ranch's history.
"When I got to New Mexico, that was mine."
In this way Georgia O'Keeffe described her instant love for Northern New Mexico, a love that lasted the rest of her life. The time was 1917, the event was a trip O'Keeffe and her sister Claudia took to New Mexico and Colorado from their home in Canyon, Texas. Yet it was 12 years before O'Keeffe returned to New Mexico and even longer before she found her way into the beautiful valley that would eventually become her summer home.
In 1929 O'Keeffe went to Taos at the invitation of friends Dorothy Brett and Mabel Dodge Luhan. There she heard of Ghost Ranch and once even caught a tantalizing glimpse of it from a high plain. In 1934 she finally found the ranch but was dismayed to learn that it was a dude ranch owned by Arthur Pack. However, a place was available for her that night in Ghost House and she spent the entire summer at the ranch.
That established a pattern she would follow for years, summers at Ghost Ranch exploring on foot and on canvas the beauty of the place, winters in New York. Because she was basically a "loner," she soon sought Ghost Ranch housing that was somewhat isolated from the headquarters area. Pack offered to rent her his own residence called Rancho de los Burros; this suited her very well. One spring she arrived unexpectedly and found someone else in the house. She demanded to know what those people were doing in her house. When Pack pointed out that it wasn't her house, she insisted that he sell it to her. Thus she became the owner of a very small piece of Ghost Ranch land: a house and 7 acres. (In later years she told a ranch employee doing roadwork near her home, "I wanted enough land to keep a horse - all Arthur would sell me was enough for my sewer!")
But Rancho de los Burros was a summer place and also a desert one. O'Keeffe wanted a garden and a winter home. Eventually, she bought 3 acres in the village of Abiquiu. She spent 3 years remodeling and rebuilding the crumbling adobes before the place was fit for human habitation. After her husband, Alfred Stieglitz, died, O'Keeffe left New York to make Abiquiu her permanent home.
In 1955 Arthur and Phoebe Pack gave Ghost Ranch to the Presbyterian Church. O'Keeffe was aghast. The Packs should have sold her the ranch, she thought, and besides, she never cared much for Presbyterians anyway. Her precious privacy would be gone. However, from the very beginning of this new relationship the Presbyterians respected and tried to preserve the privacy of their famous neighbor. Visitors were told, as they are today, that Rancho de los Burros was on private land with no public access. Gradually her fears were allayed and the relationship grew warmer. Office personnel sometimes did secretarial work for her; Ghost Ranch folks replaced the pump on her well. O'Keeffe became friendly enough with long-time ranch director Jim Hall and his wife Ruth to have Christmas dinner with them.
She made a money gift toward construction of the Hall's retirement home on the ranch. When fire destroyed the headquarters building in 1983, O'Keeffe immediately made a gift of $50,000 and lent her name to a Challenge Fund for the Phoenix campaign which resulted in replacing the headquarters building and adding a Social Center and the Ruth Hall Museum.
During the last few years of her life O'Keeffe was unable to come to Ghost Ranch from Abiquiu. Eventually she moved to Santa Fe where she died in her 99th year, reclusive to the end. "I find people very difficult," she once said.
Ghost Ranch gave her the freedom to paint what she saw and felt. Knowledgeable visitors can look around and identify many of the scenes she painted. Red and gray hills like those across from the roadside park south of the ranch headquarters were frequent subjects. Kitchen Mesa at the upper end of the valley is an example of the red and yellow cliffs she painted many times. Pedernal, the flat-topped mountain to the south, was probably her favorite subject. "It's my private mountain," she frequently said. "God told me if I painted it often enough I could have it." And of course, the Ghost Ranch logo, used on everything from stationery to T-shirts, was adapted from an O'Keeffe drawing.
And be sure to check by my other acount: www.flickr.com/photos_user.gne?path=&nsid=77145939%40..., to see what else I saw very recently!!
Yes I'm back again.
However due to my main computer on which I edit my work being struck down with a big bad virus, this picture and all the others I am uploading, were Unedited but have now been replaced with Edited versions. So enjoy and Thanks for your patience and understanding.
I do still hate everything about this shit that is new Flickr and always will, but an inability to find another outlet for my work that is as easy for me to use as the Old BETTER Flickr was, has forced me back to Flickr, even though it goes against everything I believe in.
I don't generally have an opinion on my own work, I prefer to leave that to other people and so based on the positive responses to my work from the various friends I had made on Flickr prior to the changes I have decided to upload some more of my work as an experiment and to see what happens.
So make the most of me before they delete my acount: www.flickr.com/photos/69558134@N05/?details=1, to stop me complaining!!
the pimp chronicles
Pub: XIV
8/10/10
How many times have you heard some dumbass white person say this after giving you a short lecture referencing something against a black person, "Believe me, I got plenty of black friends too”.
Okay. Right there? Do us both a favor and...
SHUT
THE
FUCK
UP!
Just the fact that you need to try to quantify how not racist you are by mentioning all these arbitrary black friends you have is telling me you are bullshitting yourself. You can only make this worse if you start going on about reverse racism and how it’s just as bad as racism.
Just stop. I’m about to puke on you white person if you continue talking. Just stop this cycle of endless bullshit that started with us anyway. You can start with taking everything you think you know about flip side of the issue and realize you don’t know shit. But most importantly you can do yourself a favor by understand this:
We are all racist.
Don’t feel so bad about it, seriously. It’s impossible to be human and not make initial rash judgments about someone who seems different than you. You will naturally come to these conclusions based on your own life, interactions, and experiences. Or in other words: being racist.
Let’s say Wally Whiteman is walking down the street one night in his mostly white suburban community. Barry Blackman approaches him simply walking the opposite direction.
Neither of them gives a fuck about each other and are both just walking home. But I’m betting the entire length of my cock that both of them formed prejudgments based strictly on race and demeanor as they graced paths.
Does that make them both racists? YES! Yes it does. Just because you don’t go around screaming “Nigger” at every black person you meet doesn’t clear you of racism. Racism can be merely felt.
As soon as you accept the fact that you too are a little racist, you’ll be a lot happier. And things will make a lot more sense to you. I bet you’ll even stop mentioning all your imaginary black friends that you don’t have when discussing race with people.
Okay well let’s not get carried away with this now. I wouldn’t go around calling yourself as a racist unless you feel this is an appropriate word to describe you. The person I’ve described thus far is just confused and scared to even broach the topic of racism. They dance around it, don’t feel comfortable discussing it, and are basically in denial of their own feelings and thoughts.
Are you a proud outspoken racist who regularly uses the words seen in this photo to throw your hate around? You’ll know if you are one of those pieces of shit. If so, this little diddy doesn’t apply to you. Please immediately exit stage left, thank you.
So why did Wally form that prejudgment against Barry on that street anyway? Well probably because a lot black people actually do commit a lot of crimes such as mugging someone on the street in or around the cities of America.
But the key here is to understanding that the fact that he is black has almost entirely nothing to do with it. It’s all to do with socioeconomic status of the people living in these cities. Who happen to be mostly black. They grow up in conditions surrounded by this type of behavior. This does not EXONERATE anyone from acting this way. I’m simply supplying you with the RATIONALE.
So pimp, why are many of these areas largely black then? Well you don’t think anyone would want to live there and be a part of that do you? Go to the library or even read about the history of inner cities of America on Wikipedia, it’s actually quite interesting.
If I could just sum this entire fucker up with one bit of advice regarding race, it would be this:
Everybody just lighten the fuck up about it already!
Thank you,
pimp
€Θnάịм ₮ђú ૭$
This year Goku got sick, he had something in his eyes...
He was getting all my attentions, and Toji and Chihiro were also treating him the best they could.
Lua, however, got jealous with all attention he was receiving, and decided to ignore him.
But Lua'is Goku's love, his sister, from whom he was never apart. He was very upset about being rejected by her.
So I took her for a conversation, told her that she could not do that to him, that she needed to be supportive, he was in pain, and that's why everybody was treating him like this.
To my surprise, after meditating a little (she always takes her time when we talk) she got close to him and started to clean his eyes... I couldn't just believe in what was happening, and here is the picture of this story for you!
With all thy getting, get understanding. Stained glass in the Great Mausoleum in Glendale, California.
Sinaia city-Soligor 17mm F4
Not the brand or technique is important in photographic art, but the understanding of the things behind the photographed subjects, the emotion, the composition, the joy or the sadness, the life itself that is mysteriously coming unrepeatable as a gift.
(Horia Stanicel)
Nu aparatul foto sau tehnica este importantă în arta fotografică, ci înțelegerea lucrurilor care stau în spatele subiectelor fotografiate,emoția, compoziția, bucuria sau tristețea, viața însăși care vine tainic irepetabil ca un dar.
(Horia Stanicel)
As I walk on through this wicked world,
Searching for light in the darkness of insanity,
I ask myself, Is all hope lost?
Is there only pain, and hatred, and misery?
And each time I feel like this inside,
There's one thing I wanna know,
What's so funny 'bout peace, love, and understanding?
www.youtube.com/watch?v=Ssd3U_zicAI
"You must see things I don't."
So went the quote from a work colleague a few days ago having seen some of my pictures - and within moments it dawned on me I couldn't wish for a better accolade! What a great line, and even though much of my photography may be... somewhat obvious, I crave those times when it rings true. It's happened to me on several occasions, times when people passing hesitate, glance discretely (or sometimes so blatantly as to be almost rude) in the direction of my lens and look puzzled. I really love those situations, so much so I almost become disappointed if I don't catch sight of a sneaky double-take... There was a time when I'd try to explain, but I rarely bother nowadays - instead it either means I'm wasting my time in pursuit of something too obtuse to merit wider appreciation, or I'm really on to something. That little facet of mundanity laden with potential that noone saw, nobody noticed... they just didn't see.
There are certain subjects that warrant attention from everyone's camera, icons that have been photographed thousands of times just because, well, because they're so fantastically photogenic. We all shoot these, and I see nothing wrong in it - does a memorable scene become less so simply because the world has viewed it? Or does it's appeal blossom still further? Naturally we all seek originality in an artform where (like all others) it's becoming increasingly difficult to achieve, and once in a while we may strike lucky - it all comes down to perception, understanding, interpretation and realisation. But I hope there will always be scope for further exploration of those subjects which a small, nagging voice whispers are taboo either by repetition or familiarity.
I understand 4 7 A, I've seen it.
hope freedom love
and understanding!
and
2nd periode
great speech
13 Februar 2013
°°°°°°°°°°°°°°°°°°°°°°°°°
##############
best wishes!
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"This is our chance to answer that call. This is our moment. This is our time - to put our people back to work and open doors of opportunity for our kids; to restore prosperity and promote the cause of peace; to reclaim the American Dream and reaffirm that fundamental truth - that out of many, we are one; that while we breathe, we hope, and where we are met with cynicism, and doubt, and those who tell us that we cant, we will respond with that timeless creed that sums up the spirit of a people:
Yes We Can. Thank you, God bless you, and may God Bless the United States of America"
President Barack Obama
November, 4. 2008.
______
Barack Obama wird dabei seine rechte Hand auf jene Bibel legen, die bereits
Abraham Lincoln
bei seiner Amtseinführung im Jahr 1861 verwendet hatte und den verfassungsmäßig vorgeschriebenen Eid ablegen:
"Ich gelobe feierlich, dass ich das Amt des Präsidenten der Vereinigten Staaten getreulich verwalten und die Verfassung der Vereinigten Staaten nach besten Kräften erhalten, schützen und verteidigen will."
-
Die Amtseinführung:
11.30 Uhr Ortszeit (17.30 Uhr MEZ):-
Auftritt der US-Marine Band und eines Kinderchores- Begrüßung durch Senatorin Dianne Feinstein- Bittgebet: Rick Warren- Vereidigung von Vizepräsident Joe Biden- musikalisches Intermezzo mit klassischer Musik
12.00 Uhr (18.00 Uhr):
- Vereidigung von Präsident Barack Obama- Antrittsrede Obama- Gedichtlesung von Elizabeth Alexander- Segensspruch von Rev. Joseph E. Lowery- Nationalhymne der USA (US-Navy Band)
14.30 Uhr (20.30 Uhr):Beginn der Parade von der Pennsylvania Avenue zum Weißen Haus
21.00 Uhr (03.00 Uhr):Beginn der zehn offiziellen Festbälle zur Amtseinführung
Day 104/365
"Understanding Photography"
you can't understand photography without spending your time to learn it...
Strobist Info: 580EX II 1/1 power in 28" softbox next to the camera, another 580EX II 1/1 power with blue gel, behind me pointed to the wall.
Triggered via PocketWizard Mini TT1 and Flex TT5.
The best of fotovilag.hu
Thank you for visiting. The images in this photostream are the work of a group of photographers not a single person. They have no admin access to the site therefore they are unable to respond to comments or requests. Thank you for your understanding.
Chavonda Jacobs-Young, undersecretary of Agriculture for research, education and economics, gives remarks at an event where NASA Administrator Bill Nelson and U.S. Secretary of Agriculture Thomas Vilsack signed a memorandum of understanding between the two agencies, Wednesday, June 21, 2023, at the USDA’s Jamie L. Whitten Building in Washington. The agreement strengthens the collaboration between the two agencies, including efforts to improve agricultural and Earth science research, technology, and agricultural management, as well as the application of science data and models to agricultural decision making. Photo Credit: (NASA/Bill Ingalls)
Leipziger Buchmesse 2015
2015-03-13 (Friday)
2015_013
2015#140
MissVanilla (___) 155767 as Mew Zakuro Fujiwara from Tokyo Mew Mew
Thank you for any group invites which I'd be glad to accept. However, if I can't check the content of such groups ("This group is not available to you") I'd rather not add any of my photos. Thanks for your understanding.
The best of fotovilag.hu
Thank you for visiting. The images in this photostream are the work of a group of different photographers not a single person. They have no admin access to the site therefore they are unable to respond to comments or requests. Thank you for your understanding.
How much mass do flocculent spirals hide? The featured true color image of flocculent spiral galaxy NGC 4414 was taken with the Hubble Space Telescope to help answer this question. The featured image was augmented with data from the Sloan Digital Sky Survey (SDSS). Flocculent spirals -- galaxies without well-defined spiral arms -- are a quite common form of galaxy, and NGC 4414 is one of the closest. Stars and gas near the visible edge of spiral galaxies orbit the center so fast that the gravity from a large amount of unseen dark matter must be present to hold them together. Understanding the matter and dark matter distribution of NGC 4414 helps humanity calibrate the rest of the galaxy and, by deduction, flocculent spirals in general. Further, calibrating the distance to NGC 4414 helps humanity calibrate the cosmological distance scale of the entire visible universe. via NASA ift.tt/2gsbMns
Copyright© Firdaus Mahadi 2010 | View Large!
"If virtue promises happiness, prosperity and peace, then progress in virtue is progress in each of these for whatever point the perfection brings us, progress is always an approach toward it"
Location : Pantai Klanang, Banting, Selangor, Malaysia
Unplanned outing with Acidsulfurik, Fairuz and Rozaidi
Tech details: Vertorama of 2 exposures using ACR (Adobe Camera Raw), one for the sky & one for the foreground. No tonemapped HDR.
Related images:
Please don't post here any awards, glitter text, images, and group invite
my understanding this a "temple event" and this group of people venture out to a local neighborhood and take a carriage with a deity inside (which photos i haven't posted yet) and stop, turn their back to a massive pile of firecrackers, light them and stand still while the incredibly loud, hot and smokey firecrackers go off. thus scaring evil spirits and bringing good luck.
note : if someone can explain it better, i beg you to do so. thanks
THE DRUNKEN MUSE
The story "Drunken Muse" was audio recorded on a hidden voice recorder during the conversations about two decades ago. The story-teller didn't know or consent to the recording.
en.wikipedia.org/wiki/Tape_recorder
en.wikipedia.org/wiki/8-track_tape
en.wikipedia.org/wiki/Compact_Cassette
The audio tapes on compact cassettes were never used. The records were partially damaged and lost.
Herewith the unedited transcript version.
medium.com/paul-jaisini-paints-invisible-paintings/paul-j...
I am so pumped to get back to painting as I return to the second year of the art school after a full year suspension. As always it is like time-travel culturally speaking, like walking right into the middle ages going through the antique building’s portal.
Art studios are the huge L-shaped lofts with super tall ceilings 20 feet no less with the wall to wall windows so that sunlight illuminates the space from south and east side designed for the purpose so that one could paint there from morning till sunset.
In a studio there are classical gypsum sculptures, expensive copies of Venus de Milo, David, Laocoön and the others. In the art studio there stood the noses, eyes, lips, feet, and palms on the wood shelves.
Sketching the gypsum body parts helps you to build the classic academic base on which stands the whole modern and contempo art. This sort of teaching is specific for the art schools that preserve the traditions they had been founded on. There is only few art schools like this and of this caliber left now. Could be that this is the only legendary school that continues to function as if nothing had changed in the world. In the rest of the world with billions of some art classes nobody knows what does the old tradition of art school is for, its totally unfashionable.
Studying classic art (en.wikipedia.org/wiki/Academic_art) here is the foundation for creativity in any of the art styles.
The smell of art is what defines the studio but not from human presence, something like an aroma reminiscent of the eastern market where smoke from hookaahs mix with the oil vapors, exotic fragrance from candles and spices. The Art Studios were never renovated since the times they were built over 150 years ago. The wood floors are saturated with art oils as if the floor is waxed with the organic oils from nuts, linen ( linseed oil, poppy seed oil, and so forth.) Adding to the mix the varnishes used by painters (pine wood varnish, Dammar varnish and others) It makes this ART SMELL to be the most intoxicating and ever-lasting musk.
en.wikipedia.org/wiki/Oil_painting
en.wikipedia.org/wiki/Oil_painting - Ingredients
en.wikipedia.org/wiki/Studio - Art_studio
The instance you enter the studio space you feel the belonging to a knighthood and the whole art history. You are the undivided part of those people who left their creation imprints.
Super pumped up after the long break up with the arts after my full year of non-stop party marathons I had returned to the bohemian life style.
Actually my other life style wasn't any different from the bohemian.
The only difference is that there is some meaning in the bohemian life style, something to create, to shape. Not just spend time doing sports and girls but something on a whole 'nother level only with the same sub text and by far more emotionally connected.
The bohemian I think is much more my thing, that fits me as a person. Maybe because my old man is the greatest sculptor.
He is color blind so apparently I took up the torch, I have a very special sense for color.
en.wikipedia.org/wiki/Sculpture
en.wikipedia.org/wiki/Bohemianism
en.wikipedia.org/wiki/Color_blindness
There could be an inborn human predicament or inborn genius.
I returned into the world to kiss its ground. I like everything about it, the babeville and its fashion circus.
The art students are known to come up with endless varieties of how to be stylish.
Take me for example, I am chilling in a suit jacket. It was professionally hand-tailored out of a denim Pajamas with stripes and starry silk underlining.
This “look” is completed by my python leather jeans. And over that an authentic LONG military Germany Waffen Elite Officer black Leather Coat from the WWII, only it is without a Swastika.
I never part with my large portfolio and a Field Easel.
EASEL
About 700 students attend the studies. The art school accepts only the best of best with few exception such as the kids of celebrity artists, writers and musicians and people who had real power in the city.
I wasn't enrolled for money or the A-lister parents, but for my talents. The Art specialty (painting, drawing, sculpture) teachers here are the world-wide recognized contemporary artists.
In a matter of my working ethics these important artists would point at me as the example of how fast I work, how well I sketch in color, how I always choose the most unexpected and unusual angle for my composition and so on...
en.wikipedia.org/wiki/Composition_(visual_arts)
name banner gif
Optical illusion geometric gif
(portraiture, still-life, and landscape)
en.wikipedia.org/wiki/Still_life
en.wikipedia.org/wiki/Portrait
en.wikipedia.org/wiki/Landscape_painting
en.wikipedia.org/wiki/Figure_drawing
en.wikipedia.org/wiki/Figure_painting
I never work on an académie (live drawing of a model, live painting of a model) the given eighty -- ninety hours. My whole process is about six -- nine hours to fully complete the work so I get out of the studio for some action and fun.
I’m probably the strongest in the class. My art professors know I don’t need to be there to distract the others.
When I’ve got nothing to do I start banging the head against the wall. Still I am criticized SUPER harshly for cutting the classes.
At this point I am not aware of the inner workings of “THE SYSTEM”.
I call suitcase with a secret compartment.
At the grade shows I only see the bad grades on my best artworks.
There is another side of the coin. It revealed in the future when I got to befriend a secretary at the Dean’s office. It was about the time of my graduating year.
The art teachers actually always considered me to be the leading artist among all students. They would grade all my artworks high on my personal record I knew nothing about.
That was how the art school’s system pushed the talented students to go further to open up their potential. Pushing to the limits of impossible.
I am harshly criticized for cutting a lot of classes.
There is another side of the coin. It will be revealed in the future when I got to befriend a secretary at the Dean's office. It was about the time of my graduating year.
The art teachers actually always considered me to be the leading artist among all students. They would grade all my artworks high on my personal record I knew nothing about.
That was how the art school's system pushed the talented students to go further to open up their potential. Pushing to the limits of impossible.
Willing or not but the doubts get in my head. I was thinking (rather frantically) that maybe I’m all just misguided. I will work to beef up my skills unable to accept that I am not really a “genius” artist. The bad grades were corrupting my vision.
Totally clueless that these bad grades in my case were used as "disciplinary measures" for my behavior of anarchy. These grades had nothing to do with my artworks.
And yet my best drawings and paintings are graded the lowest. At the same time the art professors are taking my works home. I always find empty walls where my works were displayed for the semester shows.
Sooner or later the missing artworks got me enraged. My classmates tell me the back story on what REALLY had happened.
All the art professors usually go the painting major's finals. So they just took my artworks right off the wall.
Ever since I heard this back story I flaunt how IDGAF to even pick up my works with the bad grades after the finals end.
Like a bunch of some doomsday looters in sight of an electronic store the art students same as the teachers vultured my artworks. Later some of my paintings and drawings were seen at the school's museum, especially the paintings.
The story of the artworks snatched off my exhibit wall developed further.
In the art school the art teachers are the privileged kind who exhibit regularly. All are the accomplished artists with big names.
Another thing about my artworks (no longer mine and in someone else's possession) is the story that involves someone with the top art rep being the art dynasty. Even so it happed that the leading art professor nicknamed Molly (for her annoying facial mole) used my art stuff to have her son who studied same years as me, just never expelled, to apply to an art academy with the highest qualification requirements. Molly's son portfolio sucked. To get him qualified to apply she gave her son all of my artworks she collected.
The juice was given to me by the reliable sources. The story was concurred by the eye--witnesses the students who were applying to the same academy together with Molly's son. Some of these students knew my work by the style, special color palette and the brushwork.
They all knew that Molly's son was using my artworks. He only had to forge his signature and remove mine.
en.wikipedia.org/wiki/Study_(art)
My drawings, sketches, paintings, watercolors are in "wide" use by others.
I tell that to describe the routine of my life.
It could explain why I was expelled three times for the chronic absence, for sabotaging the lectures -- getting my classmates to leave the studio and go to the movies or to the beach.
Fast forward to that event of the breaking point when I started to work systematically.
I was sucked into work as if a drug addiction. I was penetrating deeper to the very core of creativity. Reading books, going to the museums, working in the field, working in the museums to copy masters. I completely forgot all about life around me.
Practically I was devoured and digested with my nails and hair by that devil called the academic art. It sucked out the leftovers of my soul.
I stayed in the studio after the classes to work. There were only few students like this, spiritually close to me. To them it was their life style since the day they had entered the art school unlike me. Whenever I'd get bored with art I'd quit working and just leave without asking permission.
Now as if something had hit me hard and I started to really work. Most art students here typically come from such backgrounds when they did their baby steps and studied in the children's (secondary) art school from an early age and tutored by art teachers at home
I had a tendency to take on a higher complexity unprepared without the experience of any art school training (the eight years on a daily basic with teachers and methodical practice.)
As long as I remember myself I was drawing, during my school years, on the notebooks, with chalk on the asphalt, with stick on the sand. I did it subconsciously, not knowing what I was doing.
IDK, could be due to the several bad bike accidents when my head ended up hitting the brick...
Why did my brain moved into the direction of noticing those things that normal people should not be noticing? That the leaves on the trees are not at all green, but violet.
The falling shadows from the street lights are not at all outlined by black, the contours are the absolute blue.
The trees look like people.
There are so much more shades of colors that language could articulate.
Stuff like this filled up my head so that there was no place left for just a thought about girls, more so even the thoughts to manipulate my body functions. For instance using the
bathroom. I almost peed my pants. Truthfully I was on the edge of madness.
I remember how I hallucinated during my work imagining that someone had come into my studio and I spoke to "the guest." My brain was ill, there was no escape from that hell.
en.wikipedia.org/wiki/Violet_(color)
Once I was walking on a street without any awareness. My mind was no longer in command of anything accept the obsession with my painting. As I was pushing the limits of what was humanly possible in a matter of progress from the previous stage when I could draw and paint with intuitive results now I considered as totally armature waste of art materials. My condition would be hard to describe since I could hardly remember what was it like during that madly intense period. I know that I was working non--stop and did make some major break through. It worked but at the same time the progress turned its evil side, I wasn't able to stop even for a brief moment. Something happened to my otherwise incorruptible memory that I could only remember few things from that period. And one of those things was my death walk through the city streets on a day I was supposed to disappear.
When I realized that I was walking automatically, blind and incredibly
avoiding the cars, for the first time I felt the fear of madness that can easily take my life. It wasn't something I would fear if I was in my other life when loosing it would be quite an ordinary thing and not due to my lost mind.
Whatever it was I survived with no chances to stay alive that day. I had more chances to live on when I was shot at execution style, when I was drowning in bad storm, climbing on a building like a cat, and on many others such occasions.
Some guardian angel was looking over me as I came to the final moment of certain death, blind, deaf, disoriented and delusional.
As we finished with draperies, still life, gypsum figures we moved on to the nude. To draw and paint from the live sitter, male or female model.
There comes an old fat hag to be posed before the artists. She will be POSING even during the breaks. She sits professionally without a slight move of her flab folds for us to draw her “forms”. ‘assume it was done for the boys not to get distracted with the female anatomy.
The models with “rounded” forms were chosen so we would study the reflects and double reflects on a “sphere-like” and “cylinder-like” forms.
There would be plenty of the cast shadow (a type of shadow that is created on a form), and a drop shadow ( below the image).
en.wikipedia.org/wiki/List_of_human_positions
en.wikipedia.org/wiki/Figure_study
The working objective was to concentrate on the drawing’s construction.
When we’d get a young female model, she’d be so skeletal that we studied the skeleton. This type of models was as unattractive as the fat ones.
The art students without an eye for a drawing and technique produced their works of caricature quality. With the lost proportions the models looked like animals, skinny chickens or fat frogs.
For me it was a serious job, body didn’t exist. I x-rayed the flubs of fat to see the bones to connect them to muscles, to build a form.
en.wikipedia.org/wiki/Caricature
en.wikipedia.org/wiki/Skeleton
en.wikipedia.org/wiki/Human_skeleton
The illness I call the overdose had progressed and my end was near.
Homies who knew me used to say that I was cracked.
When I moved from the classicism to modern (I refused to see any modern or contemporary art, never wanted to see it, or ever saw it) I entered the Modern art on my own, as my foot stepped into the forth dimension.
I entered the world of mad pressure. Good I stepped in it one foot yet.
I was sleeping in the studio right on the floor near my work and placed an electric heater near by.
It was impossible to heat up whole place where fifty heavy-duty easels only took a quarter of the studio space.
In the center there was a huge round stage made from a special hard wood to hold any number of models when needed for the multiple human-figure compositions.
The place was full of easels, portable and the large for the field. The chairs, tables, palettes, boxes with paint, cases with paper and lots of other art stuff piled up into mountains.
The parquet floor was always covered in fresh oil paints even though the teachers tried in vein to prove a fact that working neatly was by far more productive.
We had a dormitory built same year as the art school which was 150 something years ago.
If you stayed late in the studio that was forbidden, you couldn't get to the dorm.
A guard at the main door was a real watch dog, he faithfully guarded the pathway knowing every student's face.
The dorm was occupied by those who couldn't pay for a room or the apartment in the city.
Ten beds were squeezed in a dorm room.
This part of the antique building was never renovated probably b/c it was planned to be turned into more art studios.
But since there were out of town students who had no place to live they were given a place in this dorm.
The beds were of a good prison-like quality so the survival was possible. Another thing is what was happening in the dorm.
On a typical day nobody there had any money left after the expensive art materials. Not a penny to get high. Alcoholic liquid (40-60%) was soaked into the bread.
From one bite of that bread you could instantly drop dead as if your legs got cut off by a train.
The receptors inside the nose absorb the fumes to hit right into the brain, this way the booze doesn't ever enter the digestive system and blood.
It kills or makes one go bonkers.
Some pissheads in desperation poured vodka into a wine bottle cap to inhale it like coke. After one cap screw it was a total alchoholocaust.
There were many ways of economizing: to use a medical thin rubber tube to suck the drink very slowly, one bottle would
serve four alkies.
It was the usual schizophrenic day for me. I had my dose of coffee and ate on a way to the studio.
Those days I didn't miss a class afraid to get expelled for the last and final time.
I couldn't understand this thing about my artworks. Why did my classmates literally begged on their knees to have the C-graded artworks I was never satisfied with.
It became my trade mark to give away all of my stuff left and right. I didn't know why I let go of my drawings and paintings so easy. Now I regret that. It would be interesting to see the growth.
Once I happened to tell a guy from my class who worked very hard on his drawing (he wasn't a good draftsman): "Oh Wow! you are doing a lot of progress, buddy, congrats!" I looked at his portfolio and pointed at a piece: "This drawing here is really mature and quite interesting, you achieved volume and air in just a linear drawing."
The guy suddenly goes red, stares at me wide-eyed with anger or confusion I couldn't quite understand...
"Am I saying something wrong?" I asked.
"You're fucking dissing me!" He answered.
"Why?" I wondered.
"This is YOUR drawing," Was the answer: "I took it, that is when I asked you and you gave it to me, don't you remember?"
I didn't recognize, didn't see my signature, as it was overlapping the drawing.
The guy was holding a grudge for this but it didn't turn him into one of my enemies.
At some point I am thankful to the teachers for their sneaky methods and experience on how to tame the most unruly and bring them into the art's stable. On the other hand these people were like sadistic fascists who used their special gases on me experimenting, would I survive it and live on.
The bohemian hyped up life only started after the classes at about seven in the evening. This part of the artist's life was full of sex, booze, and drugs, more sex booze drugs and orgies. The art youth was progressive, the sex - communal with the conveniently shared girlfriends and boyfriends.
Strangely the good times didn't concern me anymore now.
There was a small group of idiots who followed their criteria of achievement: to draw and paint a vase with flowers so that it comes to life, right out of the canvas to the carrying hands of the one who painted it. The flowers turned alive would be given to the girl/boyfriend.
The madness of the 4th dimension.
The art group was lead by me and another guy soon (one month later) to disappear forever for the reasons unknown.
After the classes me and few others searched for a studio. Found it. Not my studio. Any studio with the door unlocked.
As usual I would set a still life. Take off my nazi coat.
Set my next canvas on the easel to start quick sketching.
Out of nowhere shows up some dude who was a new student, he was much older, about twenty three, somewhere from Texas and just plain untalented.
He wanted to hang around with "the power-group" to learn.
There were few girls with the ambition to reach the level of a manly hand in creation.
We all usually worked in grave silence and even a slight noise would be extremely annoying.
If a brush would fall it seemed the atomic bomb had exploded somewhere near. We would exchange vicious cursing at the jittery creaking sneezing noise maker.
When you are focusing intensely and can't quite catch the brush stroke to complete the shaping of a form so that the image would turn real and come out of the flat surface the nerves are high strung to the limit.
The last months I just never left the studio, didn't even come outside. Slept on my German coat in the corner. It was veiled with the drapery. I'd wake up in the morning. The doorman was already used to give me the keys knowing that I sleep and work there. It came with a warning that if I am discovered I must tell any story and solemnly kept the secret.
The memories from those years distract me from telling what I want. It's about the event that had closed for me the entry into the forth dimension.
That day I was getting upset over some stupid teases: "What had happened to you!"
Whether the bros wanted to elevate my mental state, or they needed to get my works it had really caused me distraction. I was focusing on my work. Suddenly I hear the sounds of music in the studio. It jumped me: “Are you out of your fucking minds? That asshole doorman will come here."
"No he ain’t gonna."
"Why?"
"He is passed out, we had to carry him away." Was the answer.
"What is going down?" I worried.
"Not much, nothing is going down, we just want some fun. The way it is on here is so buzz-killing."
Was it some holiday, I didn’t know. Holidays passed by me, I didn’t smoke or drink and only worked. What they were saying didn’t reach me.
“Shut down the music. You’re gone but I must sleep here."
"Why must you sleep here?" Asked Lorenzo (nick-named after his personal preferences of the Benzos)
"Hmm, I guess there will be no way of working today?" I asked.
"Working, way working, you gonna make me some home works," Assured me the dude nicknamed Kuz. "For that I will make your sculpture complete."
As interesting as it was to play with the real forms in sculpting I disliked dealing with the clay. Those times I believed the painting to be so much more in gradations, possibilities and complexity. Now I changed my mind to consider any art media possess the unlimited possibilities.
I agreed. Suddenly the guys were fixing to leave and I had to ask: "So? Who will finish building up the sculpture if you're leaving?"
"No worries, will build it up, brb just a quick run for some booze before the stores closed up."
"What booze? Get out of here go to another studio. I work, don’t mess me up."
"No biggie, son, you can rest for once."
It was pointless to argue, they'd already been drunk and I was only getting nervous. My work wasn’t going good at all. I have changed the lighting set up many ways in vein.
Suddenly, out of nowhere Muse appears. A young, very-very attractive girl about eighteen. The returned gang introduced her to me:
"J-Sin, meet her... lets say Nicky."
"Eh, hello Nicky, who and what are you?" were my greetings.
She smiled to everyone and answered: "I will be posing for you today."
"We agreed about everything, will pay the price,” –explained Lorenzo barely moving his tongue, "She is gonna be happy!"
His bag full of bottles made loud clanking noise.
When the drunks got them out I counted six.
“Yes, this is going to be a wild night.” I was thinking what to do now. I approached the model, took off her coat and hanged it, removed her blouse and explained that she can go behind the curtain.
"Hey, hey! What curtain son, what’s with you? She is from the med school, our people!"
I heard the Kuz's inebriated voice. "She is THE model!"
"What -- nude?" I wondered.
"And what did you think, she'd sit covered up in here?" They burst into laughter.
Suddenly I feel elated with the anticipation of the new and amazing subject for the work. I was fed up with the poor set up and the struggle to "find" the good lighting for the gypsum head. How wonderful it turned out that I could make some picturesque oil sketches.
When the model took off her bra, her young breasts, her nipples instantly distract my attention from work.
Shit, I couldn’t focus. Since we hadn’t a glimpse at such models it was too interesting. Could be that something about this evening or the environment was different. First time in a long while the music was playing, the glasses jingled and filled up with wine.
As she posed we were all doing the quick sketching. She removed everything except her panties.
The drunken assholes wouldn’t let me focus.
"Let me finally have a chance to work." I yelled getting distracted.
They seemed to try bargaining: "We brought you the model, hey girl turn around!" Kuz pulled up her skirt and slapped her buddy. "Look at these buns, you've got to do another
drawing for the semester show."
"Boys, you are so bad!" She giggled to Kuz. "I will spank you for being soooo bad!" And she was laughing in most contagious sexy trills of her childish capricious voice.
I didn’t understand what these die--hard drunks were doing at the art school, without any talent or interest in art. My former palls in another life that was long forgotten. Today the serious artists who always worked together with me had left the moment this bad company swam by.
Now I was looking at their watery eyes winking at the model. They caressed her things as she reclined on the wooden stage to rest. I wanted to figure out why did they distract me even more now?
I was the same age as the model. I didn’t see her body, to me now it was the model for painting.
It was getting late when the cold winds penetrate the place from the drafty wall size windows. I put on my sweater in the starting freezer. The one meter or the three feet and 33/8 inch walls are like the thermos to absorb and hold the cool temperature. I looked at the laughing bunch who labored on my sculpture.
One was drawing a huge flying dick with wings with a charcoal right on a white wall.
I had finished sketching the figure. I came up to the stage to set up the heater. I asked the model if she could sit some more taking breaks whenever she needs to move.
When she looked at me she was constantly smiling.
"Sure she’ll sit! And she'll lay, right, sweet buns?"
I held my breath working imagining how awesome would be to have such a model every day. With a shaky hand I was working fast as a machine expecting any minute now she would say that she is too cold to sit another minute and she leaves, its all over. I will have to kill her and sit her lifeless body on a chair to complete my work.
“Shit! Shit! Shit!"
The heater I placed caused the red reflexes on the body. I was painting and had to get the color right. So I removed the heater. The model immediately complained about the cold. Kuz brought her a glass of wine asking me why did I remove the heater.
From wine her face flushed red. I tried to adjust the color scale, laying brushstrokes over the whole figure.
Meanwhile the music turned up it was getting real loud.
The model took her break.
I walked after her studying her forms.
"Is something wrong?" She asked.
"Its all right, could you turn this way."
"Oh, I see. Same in our med school, the nut cases," She openly declared to the others when I was on a floor looking from a lower viewpoint.
"Who is this?" She asked: "What kind of a mental is he?"
"Its a disease, but it will pass" – was the answer for her. "Sometimes it is terminal. Not his tho, his will pass, he loves the young girls very much…"
Something from the stupid jokes had reached me.
"Hon, now he needs the medical attention. You are the medic? We are forever in debt to yous for allowing us come to the mortuary and for helping with the dead bodies... What we have here is a zombie. You are the goddess who saves the body as your calling."
What I heard was polluting my pure artistic brain with that life I refused. Now I was paying attention not to the mammary glands but to her breasts. Her back muscles are slightly weak. As I looked over the skeleton the muscles slowly disappeared. No matter how hard I tried to focus my x-rays were weakened. Maybe the electricity turned off inside my head.
"Pour me some," I asked.
Six months of my immaculate virginity and celibacy was broken by a wine glass. The red wine like the blood of innocents was running in my throat filling up the brain that shortly was boiling with vigor. So I said:
"Could you please remove your panties?"
"It wasn’t the deal," protested the model with her eyes glowing like honey.
Lorenzo interrupted her:
"For god’s sake, take of your panties, what is it to you, aren't you a medic?"
"I thought someone here was shy, as for me" She lustfully licked her lips. "Well, of course its nothing."
"Who is shy?" Asked someone.
"Him the weirdo!" She giggled in a very cute bubbly little voice.
"Are you shy?"
"It seems it was me who asked her to remove the panties." I explained.
She just jumped right out of her panties not without pleasure it seemed.
I imagined how to position her, what pose should she take.
"Hey!" I asked Kuz to pour me another glass. He was cheering me on yet reminding that I should first finish the drawing.
"Later," I mumbled turning to the model: "Would you please sit on a chair and spread your pretty legs a little, as much as you wish."
"Hey, Alex, so he is normal?" She asked.
I was far away from normality. A actual girl weaved from the reality. But the process was a transformation with splitting dimensions.
She was turning more real when I touched her to show how to position her legs.
I glimpsed at the red pubic hair seeing the pink flesh of her vaginal lips.
I couldn't focus on my work. Could the “female anatomy” destroy the temple of magic I was erecting for the eight months?
I returned to my easel and continued working. She was fidgeting changing poses uncomfortable this something hurting that... But it was only natural, she was sitting naked on a plain hard wooden chair. She was sliding from one side of the chair to another. I was buzzed from wine and couldn’t work, but I tried to complete my work just to annoy these assholes who screwed up my day. First work was washed off with turpentine and I wiped up the canvas dry with a rag.
I was sketching now not with a charcoal but brushing in umber. It resulted in an interesting tonality and I was captured again. The model squirming on her hard chair complained.
"Yo, why don’t you lay her down, what is she suffering for?" Asked Alex, "Lay her the fuck down, why not."
Right! I thought a little and told her to lay on the stage. Underneath her I spread some drapery.
After few wine glasses I took off my sweater, my cheeks were on fire. Hers too. I unbuttoned my shirt, my blood was boiling, the body was washed with the warmth.
The heater was moved away.
"So true that wine warms you up," she said to Alex.
"Jay, so tell me how to lay her down there. Sit, sit, you poor thingy, I'll assist you" And he jumped on the stage. "Do you want her legs spread this way?" he asked opening
up her legs so that her whole anatomy was showing.
"Is this ok for you?" He winked at me: "Is it good?"
"Oh no, can’t show it like this at the mid-semester show." Thinking some I added: " Let it be, lift her leg a little higher, like this. Turn her head down."
"Like this?" He kissed her on the lips.
"Alex, the fuck you're doing, I don’t have any time."
"Work, keep drawing, go on!" he said. "We won’t disturb you."
I was outraged after I just washed everything off my canvas ready to work, but this wasn't going anywhere. I kept asking Alex what did he mean by not disturbing me when he messed everything up. I heard the girls laughing trills. "For real, he is ill!"
"The sick can be cured." Insisted Alex. "Will hill him." He slurred.
Of course, I own them my very life. If it weren't for them –- that’s it, finito.
Kissing her on the lips and winking at me Alex continued bugging me: “Is this right?”
For like ten minutes I was staring in the infinity in the emptiness… Then I yelled: "Why are you sucking her? Get away from her, let her lay there quietly."
Only to hear some nonsensical mumbling.
"But I want you to work on the position, is this position right?"
"Right, just fuck off of her."
Meanwhile Kuz, I noticed, was taking off his pants. He said: “Let him go fuck himself. Motherfucker is gonna fuck us up today, if he doesn’t want it, so fuck it.”
Now I thought I knew what they wanted from me.
I saw Alex’s naked butt as he laid on the stage, banging the girl and his ass wiggled.
I started sketching their nude asses.
My consciousness was still in the process of transforming.
I thought of how interesting were their poses.
Lorenzo came up to me and took the brushes from my hands placing all in my field easel he closed up.
"Listen, J-man, you’re being a fucking buzzkill. Go draw some vases, fuck off to another studio. You don’t want it. For free?"
I didn't understand him what did he mean. He explained:
"What do you see Alex is doing right now?"
"He is fucking his girlfriend." I said.
Lorenzo continued:
"Whose girlfriend? What we have here is a
scientist, from the med school who is helping us in our artistic quests, to understand the core of anatomy not only from the outside but from the inside. I recommend you, in order to comprehend, as you must know, you can only know the truth from the inside, experiencing the inside, to understand the outside. That’s why I seize the brushes. Here is another glass of wine. Drink!"
I looked at him as a doctor listening to his drunken bullshit.
"The most important thing for you is to understand from the inside. See, you can’t understand it from the outside, it’s not how things are done."
"Yes knowing the internal anatomy helps, take a muscle, body doesn’t exist without muscles." I agreed.
"Hell yeah, yeah… ha ha…that’s what I am going about. Look how Alex is working how he is learning."
I looked at the bare ass's motions back and forth, at the girl who was lifting her legs and actively moving her hips. Alex jumped off, wiped up his cock with the drapery, he also wiped out the girl. “Who is next?”
Kuz was kissing her from one side, when Lorenzo said:
"He worked very hard today, he must learn from the inside. You see, because he just can’t break through the inside."
When Kuz was mounting her, Lorenzo spanked him loudly:
"You can wait, the man needs the muse, get it? Understanding the Muse comes only from the inside.." They all bust into laughter.
Lorenzo nearly helped my cock inside the girl cheering on: "Just do it, little one, everything is gonna be great. Honey, turn him back into a soldier that we've lost."
"The man is gone, the man known yesterday is not the man you meet, forever, around the corner, in London or in the street..." chanted Nick appearing from nowhere. He continued slurring his poems.
Hearing the noise I didn’t know what’s going on as I kissed her breasts.
"Feel the forms." I heard the racket near by as I was buzzing off the wine and licking the girl's body. On the other side Lorenzo had joined in groping her breasts. To be more at ease I moved her body closer to the stage’s edge. I was on top.
I didn't hear any sounds of music, the entry door was covered with the draperies as the orgy just steamed up for the whole night.
I woke up on the stage from loud knocking.
The art students asked me what happened to the busted still life set.
I exhaled my dragon breath to hear no more questions. Took my coat and left the building. Walking the street I met Alex.
"Your face is not yet blushed, your eyes are a bit foggy, can’t say anything after the sleepless night. Like Cures Like."
He grinned getting money out of his pocket. "Let us get some treatment."
We walked to the known spot for aching heads gathering.
Must confess this is the second version of this image. It was suggested rightly by Jonnobird the original would benefit from tweaking the Contrast/ Brightness which I did but could not work out how to get it back in my Stream complete with with all the wonderful comments it received. Just hope nobody thinks its a deliberate double post. Thanks for understanding in advance Ken.
If you check my stream you will see them side by side.. .Now I have accidently deleted the other version, So I must apologize to the group members who commented on also to people who are inviting this image to their Groups, you are not being ignored ,it is just that I am certain the deleted version was in those groups and don't want to seem as if I am double posting,, Also to admin of other groups in case I have caused them any problems ,,. this letter was updated 0n the 2 4 2009, Ken.
Lacul Morii-Bucharest city
*Not the brand or technique is important in photographic art, but the understanding of the things behind the photographed subjects, the emotion, the composition, the joy or the sadness, the life itself that is mysteriously coming unrepeatable as a gift.
(Horia Stanicel)
* I have seen a large part of the most popular or devoted photographers' photographs over time and of course I can say that most of them have speculated on different situations, angles of photography, shadows, different brightness, feelings, human tragedies, all kinds of paradoxical situations that of course make them noticed. I do not want to bring any name into question for the simple reason that each photographic artist has a unique value. However, I regard the photographic art as a simple spectator that is difficult to be convince most of the times. I contemplate the creation of God and every time I photograph I do not forget how grateful we should be for all the beauty that our Creator gave it to us! People who forget this do nothing but hate themselves and the world they live in and photography is nothing but a mirror of this beautiful or crooked world.(Horia Stanicel)
*Nu aparatul foto sau tehnica este importantă în arta fotografică, ci înțelegerea lucrurilor care stau în spatele subiectelor fotografiate,emoția, compoziția, bucuria sau tristețea, viața însăși care vine tainic irepetabil ca un dar.
(Horia Stanicel)
*Am văzut o mare parte a fotografiilor celor mai populari sau consacrați artiști fotografi de-a lungul timpului și desigur pot spune că majoritatea dintre ei au speculat diversele situații,unghiuri de fotografiere, umbre, luminozitati diferite,sentimente,tragedii umane chiar,tot felul de situații paradoxale care desigur să-i facă remarcați.Nu vreau să aduc vreun nume în discuție pentru simplul motiv că fiecare artist fotograf are o valoare unică. Totuși eu privesc arta fotografică ca un simplu spectator greu de convins de cele mai multe ori.Eu contemplu creația lui Dumnezeu și de fiecare dată când fotografiez nu uit cât de recunoscători ar trebui să fim pentru toată frumusețea pe care Creatorul nostru ne-a daruit-o! Oamenii care uită aceasta nu fac decât să se urâțească pe ei înșiși dar și lumea în care trăiesc iar fotografia nu este decât o oglindă a acestei lumi frumoase sau urâțite.
(Horia Stanicel)
++++++ FROM WIKIPEDIA ++++++
Kathmandu (/ˌkætmænˈduː/;[2] Nepali: काठमाडौँ, Nepali pronunciation: [ˈkaʈʰmaɳɖu]) is the capital and largest city of Nepal, with a population of around 1 million. Also known as the city of temples, the city stands at an elevation of approximately 1,400 metres (4,600 feet) above sea level in the bowl-shaped Kathmandu valley in central Nepal. The valley was historically called the "Nepal Mandala" and has been the home of the Newar people, a cosmopolitan urban civilization in the Himalayan foothills. The city was the royal capital of the Kingdom of Nepal and hosts palaces, mansions and gardens of the Nepalese aristocracy. It has been home to the headquarters of the South Asian Association for Regional Cooperation (SAARC) since 1985. Today, it is the seat of government of the Nepalese republic, established in 2008, and is part of the Bagmati Province.
Kathmandu is and has been for many years the centre of Nepal's history, art, culture, and economy. It has a multi-ethnic population within a Hindu and Buddhist majority. Religious and cultural festivities form a major part of the lives of people residing in Kathmandu. Tourism is an important part of the economy in the city. In 2013, Kathmandu was ranked third among the top ten upcoming travel destinations in the world by TripAdvisor, and ranked first in Asia. The city is considered the gateway to the Nepalese Himalayas and is home to several world heritage sites: the Durbar Square, Swayambhunath, Boudhanath and Pashupatinath. Kathmandu valley is growing at 4 percentange per year according to the World Bank in 2010, making it one of the fastest-growing metropolitan areas in South Asia, and the first region in Nepal to face the unprecedented challenges of rapid urbanization and modernization at a metropolitan scale.
Historic areas of Kathmandu were severely damaged by a 7.8 magnitude earthquake in April 2015. Some of the buildings have been restored while some remain in the process of reconstruction.
Etymology
The indigenous Newari term for Kathmandu valley is Yen. The Nepali name Kathmandu comes from Kasthamandap, which stood in the Durbar Square. In Sanskrit, Kāṣṭha (Sanskrit: काष्ठ) means "Wood" and Maṇḍapa (Sanskrit: मण्डप) means "Pavilion". This public pavilion, also known as Maru Satta in Newari, was rebuilt in 1596 by Biseth in the period of King Laxmi Narsingh Malla. The three-storey structure was made entirely of wood and used no iron nails nor supports. According to legends, all the timber used to build the pagoda was obtained from a single tree.[4] The structure collapsed during a major earthquake in April 2015.
The colophons of ancient manuscripts, dated as late as the 20th century, refer to Kathmandu as Kāṣṭhamaṇḍap Mahānagar in Nepal Mandala. Mahānagar means "great city". The city is called Kāṣṭhamaṇḍap in a vow that Buddhist priests still recite to this day. Thus, Kathmandu is also known as Kāṣṭhamaṇḍap. During medieval times, the city was sometimes called Kāntipur (Sanskrit: कान्तिपुर). This name is derived from two Sanskrit words – Kānti and Pur. Kānti is a word that stands for "beauty" and is mostly associated with light and Pur means place, thus giving it the meaning, "City of light".
Among the indigenous Newar people, Kathmandu is known as Yeṃ Deśa (Nepal Bhasa: येँ देश), and Patan and Bhaktapur are known as Yala Deśa (Nepal Bhasa: यल देश) and Khwopa Deśa (Nepal Bhasa: ख्वप देश) respectively.[5] "Yen" is the shorter form of Yambu (Nepal Bhasa: यम्बु), which originally referred to the northern half of Kathmandu. The older northern settlements were referred to as Yambi while the southern settlement was known as Yangala.[6][7]
The spelling "Katmandu" was often used in older English-language text. More recently, however, the spelling "Kathmandu" has become more common in English.
History
Archaeological excavations in parts of Kathmandu have found evidence of ancient civilizations. The oldest of these findings is a statue, found in Maligaon, that was dated at 185 AD.[9] The excavation of Dhando Chaitya uncovered a brick with an inscription in Brahmi script. Archaeologists believe it is two thousand years old.[9] Stone inscriptions are a ubiquitous element at heritage sites and are key sources for the history of Nepal.
The earliest Western reference to Kathmandu appears in an account of Jesuit Fathers the Portuguese Jesuit, Fr. Joao Cabral who passed through the Kathmandu Valley in the spring of 1628 [10]and was received graciously by the king of that time, probably King Lakshminarasimha Malla of Kathmandu on their way from Tibet to India,[11] and reported that they reached "Cadmendu", the capital of Nepal kingdom.[12]
Ancient history
The ancient history of Kathmandu is described in its traditional myths and legends. According to Swayambhu Purana, present-day Kathmandu was once a huge and deep lake named "Nagdaha", as it was full of snakes. The lake was cut drained by Bodhisatwa Manjushree with his sword, and the water was evacuated out from there. He then established a city called Manjupattan, and made Dharmakar the ruler of the valley land. After some time, a demon named Banasur closed the outlet, and the valley again turned into a lake. Then Lord Krishna came to Nepal, killed Banasur, and again drained out the water. He brought some Gopals along with him and made Bhuktaman the king of Nepal.[13][14][15]
Kotirudra Samhita of Shiva Purana, Chapter 11, Shloka 18 refers to the place as Nayapala city, which was famous for its Pashupati Shivalinga. The name Nepal probably originates from this city Nayapala.
Very few historical records exists of the period before medieval Licchavi rulers. According to Gopalraj Vansawali, a genealogy of Nepali monarchy, the rulers of Kathmandu Valley before the Licchavis were Gopalas, Mahispalas, Aabhirs, Kiratas, and Somavanshi.[15][16] The Kirata dynasty was established by Yalamber. During the Kirata era, a settlement called Yambu existed in the northern half of old Kathmandu. In some of the Sino-Tibetan languages, Kathmandu is still called Yambu. Another smaller settlement called Yengal was present in the southern half of old Kathmandu, near Manjupattan. During the reign of the seventh Kirata ruler, Jitedasti, Buddhist monks entered Kathmandu valley and established a forest monastery at Sankhu.
Map of Kathmandu, 1802
Licchavi era
The Licchavis from the Indo-Gangetic plain migrated north and defeated the Kiratas, establishing the Licchavi dynasty, circa 400 AD. During this era, following the genocide of Shakyas in Lumbini by Virudhaka, the survivors migrated north and entered the forest monastery lora masquerading as Koliyas. From Sankhu, they migrated to Yambu and Yengal (Lanjagwal and Manjupattan) and established the first permanent Buddhist monasteries of Kathmandu. This created the basis of Newar Buddhism, which is the only surviving Sanskrit-based Buddhist tradition in the world.[17] With their migration, Yambu was called Koligram and Yengal was called Dakshin Koligram[18] during most of the Licchavi era.[19]
Eventually, the Licchavi ruler Gunakamadeva merged Koligram and Dakshin Koligram, founding the city of Kathmandu.[19] The city was designed in the shape of Chandrahrasa, the sword of Manjushri. The city was surrounded by eight barracks guarded by Ajimas. One of these barracks is still in use at Bhadrakali (in front of Singha Durbar). The city served as an important transit point in the trade between India and Tibet, leading to tremendous growth in architecture. Descriptions of buildings such as Managriha, Kailaskut Bhawan, and Bhadradiwas Bhawan have been found in the surviving journals of travellers and monks who lived during this era. For example, the famous 7th-century Chinese traveller Xuanzang described Kailaskut Bhawan, the palace of the Licchavi king Amshuverma.[20] The trade route also led to cultural exchange as well. The artistry of the Newar people—the indigenous inhabitants of the Kathmandu Valley—became highly sought after during this era, both within the Valley and throughout the greater Himalayas. Newar artists travelled extensively throughout Asia, creating religious art for their neighbours. For example, Araniko led a group of his compatriot artists through Tibet and China. Bhrikuti, the princess of Nepal who married Tibetan monarch Songtsän Gampo, was instrumental in introducing Buddhism to Tibet.
Skyline of Kathmandu, circa 1793
Malla era
The Licchavi era was followed by the Malla era. Rulers from Tirhut, upon being attacked by Muslims, fled north to the Kathmandu valley. They intermarried with Nepali royalty, and this led to the Malla era. The early years of the Malla era were turbulent, with raids and attacks from Khas and Turk Muslims. There was also a devastating earthquake which claimed the lives of a third of Kathmandu's population, including the king Abhaya Malla. These disasters led to the destruction of most of the architecture of the Licchavi era (such as Mangriha and Kailashkut Bhawan), and the loss of literature collected in various monasteries within the city. Despite the initial hardships, Kathmandu rose to prominence again and, during most of the Malla era, dominated the trade between India and Tibet. Nepali currency became the standard currency in trans-Himalayan trade.
During the later part of the Malla era, Kathmandu Valley comprised four fortified cities: Kantipur, Lalitpur, Bhaktapur, and Kirtipur. These served as the capitals of the Malla confederation of Nepal. These states competed with each other in the arts, architecture, esthetics, and trade, resulting in tremendous development. The kings of this period directly influenced or involved themselves in the construction of public buildings, squares, and temples, as well as the development of waterspouts, the institutionalisation of trusts (called guthis), the codification of laws, the writing of dramas, and the performance of plays in city squares. Evidence of an influx of ideas from India, Tibet, China, Persia, and Europe among other places can be found in a stone inscription from the time of king Pratap Malla. Books have been found from this era that describe their tantric tradition (e.g. Tantrakhyan), medicine (e.g. Haramekhala), religion (e.g. Mooldevshashidev), law, morals, and history. Amarkosh, a Sanskrit-Nepal Bhasa dictionary from 1381 AD, was also found. Architecturally notable buildings from this era include Kathmandu Durbar Square, Patan Durbar Square, Bhaktapur Durbar Square, the former durbar of Kirtipur, Nyatapola, Kumbheshwar, the Krishna temple, and others.
Medieval era
The Gorkha Kingdom ended the Malla confederation after the Battle of Kathmandu in 1768. This marked the beginning of the modern era in Kathmandu. The Battle of Kirtipur was the start of the Gorkha conquest of the Kathmandu Valley. Kathmandu was adopted as the capital of the Gorkha empire, and the empire itself was dubbed Nepal. During the early part of this era, Kathmandu maintained its distinctive culture. Buildings with characteristic Nepali architecture, such as the nine-story tower of Basantapur, were built during this era. However, trade declined because of continual war with neighbouring nations. Bhimsen Thapa supported France against Great Britain; this led to the development of modern military structures, such as modern barracks in Kathmandu. The nine-storey tower Dharahara was originally built during this era.
Rana rule
Rana rule over Nepal started with the Kot Massacre of 1846, which occurred near Hanuman Dhoka Durbar. During this massacre, most of Nepal's high-ranking officials were massacred by Jung Bahadur Rana and his supporters. Another massacre, the Bhandarkhal Massacre, was also conducted by Kunwar and his supporters in Kathmandu. During the Rana regime, Kathmandu's alliance shifted from anti-British to pro-British; this led to the construction of the first buildings in the style of Western European architecture. The most well-known of these buildings include Singha Durbar, Garden of Dreams, Shital Niwas, and the old Narayanhiti palace. The first modern commercial road in the Kathmandu Valley, the New Road, was also built during this era. Trichandra College (the first college of Nepal), Durbar High School (the first modern school of Nepal), and Bir Hospital (the first hospital of Nepal) were built in Kathmandu during this era. Education was only accessible to the privileged class. Rana rule was marked by despotism, economic exploitation and religious persecution.
Geography
Kathmandu is in the northwestern part of the Kathmandu Valley to the north of the Bagmati river and covers an area of 50.7 km2 (19.6 sq mi). The average elevation is 1,400 metres (4,600 ft) above sea level.[23] The city is bounded by several other municipalities of the Kathmandu valley: south of the Bagmati by Lalitpur Metropolitan City (Patan), with which it forms one urban area surrounded by a ring road, to the southwest by Kirtipur and to the east by Madyapur Thimi. To the north the urban area extends into several municipalities; Nagarjun, Tarakeshwor, Tokha, Budhanilkantha, Gokarneshwor and Kageshwori Manohara. However, the urban agglomeration extends well beyond the neighbouring municipalities, e.g. to Bhaktapur, and nearly covers the entire Kathmandu valley.
Kathmandu is dissected by eight rivers, the main river of the valley, the Bagmati and its tributaries, of which the Bishnumati, Dhobi Khola, Manohara Khola, Hanumante Khola, and Tukucha Khola are predominant. The mountains from where these rivers originate are in the elevation range of 1,500–3,000 metres (4,900–9,800 ft), and have passes which provide access to and from Kathmandu and its valley.[24][25][26] An ancient canal once flowed from Nagarjuna hill through Balaju to Kathmandu; this canal is now extinct.
The city of Kathmandu and the surrounding valley are in the Deciduous Monsoon Forest Zone (altitude range of 1,200–2,100 metres (3,900–6,900 ft)), one of five vegetation zones defined for Nepal. The dominant tree species in this zone are oak, elm, beech, maple and others, with coniferous trees at higher altitude.[27]
Urban expansion in Kathmandu, 2015.
The green, vegetated slopes that surround the Kathmandu metro area (light grey, image centre) include both forest reserves and national parks
Araniko Highway connects Kathmandu to Bhaktapur and onwards to the Chinese border.
Northeastern Kathmandu with Gaurishankar in background.
Kathmandu administration
Kathmandu and adjacent cities are composed of neighbourhoods, which are utilized quite extensively and more familiar among locals. However, administratively the city is divided into 32 wards, numbered from 1 to 32. Earlier, there were 35 wards which made it the metropolitan city with the largest number of the wards.[28]
Kathmandu agglomeration
There is no officially defined agglomeration of Kathmandu. The urban area of the Kathmandu valley is split among three different districts (second level of administrative divisions within a province), which extend very little beyond the valley fringe, except towards the southern ranges, which have a comparatively small population.[29] They have the three highest population densities in the country. These 3 districts are administered by 21 local level bodies; 2 metropolitan cities (Kathmandu and Lalitpur), 16 municipalities and 3 rural municipalities. Imperial conversion
Five major climatic regions are found in Nepal. Of these, Kathmandu Valley is in the Warm Temperate Zone (elevation ranging from 1,200 to 2,300 metres (3,900 to 7,500 ft)), where the climate is fairly temperate, atypical for the region. This zone is followed by the Cool Temperate Zone with elevation varying between 2,100 and 3,300 metres (6,900 and 10,800 ft). Under Köppen's climate classification, portions of the city with lower elevations have a humid subtropical climate (Cwa), while portions of the city with higher elevations generally have a subtropical highland climate (Cwb). In the Kathmandu Valley, which is representative of its valley's climate, the average summer temperature varies from 28 to 30 °C (82 to 86 °F). The average winter temperature is 10.1 °C (50.2 °F).
The city generally has a climate with warm days followed by cool nights and mornings. Unpredictable weather is expected, given that temperatures can drop to 1 °C (34 °F) or less during the winter. During a 2013 cold front, the winter temperatures of Kathmandu dropped to −4 °C (25 °F), and the lowest temperature was recorded on 10 January 2013, at −9.2 °C (15.4 °F). Rainfall is mostly monsoon-based (about 65% of the total concentrated during the monsoon months of June to September), and decreases substantially (100 to 200 cm (39 to 79 in)) from eastern Nepal to western Nepal. Rainfall has been recorded at about 1,400 millimetres (55.1 in) for the Kathmandu valley, and averages 1,407 millimetres (55.4 in) for the city of Kathmandu. On average humidity is 75%.[24][30][31] The chart below is based on data from the Nepal Bureau of Standards & Meteorology, Weather Meteorology for 2005. The chart provides minimum and maximum temperatures during each month. The annual amount of precipitation was 1,124 millimetres (44.3 in) for 2005, as per monthly data included in the table above.[31] The decade of 2000–2010 saw highly variable and unprecedented precipitation anomalies in Kathmandu. This was mostly due to the annual variation of the southwest monsoon.[citation needed] For example, 2001 recorded only 356 mm (14 in) of precipitation due to an extraordinarily weak monsoon season. In contrast, 2003 was the wettest year ever in Kathmandu, totaling over 2,900 mm (114 in) of precipitation due to an exceptionally strong monsoon season.
Air quality
Air pollution is a major issue in the Kathmandu Valley.[36][37][38] According to the 2016 World Health Organization's Ambient Air Pollution Database,[39] the annual average PM2.5 (particulate matter) concentration in 2013 was 49 μg/m3, which is 4.9 times higher than recommended by the World Health Organization.[40][41] Starting in early 2017, the Government of Nepal and the Embassy of the United States in Kathmandu have monitored and publicly share real-time air quality data. In Nepal and Kathmandu, the annual premature deaths due to air pollution reached 37,399 and 9,943 respectively, according to a Republica news report published on 23 November, 2019. This indicates, around a quarter of the total deaths due to air pollution in Nepal are in Kathmandu.
Government and public services
Kathmandu Municipal Corporation (KMC) is the chief nodal agency for the administration of Kathmandu. The Municipality of Kathmandu was upgraded to a metropolitan city in 1995.
Metropolitan Kathmandu is divided into five sectors: the Central Sector, the East Sector, the North Sector, the City Core and the West Sector. For civic administration, the city is further divided into 35 administrative wards. The Council administers the Metropolitan area of Kathmandu city through its 177 elected representatives and 20 nominated members. It holds biannual meetings to review, process and approve the annual budget and make major policy decisions.[24][44] The ward's profile documents for the 35 wards prepared by the Kathmandu Metropolitan Council is detailed and provides information for each ward on population, the structure and condition of houses, the type of roads, educational, health and financial institutions, entertainment facilities, parking space, security provisions, etc. It also includes lists of development projects completed, on-going and planned, along with informative data about the cultural heritage, festivals, historical sites and the local inhabitants. Ward 16 is the largest, with an area of 437.4 ha; ward 26 is the smallest, with an area of 4 ha.[45]
Kathmandu is the headquarters of the surrounding Kathmandu district. The city of Kathmandu forms this district along with 10 other municipalities, namely Budanilkantha, Chandragiri, Dakshinkali, Gokarneshwar, Kageshwari Manohara, Kirtipur, Nagarjun, Shankharapur, Tarakeshwar and Tokha.
Law and order
The Metropolitan Police is the main law enforcement agency in the city. It is headed by a commissioner of police. The Metropolitan Police is a division of the Nepal Police, and the administrative control lies with the Ministry of Home Affairs.
Consulate of the Netherlands. Kathmandu hosts 28 diplomatic missions
Fire service
The fire service, known as the Barun Yantra Karyalaya (Nepali: वारुण यन्त्र कार्यालय), opened its first station in Kathmandu in 1937 with a single-vehicle.[46] An iron tower was erected to monitor the city and watch for a fire. As a precautionary measure, firemen were sent to the areas which were designated as accident-prone areas.[46] In 1944, the fire service was extended to the neighbouring cities of Lalitpur and Bhaktapur. In 1966, a fire service was established in Kathmandu central airport.[46] In 1975, a West German government donation added seven fire engines to Kathmandu's fire service.[46] The fire service in the city is also overlooked by an international non-governmental organization, the Firefighters Volunteer Association of Nepal (FAN), which was established in 2000 with the purpose of raising public awareness about fire and improving safety.[46]
Electricity and water supply
Public baths, Kathmandu. 1979
Electricity in Kathmandu is regulated and distributed by the Nepal Electricity Authority (NEA). Water supply and sanitation facilities are provided by the Kathmandu Upatyaka Khanepani Limited (KUKL). There is a severe shortage of water for household purposes such as drinking, bathing, cooking and washing and irrigation. People have been using bottled mineral water, water from tank trucks and from the ancient dhunge dharas (Nepali: ढुङ्गे धारा) for all the purposes related to water. The city water shortage should be solved by the completion of the much plagued Melamchi Water Supply Project by the end of 2019.[47][48]
Waste management
Waste management may be through composting in municipal waste management units, and at houses with home composting units. Both systems are common and established in India and neighbouring countries.[49]
Demographics
Kathmandu's urban cosmopolitan character has made it the most populous city in Nepal, recording a population of 671,846 residents living in 235,387 households in the metropolitan area, according to the 2001 census.[50] According to the National Population Census of 2011, the total population of Kathmandu city was 975,543 with an annual growth rate of 6.12% with respect to the population figure of 2001. 70% of the total population residing in Kathmandu are aged between 15 and 59.
Over the years the city has been home to people of various ethnicities, resulting in a range of different traditions and cultural practices. In one decade, the population increased from 427,045 in 1991 to 671,805 in 2001. The population was projected to reach 915,071 in 2011 and 1,319,597 by 2021. To keep up this population growth, the KMC-controlled area of 5,076.6 hectares (12,545 acres) has expanded to 8,214 hectares (20,300 acres) in 2001. With this new area, the population density which was 85 in 1991 remained 85 in 2001; it is likely to jump to 111 in 2011 and 161 in 2021.[51]
Currently based on various data Kathmandu population is 1,442,300 with population density of 29,166.835 per sq.km making it as 6th densely populated city in the world.
Ethnic groups
The largest ethnic groups residing in Kathmandu Metropolitan City consists of primarily various caste groups of the Newar community at 25%, Hill Janajati/Adivisis like Tamang, Kirat, Gurung, Magar, Sherpa, etc. making~20%, Khas Brahmin at 24%, Khas Chhetri at 20%, and 7% Terai groups including Madhesi castes and Terai Janajatis/Adivasis like Tharus.[52] More recently, other hill ethnic groups and caste groups from Terai have come to represent a substantial proportion of the city's population. The major languages are Nepali and Nepal Bhasa, while English is understood by many, particularly in the service industry. According to data from 2011, the major religions in Kathmandu city are Hinduism 81.3%, Buddhism 9%, Islam 4.4% and other 5.2%.[53]
The linguistic profile of Kathmandu underwent drastic changes during the Shah dynasty's rule because of its strong bias towards the Hindu culture. Sanskrit language therefore was preferred and people were encouraged to learn it even by attending Sanskrit learning centres in Terai. Sanskrit schools were specially set up in Kathmandu and in the Terai region to inculcate traditional Hindu culture and practices originated from Nepal.[54]
Architecture and cityscape
The ancient trade route between India and Tibet that passed through Kathmandu enabled a fusion of artistic and architectural traditions from other cultures to be amalgamated with local art and architecture.[56] The monuments of Kathmandu City have been influenced over the centuries by Hindu and Buddhist religious practices. The architectural treasure of the Kathmandu valley has been categorized under the well-known seven groups of heritage monuments and buildings. In 2006 UNESCO declared these seven groups of monuments as a World Heritage Site (WHS). The seven monuments zones cover an area of 189 hectares (470 acres), with the buffer zone extending to 2,394 hectares (5,920 acres). The Seven Monument Zones inscribed originally in 1979 and with a minor modification in 2006 are the Durbar squares of Hanuman Dhoka, Patan and Bhaktapur, the Hindu temples of Pashupatinath and Changunarayan, the Buddhist stupas of Swayambhunath and Boudhanath.[57][58]
Durbar Squares
Main articles: Kathmandu Durbar Square and Hanuman Dhoka
The literal meaning of Durbar Square is a "place of palaces." There are three preserved Durbar Squares in Kathmandu valley and one unpreserved in Kirtipur. The Durbar Square of Kathmandu is in the old city and has heritage buildings representing four kingdoms (Kantipur, Lalitpur, Bhaktapur, Kirtipur); the earliest being the Licchavi dynasty. The complex has 50 temples and is distributed in two quadrangles of the Durbar Square. The outer quadrangle has the Kasthamandap, Kumari Ghar, and Shiva-Parvati Temple; the inner quadrangle has the Hanuman Dhoka palace. The squares were severely damaged in the April 2015 earthquake.
Hanuman Dhoka is a complex of structures with the royal palace of the Malla kings and of the Shah dynasty. It is spread over five acres. The eastern wing, with ten courtyards, is the oldest part, dating to the mid-16th century. It was expanded by King Pratap Malla in the 17th century with many temples. The royal family lived in this palace until 1886 when they moved to Narayanhiti Palace. The stone inscription outside is in fifteen languages.
Kumari Ghar is a palace in the centre of the Kathmandu city, next to the Durbar square where a royal Kumari selected from several Kumaris resides. Kumari, or Kumari Devi, is the tradition of worshipping young pre-pubescent girls as manifestations of the divine female energy or devi in South Asian countries. In Nepal the selection process is very rigorous. Previously, during the time of the monarchy, the queen and the priests used to appoint the proposed Kumari with delicate process of astrological examination and physical examination of 32 'gunas'. The china (Nepali: चिना), an ancient Hindu astrological report, of the Kumari and the reigning king, was ought to be similar. The Kumari is believed to be a bodily incarnation of the goddess Taleju (the Nepali name for Durga) until she menstruates, after which it is believed that the goddess vacates her body. Serious illness or a major loss of blood from an injury also causes her to revert to common status. The current Kumari, Trishna Shakya, age three at the time of appointment, was installed in September 2017 succeeding Matina Shakya who was the first Kumari of Kathmandu after the end of the monarchy.[59]
Kasthamandap is a three-storeyed temple enshrining an image of Gorakhnath. It was built in the 16th century in pagoda style. The name of Kathmandu is a derivative of the word Kasthamandap. It was built under the reign of King Laxmi Narsingha Malla. Kasthamandap stands at the intersection of two ancient trade routes linking India and Tibet at Maru square. It was originally built as a rest house for travellers.
Pashupatinath temple
Main article: Pashupatinath Temple
Panorama of the Pashupatinath Temple from the other bank of Bagmati river
Pashupatinath as seen from the banks of the Bagmati river
The Pashupatinath Temple (Nepali: पशुपतिनाथ मन्दिर) is a famous 5th century Hindu temple dedicated to Lord Shiva. Located on the banks of the Bagmati river, the Pashupatinath Temple is the oldest Hindu temple in Kathmandu.[60] It served as the seat of national deity, Lord Pashupatinath, until Nepal was secularized. However, a significant part of the temple was destroyed by Mughal invaders in the 14th century and little or nothing remains of the original 5th-century temple exterior. The temple as it stands today was built in the 19th century, although the image of the bull and the black four-headed image of Pashupati are at least 300 years old.[61] The temple is a UNESCO World Heritage Site.[61][62] Shivaratri, or the night of Lord Shiva, is the most important festival that takes place here, attracting thousands of devotees and sadhus.[citation needed]
Believers in Pashupatinath (mainly Hindus) are allowed to enter the temple premises, but non-Hindu visitors are allowed to view the temple only from the across the Bagmati River.[61] The priests who perform the services at this temple have been Brahmins from Karnataka in southern India since the time of Malla king Yaksha Malla.[63] This tradition is believed to have been started at the request of Adi Shankaracharya who sought to unify the states of Bharatam, a region in south Asia believed to be ruled by a mythological king Bharat, by encouraging cultural exchange. This procedure is followed in other temples around India, which were sanctified by Adi Shankaracharya.
The temple is built in the pagoda style of architecture, with cubic constructions and carved wooden rafters (tundal) on which they rest, and two-level roofs made of copper and gold.
Boudhanath
Boudhanath (Nepali: बौद्ध स्तुप; also written as Bouddhanath, Bodhnath, Baudhanath or the Khāsa Chaitya), is one of the holiest Buddhist sites in Nepal, along with the Swayambhunath. It is a very popular tourist site. Boudhanath is known as Khāsti by Newars and as Bauddha or Bodhnāth by speakers of Nepali.[64] About 11 km (7 mi) from the centre and northeastern outskirts of Kathmandu, the stupa's massive mandala makes it one of the largest spherical stupas in Nepal.[65] Boudhanath became a UNESCO World Heritage Site in 1979.
The base of the stupa has 108 small depictions of the Dhyani Buddha Amitabha. It is surrounded with a brick wall with 147 niches, each with four or five prayer wheels engraved with the mantra, om mani padme hum.[66] At the northern entrance where visitors must pass is a shrine dedicated to Ajima, the goddess of smallpox.[66] Every year the stupa attracts many Tibetan Buddhist pilgrims who perform full body prostrations in the inner lower enclosure, walk around the stupa with prayer wheels, chant, and pray.[66] Thousands of prayer flags are hoisted up from the top of the stupa downwards and dot the perimeter of the complex. The influx of many Tibetan refugees from China has seen the construction of over 50 Tibetan gompas (monasteries) around Boudhanath.
Swayambhu
Main article: Swayambhunath
Swayambhunath (Nepali: स्वयम्भू स्तूप) is a Buddhist stupa atop a hillock at the northwestern part of the city. This is among the oldest religious sites in Nepal. Although the site is considered Buddhist, it is revered by both Buddhists and Hindus. The stupa consists of a dome at the base; above the dome, there is a cubic structure with the eyes of Buddha looking in all four directions.[clarification needed] There are pentagonal toran above each of the four sides, with statues engraved on them. Behind and above the torana there are thirteen tiers. Above all the tiers, there is a small space above which lies a gajur.
Rani Pokhari
Main article: Ranipokhari
Ranipokhari (Nepali: रानी पोखरी, lit. 'Queen's Pond') is a historic artificial pond nestled in the heart of Kathmandu. It was built by king Pratap Malla in 1670 AD for his beloved queen after she lost her son and could not recover from her loss.[67] A large stone statue of an elephant in the south signifies the image of Pratap Malla and his two sons. Balgopaleshwor Temple stands still inside the temple above the pond. Rani Pokhari is opened once a year during the final day of Tihar i.e. Bhai Tika and Chhath festival. The world's largest Chhath takes place every year in Ranipokhari. The pond is one of Kathmandu's most famous landmarks and is known for its religious and aesthetic significance.
Culture
Main article: Culture of Kathmandu
Arts
Stone carvings, called Chaityas, seen in street corners and courtyards
Kathmandu valley is described as "an enormous treasure house of art and sculptures", which are made of wood, stone, metal, and terracotta, and found in profusion in temples, shrines, stupas, gompas, chaityasm and palaces. The art objects are also seen in street corners, lanes, private courtyards and in open ground. Most art is in the form of icons of gods and goddesses. Kathmandu valley has had this art treasure for a very long time, but received worldwide recognition only after the country opened to the outside world in 1950.[54]
The religious art of Nepal and Kathmandu in particular consists of an iconic symbolism of the Mother Goddesses such as: Bhavani, Durga, Gaja-Lakshmi, Hariti-Sitala, Mahsishamardini, Saptamatrika (seven mother goddesses), and Sri-Lakshmi (wealth-goddess). From the 3rd century BCE, apart from the Hindu gods and goddesses, Buddhist monuments from the Ashokan period (it is said that Ashoka visited Nepal in 250 BC) have embellished Nepal in general and the valley in particular. These art and architectural edifices encompass three major periods of evolution: the Licchavi or classical period (500 to 900 AD), the post-classical period (1000 to 1400 AD), with strong influence of the Palla art form; the Malla period (1400 onwards) that exhibited explicitly tantric influences coupled with the art of Tibetan Demonology.[68]
A broad typology has been ascribed to the decorative designs and carvings created by the people of Nepal. These artists have maintained a blend of Hinduism and Buddhism. The typology, based on the type of material used are: stone art, metal art, wood art, terracotta art, and painting.[69]
Museums
Kathmandu is home to a number of museums and art galleries, including the National Museum of Nepal and the Natural History Museum of Nepal. Nepal's art and architecture is an amalgamation of two ancient religions, Hinduism and Buddhism. These are amply reflected in the many temples, shrines, stupas, monasteries, and palaces in the seven well-defined Monument Zones of the Kathmandu valley are part of a UNESCO World Heritage Site. This amalgamation is also reflected in the planning and exhibitions in museums and art galleries throughout Kathmandu and its sister cities of Patan and Bhaktapur. The museums display unique artefacts and paintings from the 5th century CE to the present day, including archaeological exportation.[70]
Museums and art galleries in Kathmandu include:[70]
The National Museum
The Natural History Museum
Hanuman Dhoka Palace Complex
The Kaiser Library
The National Art Gallery
The NEF-ART (Nepal Fine Art) Gallery
The Nepal Art Council Gallery
Narayanhiti Palace Museum
The Taragaon Museum
National Museum of Nepal
The National Museum is in the western part of Kathmandu, near the Swayambhunath stupa in a historical building constructed in the early 19th century by General Bhimsen Thapa. It is the most important museum in the country, housing an extensive collection of weapons, art and antiquities of historic and cultural importance. The museum was established in 1928 as a collection house of war trophies and weapons, and the initial name of this museum was Chhauni Silkhana, meaning "the stone house of arms and ammunition". Given its focus, the museum contains many weapons, including locally made firearms used in wars, leather cannons from the 18th–19th century, and medieval and modern works in wood, bronze, stone and paintings.[71]
The Natural History Museum is in the southern foothills of Swayambhunath hill and has a sizeable collection of different species of animals, butterflies, and plants. The museum is noted for its display of species, from prehistoric shells to stuffed animals.[71]
The Tribhuvan Museum contains artifacts related to King Tribhuvan (1906–1955). It has a variety of pieces including his personal belongings, letters, and papers, memorabilia related to events he was involved in and a rare collection of photos and paintings of Royal family members. The Mahendra Museum is dedicated to the King Mahendra (1920–1972). Like the Tribhuvan Museum, it includes his personal belongings such as decorations, stamps, coins and personal notes and manuscripts, but it also has structural reconstructions of his cabinet room and office chamber. The Hanumandhoka Palace, a lavish medieval palace complex in the Durbar, contains three separate museums of historic importance. These museums include the Birendra museum, which contains items related to the second-last monarch, King Birendra.[71]
The enclosed compound of the Narayanhiti Palace Museum is in the north-central part of Kathmandu. "Narayanhiti" (Nepali: नारायणहिटी) comes from Narayana (Nepali: नारायण), a form of the Hindu god Lord Vishnu, and Hiti (Nepali: हिटी), meaning "water spout" (the temple of lord Vishnu is opposite to the palace, and the water spout is east of the main entrance to the precinct). The current palace building was built in 1970 in front of the old palace, built in 1915, in the form of a contemporary pagoda. It was built on the occasion of the marriage of the then crown prince and heir apparent to the throne, Birendra. The southern gate of the palace is at the crossing of Prithvipath and Durbar Marg roads. The palace area covers 30 hectares (74 acres) and is fully secured with gates on all sides.[72][73][74] This palace was the scene of the Nepali royal massacre. After the fall of the monarchy, it has been converted into a museum.
The Taragaon Museum presents the modern history of the Kathmandu valley.[75] It seeks to document 50 years of research and cultural heritage conservation of the Kathmandu Valley, documenting what artists, photographers, architects, and anthropologists from abroad had contributed in the second half of the 20th century. The actual structure of the museum showcases restoration and rehabilitation efforts to preserve the built heritage of Kathmandu. It was designed by Carl Pruscha (master-planner of the Kathmandu Valley)[76] in 1970 and constructed in 1971.[77] Restoration works began in 2010 to rehabilitate the Taragaon hostel into the Taragaon Museum. The design uses local brick along with modern architectural design elements, as well as the use of circle, triangles and squares.[76] The museum is within a short walk from the Boudhanath stupa, which itself can be seen from the museum tower.
Art galleries
A Buddhist statue display in Kathmandu
Kathmandu is a centre for art in Nepal, displaying the work of contemporary artists in the country and also collections of historical artists. Patan in particular is an ancient city noted for its fine arts and crafts. Art in Kathmandu is vibrant, demonstrating a fusion of traditionalism and modern art, derived from a great number of national, Asian, and global influences. Nepali art is commonly divided into two areas: the idealistic traditional painting known as Paubhas in Nepal and perhaps more commonly known as Thangkas in Tibet, closely linked to the country's religious history and on the other hand the contemporary western-style painting, including nature-based compositions or abstract artwork based on Tantric elements and social themes of which painters in Nepal are well noted for.[71] Internationally, the British-based charity, the Kathmandu Contemporary Art Centre is involved with promoting arts in Kathmandu.[78]
Kathmandu houses many notable art galleries. The NAFA Gallery, operated by the Arts and crafts Department of the Nepal Academy is housed in Sita Bhavan, a neo-classical old Rana palace.[71]
The Srijana Contemporary Art Gallery, inside the Bhrikutimandap Exhibition grounds, hosts the work of contemporary painters and sculptors, and regularly organizes exhibitions. It also runs morning and evening classes in the schools of art. Also of note is the Moti Azima Gallery, in a three-storied building in Bhimsenthan which contains an impressive collection of traditional utensils and handmade dolls and items typical of a medieval Newar house, giving an important insight into Nepali history. The J Art Gallery near the former royal palace in Durbarmarg displays the artwork of eminent, established Nepali painters. The Nepal Art Council Gallery, in the Babar Mahal, on the way to Tribhuvan International Airport contains artwork of both national and international artists and extensive halls regularly used for art exhibitions.[71]
Literature
The National Library of Nepal is located in Patan. It is the largest library in the country with more than 70,000 books in English, Nepali, Sanskrit, Hindi, and Nepal Bhasa. The library is in possession of rare scholarly books in Sanskrit and English dating from the 17th century AD. Kathmandu also contains the Kaiser Library, in the Kaiser Mahal on the ground floor of the Ministry of Education building. This collection of around 45,000 books is derived from a personal collection of Kaiser Shamsher Jang Bahadur Rana. It covers a wide range of subjects including history, law, art, religion, and philosophy, as well as a Sanskrit manual of Tantra, which is believed to be over 1,000 years old.[71] The 2015 earthquake caused severe damage to the Ministry of Education building, and the contents of the Kaiser Library have been temporarily relocated.
Asa Archives
The Asa Archives are also noteworthy. They specialize in medieval history and religious traditions of the Kathmandu valley. The archives, in Kulambhulu, have a collection of some 6,000 loose-leaf handwritten books and 1,000 palm-leaf manuscripts (mostly in Sanskrit or Nepal Bhasa) and a manuscript dated to 1464.[71]
Cinema and theatre
Kathmandu is home to Nepali cinema and theatres. The city contains several theatres, including the National Dance Theatre in Kanti Path, the Ganga Theatre, the Himalayan Theatre and the Aarohan Theater Group founded in 1982. The M. Art Theater is based in the city. The Gurukul School of Theatre organizes the Kathmandu International Theater Festival, attracting artists from all over the world.[79] A mini theatre has been opened at the Hanumandhoka Durbar Square, established by the Durbar Conservation and Promotion Committee.
Kathmandu has a number of cinemas (old single screen establishments and some new multiplexes) showing Nepali, Bollywood and Hollywood films. Some old establishments include Vishwajyoti Cinema Hall, Jai Nepal Hall, Kumari Cinema Hall, Gopi Krishna Cinema Hall and Guna Cinema Hall. Kathmandu also houses some international standard cinema theatres and multiplexes, such as QFX Cinemas, Cine De Chef, Fcube Cinemas, Q's Cinemas, Big Movies, BSR Movies and many more.
Music
Traditional Buddhist musical performance during Gunla
Kathmandu is the center of music and dance in Nepal, and these art forms are integral to understanding the city. Musical performances are organized in cultural venues. Music is a part of the traditional aspect of Kathmandu. Gunla is the traditional music festival according to Nepal Sambat. Newar music originated in Kathmandu. Furthermore, music from all over Nepal can be found in Kathmandu.
A number of hippies visited Kathmandu during the 1970s and introduced rock and roll, rock, and jazz to the city. Kathmandu is noted internationally for its jazz festival, popularly known as Jazzmandu. It is the only jazz festival in the Himalayan region and was established in March 2002. The festival attracts musicians from countries worldwide, such as Australia, Denmark, United States, Benin, and India.[80]
The city has been referenced in numerous songs, including works by Cat Stevens ('Katmandu', Mona Bone Jakon (1970)), Bob Seger ('Katmandu', Beautiful Loser (1975)), Rush ('A Passage to Bangkok', Pulling into Kathmandu; 2112, 1976), Krematorij ('Kathmandu', Three Springs (2000)), Fito Páez (Tráfico por Katmandú – "Traffic through Kathmandu") and Cavalcade ('Kathmandu Kid') 2019.
Cuisine
One of the typical Nepali meals Dal bhat in Kathmandu
The staple food of most people in Kathmandu is dal bhat. This consists of rice and lentil soup, generally served with vegetable curries, achar and sometimes Chutney. Momo, a type of Nepali version of Tibetan dumpling, has become prominent in Nepal with many street vendors and restaurants selling it. It is one of the most popular fast foods in Kathmandu. Various Nepali variants of momo including buff (i.e. buffalo) momo, chicken momo, and vegetarian momo are famous in Kathmandu.
Most of the cuisines found in Kathmandu are non-vegetarian. However, the practice of vegetarianism is not uncommon, and vegetarian cuisines can be found throughout the city. Consumption of beef is very uncommon and considered taboo in many places. Buff (meat of water buffalo) is very common. There is a strong tradition of buff consumption in Kathmandu, especially among Newars, which is not found in other parts of Nepal. Consumption of pork was considered taboo until a few decades ago. Due to the intermixing with Kirat cuisine from eastern Nepal, pork has found a place in Kathmandu dishes. A fringe population of devout Hindus and Muslims consider it taboo. The Muslims forbid eating buff as from Quran while Hindus eat all varieties except beef as they consider cow to be a goddess and symbol of purity. The chief lunch/snack for locals and visitors is mostly Momo or Chowmein.
Kathmandu had only one western-style restaurant in 1955.[81] A large number of restaurants in Kathmandu have since opened, catering Nepali cuisine, Tibetan cuisine, Chinese cuisine and Indian cuisine in particular. Many other restaurants have opened to accommodate locals, expatriates, and tourists. The growth of tourism in Kathmandu has led to culinary creativity and the development of hybrid foods to accommodate for tourists such as American chop suey, which is a sweet-and-sour sauce with crispy noodles with a fried egg commonly added on top and other westernized adaptations of traditional cuisine.[81] Continental cuisine can be found in selected places. International chain restaurants are rare, but some outlets of Pizza Hut and KFC have recently opened there. It also has several outlets of the international ice-cream chain Baskin-Robbins.[82]
Kathmandu has a larger proportion of tea drinkers than coffee drinkers. Tea is widely served but is extremely weak by western standards. It is richer and contains tea leaves boiled with milk, sugar, and spices. Alcohol is widely drunk, and there are numerous local variants of alcoholic beverages. Drinking and driving is illegal, and authorities have a zero-tolerance policy.[83] Ailaa and thwon (alcohol made from rice) are the alcoholic beverages of Kathmandu, found in all the local bhattis (alcohol serving eateries). Chhyaang, tongba (fermented millet or barley) and raksi are alcoholic beverages from other parts of Nepal which are found in Kathmandu. However, shops and bars in Kathmandu widely sell western and Nepali beers.
President of Nepal Dr. Ram Baran Yadav observing the street festival of Yenya, which literally means "festival of Kathmandu"
Festivals
Samyak, a Buddhist festival during which statues of Buddhas from the ancient monasteries are displayed together. Note the statue of Hanuman next to the Buddhas in the picture, a common example of religious harmony in Kathmandu.
Most of the fairs and festivals in Kathmandu originated in the Malla period or earlier. Traditionally, these festivals were celebrated by Newars. In recent years, these festivals have found wider participation from other Kathmanduites as well. As the capital of the Nepal, various national festivals are celebrated in Kathmandu. With mass migration to the city, the cultures of Khas from the west, Kirats from the east, Bon/Tibetan from the north, and Mithila from the south meet in the capital and mingle harmoniously. The festivities such as the Ghode (horse) Jatra, Indra Jatra, Dashain Durga Puja festivals, Shivratri and many more are observed by all Hindu and Buddhist communities of Kathmandu with devotional fervor and enthusiasm. Social regulation in the codes enacted incorporates Hindu traditions and ethics. These were followed by the Shah kings and previous kings, as devout Hindus and protectors of the Buddhist religion.
Nepali Lakhe dancer
Cultural continuity has been maintained for centuries in the exclusive worship of goddesses and deities in Kathmandu and the rest of the country. These deities include the Ajima,[84] Taleju (or Tulja Bhavani or Taleju Bhawani)[85][86] and her other forms : Digu Taleju (or Degu Taleju)[87] and Kumari (the living goddess).[88] The artistic edifices have now become places of worship in the everyday life of the people, therefore a roster is maintained to observe annual festivals. There are 133 festivals held in the year.[89]
Some of the traditional festivals observed in Kathmandu, apart from those previously mentioned, are Bada Dashain, Tihar, Chhath, Maghe Sankranti, Nag Panchami, Janai Purnima, Pancha Dan, Teej/Rishi Panchami, Pahan Charhe, Jana Baha Dyah Jatra (White Machchhendranath Jatra), and Matatirtha Aunsi.[56]
Religions
Hinduism
Kathmandu valley as seen from Halchowk during Deepawali, 2013
Assumedly, together with the kingdom of Licchhavi (c. 400 to 750), Hinduism and the endogam social stratification of the caste was established in Kathmandu Valley. The Pashupatinath Temple, Changu Narayan Temple, and the Kasthamandap are of particular importance to Hindus. Other notable Hindu temples in Kathmandu and the surrounding valley include Bajrayogini Temple, Dakshinkali Temple, Guhyeshwari Temple, and the Shobha Bhagawati shrine.
The Bagmati river which flows through Kathmandu is considered a holy river both by Hindus and Buddhists, and many Hindu temples are on the banks of this river. The importance of the Bagmati also lies in the fact that Hindus are cremated on its banks, and Kirants are buried in the hills by its side. According to the Nepali Hindu tradition, the dead body must be dipped three times into the Bagmati before cremation. The chief mourner (usually the first son) who lights the funeral pyre must take a holy riverwater bath immediately after cremation. Many relatives who join the funeral procession also take bath in the Bagmati or sprinkle the holy water on their bodies at the end of cremation as the Bagmati is believed to purify people spiritually.
Buddhism
Buddhism was brought into Kathmandu with the arrival of Buddhist monks during the time of Buddha (c. 563 – 483 BCE[90]). They established a forest monastery in Sankhu. This monastery was renovated by Shakyas after they fled genocide from Virudhaka (r. 491–461 BCE).
During the Hindu Lichchavi era (c. 400 to 750), various monasteries and orders were created which successively led to the formation of Newar Buddhism, which is still practiced in the primary liturgical language of Hinduism, Sanskrit.
Legendary Princess Bhrikuti (7th-century) and artist Araniko (1245–1306 CE) from that tradition of Kathmandu valley played a significant role in spreading Buddhism in Tibet and China. There are over 108 traditional monasteries (Bahals and Baháʼís) in Kathmandu based on Newar Buddhism. Since the 1960s, the permanent Tibetan Buddhist population of Kathmandu has risen significantly so that there are now over fifty Tibetan Buddhist monasteries in the area. Also, with the modernization of Newar Buddhism, various Theravada Bihars have been established.
Islam
Jama Masjid, Ghantaghar
Muslims in Kathmandu pray to Allah on Friday (the day of Namaj) often going to the Jame Masjid in Ghantaghar, near Ratnapark.
Kirat Mundhum
Kirant Mundhum is one of the indigenous animistic practices of Nepal. It is practiced by the Kirat people. Some animistic aspects of Kirant beliefs, such as ancestor worship (worship of Ajima) are also found in Newars of Kirant origin. Ancient religious sites believed to be worshipped by ancient Kirats, such as Pashupatinath, Wanga Akash Bhairabh (Yalambar) and Ajima are now worshipped by people of all Dharmic religions in Kathmandu. Kirats who have migrated from other parts of Nepal to Kathmandu practice Mundhum in the city.[91]
Other religions
Sikhism is practiced primarily in Gurudwara at Kupundole. An earlier temple of Sikhism is also present in Kathmandu which is now defunct.
Jainism is practiced by a small community. A Jain temple is present in Gyaneshwar, where Jains practice their faith.
According to the records of the Spiritual Assembly of the Baháʼís of Nepal, there are approximately 300 followers of the Baháʼí Faith in Kathmandu valley. They have a national office in Shantinagar, Baneshwor. The Baháʼís also have classes for children at the National Centre and other localities in Kathmandu.
Islam is practiced in Kathmandu but Muslims are a minority, accounting for about 4.4% of the population of Nepal.[92]
It is said that in Kathmandu alone there are 170 Christian churches. Christian missionary hospitals, welfare organizations, and schools are also operating. Nepali citizens who served as soldiers in Indian and British armies, who had converted to Christianity while in service, on return to Nepal continue to practice their religion. They have contributed to the spread of Christianity and the building of churches in Nepal and in Kathmandu, in particular.[93][94]
Education
The oldest modern school in Nepal, the Durbar High School, and the oldest college, the Tri-Chandra College, are both in Kathmandu. The largest (according to number of students and colleges), the oldest and most distinguished university in Nepal the Tribhuvan University, located in Kirtipur. The second largest university, Kathmandu University (KU), is in Dhulikhel, Kavre on the outskirts of Kathmandu. It is the second oldest university in Nepal, established in November 1991.[95] Not surprisingly the best schools and colleges of Nepal are located in Kathmandu and its adjoining cities. Every year thousands of students from all over Nepal arrive at Kathmandu to get admission in the various schools and colleges. One of the key concerns of educationists and concerned citizens is the massive outflux of students from Nepal to outside Nepal for studies. Every year thousands of students apply for No Objection Certificates for studying abroad. Consultancy firms specializing in preparing students to go abroad can be found in all prominent locations. The reason for such an outflux range from perceived low quality of education, political instability, fewer opportunities in the job market, opportunities for earning while learning abroad and better job prospects with an international degree.
Healthcare
Healthcare in Kathmandu is the most developed in Nepal, and the city and surrounding valley is home to some of the best hospitals and clinics in the country. Bir Hospital is the oldest, established in July 1889 by Bir Shamsher Jang Bahadur Rana. Notable hospitals include Bir Hospital, Nepal Medical College and Teaching Hospital (Jorpati), Tribhuvan University Institute of Medicine (Teaching Hospital), Patan Hospital, Kathmandu Model Hospital, Scheer Memorial Hospital, Om Hospital, Norvic Hospital, Grande International Hospital, Nobel Hospital and many more.
The city is supported by specialist hospitals/clinics such as Shahid Shukraraj Tropical Hospital, Shahid Gangalal Foundation, Kathmandu Veterinary Hospital, Nepal Eye Hospital, Kanti Children's Hospital, Nepal International Clinic (Travel and Mountain Medicine Center), Neuro Center, Spinal Rehabilitation center and Bhaktapur Cancer Hospital. Most of the general hospitals are in the city center, although several clinics are elsewhere in Kathmandu district.
Tilganga Institute of Ophthalmology is an Ophthalmological hospital in Kathmandu. It pioneered the production of low cost intraocular lenses (IOLs), which are used in cataract surgery.[96] The team of Dr. Sanduk Ruit in Tilganga pioneered sutureless small-incision cataract surgery (SICS),[97][98] a technique which has been used to treat 4 million of the world's 20 million people with cataract blindness.
Medical colleges
Institute of Medicine, the central college of Tribhuvan University is the first medical college of Nepal and is in Maharajgunj, Kathmandu. It was established in 1972 and started to impart medical education from 1978. Other major institutions include Patan Academy of Health Sciences, Kathmandu Medical College, Nepal Medical College, KIST Medical College, Nepal Army Institute of Health Sciences, National Academy of Medical Sciences (NAMS) and Kathmandu University School of Medical Sciences (KUSMS), are also in or around Kathmandu.[99]
Economy
Central Bank of Nepal
The location and terrain of Kathmandu have played a significant role in the development of a stable economy which spans millennia. The city is in an ancient lake basin, with fertile soil and flat terrain. This geography helped form a society based on agriculture. This, combined with its location between India and China, helped establish Kathmandu as an important trading centre over the centuries. Kathmandu's trade is an ancient profession that flourished along an offshoot of the Silk Road which linked India and Tibet. From centuries past, Lhasa Newar merchants of Kathmandu have conducted trade across the Himalaya and contributed to spreading art styles and Buddhism across Central Asia.[100] Other traditional occupations are farming, metal casting, woodcarving, painting, weaving, and pottery.[101]
Kathmandu is the most important industrial and commercial centre in Nepal. The Nepal Stock Exchange, the head office of the national bank, the chamber of commerce, as well as head offices of national and international banks, telecommunication companies, the electricity authority, and various other national and international organizations are in Kathmandu. The major economic hubs are the New Road, Durbar Marg, Ason and Putalisadak.[101]
The economic output of the metropolitan area of around Rs. 550 billion approximately per year alone is worth more than one third of national GDP (nominal), while the per capita income of $2200 is approximately three times the national average.[102] Kathmandu exports handicrafts, artworks, garments, carpets, pashmina, paper; trade accounts for 21% of its revenues.[101][102] Manufacturing is also important and accounts for 19% of the revenue that Kathmandu generates. Garments and woolen carpets are the most notable manufactured products.[102] Other economic sectors in Kathmandu include agriculture (9%), education (6%), transport (6%), and hotels and restaurants (5%).[102] Kathmandu is famous for lokta paper and pashmina shawls.
Tourism
Hotel Shanker is one of the city's popular heritage hotels
Tourism is considered another important industry in Nepal. This industry started around 1950, as the country's political makeup changed and ended the country's isolation from the rest of the world. In 1956, air transportation was established and the Tribhuvan Highway, between Kathmandu and Raxaul (at India's border), was started. Separate organizations were created in Kathmandu to promote this activity; some of these include the Tourism Development Board, the Department of Tourism and the Civil Aviation Department. Furthermore, Nepal became a member of several international tourist associations. Establishing diplomatic relations with other nations further accentuated this activity. The hotel industry, travel agencies, training of tourist guides, and targeted publicity campaigns are the chief reasons for the remarkable growth of this industry in Nepal, and in Kathmandu in particular.[103] Since then, tourism in Nepal has thrived. It is the country's most important industry.[104] Tourism is a major source of income for most of the people in the city, with several hundred thousand visitors annually. Hindu and Buddhist pilgrims from all over the world visit Kathmandu's religious sites such as Pashupatinath, Swayambhunath, Boudhanath, Changunarayan and Budhanilkantha. From a mere 6,179 tourists in 1961/62, the number increased to 491,504 in 1999/2000. In economic terms, the foreign exchange registered 3.8% of the GDP in 1995/96 but then started declining. Following the end of the Maoist insurgency, there was a significant rise in the number of tourist arrivals, with 509,956 tourists recorded in 2009. Since then, tourism has improved as the country transitioned into a republic. The high level of tourism is attributed to the natural grandeur of the Himalayas and the rich cultural heritage of the country.[103]
Hyatt Regency, Kathmandu
The neighbourhood of Thamel is Kathmandu's primary "traveller's ghetto", packed with guest houses, restaurants, shops, and bookstores, catering to tourists. Another neighbourhood of growing popularity is Jhamel, a name for Jhamsikhel that was coined to rhyme with Thamel.[105] Jhochhen Tol, also known as Freak Street, is Kathmandu's original traveller's haunt, made popular by the hippies of the 1960s and 1970s; it remains a popular alternative to Thamel. Ason is a bazaar and ceremonial square on the old trade route to Tibet, and provides a fine example of a traditional neighbourhood.
With the opening of the tourist industry after the change in the political scenario of Nepal in 1950, the hotel industry drastically improved.[106] Now Kathmandu boasts several luxuries such as the Hyatt Regency, Dwarika's, Hotel Yak & Yeti, The Everest Hotel, Hotel Radisson, Hotel De L'Annapurna, The Malla Hotel, Shangri-La Hotel (not operated by the Shangri-La Hotel Group) and Hotel Shanker. There are several four-star hotels such as Akama Hotel, Hotel Vaishali, Hotel Narayani, The Blue Star and Grand Hotel. The Garden Hotel, Hotel Ambassador, and Aloha Inn are among the three-star hotels in Kathmandu. Hotels like Hyatt Regency, De L'Annapurna, and Yak & Yeti are among the five-star hotels with casinos as well.[107]
Transport
Arch bridges over the Dhobi Khola river in Baneshwor, Kathmandu
Road
The total length of roads in Nepal is recorded to be 17,182 km (10,676 mi), as of 2003–04. This fairly large network has helped the economic development of the country, particularly in the fields of agriculture, horticulture, vegetable farming, industry and also tourism.[108] In view of the hilly terrain, transportation takes place in Kathmandu are mainly by road and air. Kathmandu is connected by the Tribhuvan Highway to the south connecting India, Prithvi Highway to the west and Araniko Highway to the north connecting China. The BP Highway connects Kathmandu to the eastern part of Nepal through Sindhuli.[109] The fast-track is under construction which will be the shortest route to connect Terai with the valley.[110]
Sajha Yatayat provides regular bus services throughout Kathmandu and the surrounding valley. Other bus companies including micro-bus companies operate several unscheduled routes. Trolleybusses used to operate on the route between Tripureshwor and Suryabinayak on a 13-kilometer route.
Air
The main international airport serving Kathmandu valley is the Tribhuvan International Airport, about 6 kilometres (3.7 mi) from the city centre and is operated by the Civil Aviation Authority of Nepal.[111] It has two terminals, one domestic and one international. At present, it connects 30 cities around the globe in Europe, Asia and the Middle East such as Istanbul, Delhi, Mumbai, Bangalore, Kolkata, Singapore, Bangkok, Kuala Lumpur, Dhaka, Paro, Lhasa, Chengdu, Guangzhou and Hong Kong.[111] Since 2013, Turkish Airlines connects Istanbul to Kathmandu.[112] Oman Air also connects Muscat to Kathmandu since 2010.[113] Nepal Airlines started flying to Tokyo-Narita from March 2, 2020.[114] Regionally, several Nepali airlines operate from the city, inc
The Water Gardens in downtown Fort Worth, Texas. This is the "Quiet Pool" and the sound of the water quietly running down the walls of this place totally blocked the sounds of the city above completely out!
Light Painting SOOC with crop or minor levels adjustments. Single Exposure.
U.S. Secretary of Agriculture Thomas Vilsack, left, and NASA Administrator Bill Nelson, pose for a photograph after having signed a memorandum of understanding, Wednesday, June 21, 2023, at the USDA’s Jamie L. Whitten Building in Washington. The agreement strengthens the collaboration between the two agencies, including efforts to improve agricultural and Earth science research, technology, and agricultural management, as well as the application of science data and models to agricultural decision making. Photo Credit: (NASA/Bill Ingalls)
The remains of the Maples Motel in Muncie, Indiana. From my understanding, the motel was abandoned sometime around the reroute of an Indiana highway around the city of Muncie. I would have liked some interior shots, but an uncomfortable feeling told me not to go in there. According to my later research, one known murder took place here in the 90s, as well as some other suspicious activity.
Ежегодно 21 марта во всем мире отмечается Всемирный день людей с синдромом Дауна. В 2018 году празднование этого дня пройдет в 13-ый раз начиная с 2006 года. Каждый год празднование проходит под лозунгом, который отражает важные аспекты жизни людей с синдромом Дауна.
Лозунг 2018 года — WhatI Bring To My Community (Чем я могу помочь своему сообществу). Основная цель организаторов — предоставить людям с синдромом Дауна возможность быть вовлеченными в общественно-политическую и культурную жизнь общества, влиять на ситуацию в школе, на работе, в спорте и СМИ.
В декабре 2011 года Генеральная Ассамблея объявила 21 марта Всемирным днем людей с синдромом Дауна (A/RES/66/149). Генеральная Ассамблея постановила что зтот День будет отмечаться 21 марта каждый год начиная с 2012 года и предложила всем государствам-членам, соответствующим организациям системы Организации Объединенных Наций и другим международным организациям, а также гражданскому обществу, включая неправительственные организации и частный сектор, надлежащим образом отмечать Всемирный день людей с синдромом Дауна, с тем чтобы повышать уровень информированности общественности о синдроме Дауна.
Синдром Дауна является одной из форм естественно развивающейся врожденной геномной патологии, распространенной во всех регионах мира и часто ведущей к изменениям моторики, физических характеристик и здоровья.
Жизненно важное значение для роста и развития больных имеет адекватный доступ к медицинскому обслуживанию, программам раннего вмешательства и инклюзивного образования, а также проведение соответствующих исследований.
#smalltowninertia *Preview of coming story
Back from a fantastic afternoon working on a coming story with Si & Kirsty.
It’s incredible to witness the change in them, happy, moving forwards, gaining confidence and what has enabled this evolution?, a new Carer for Kirsty and great help for Si.
A carer is such a vital and amazingly undervalued role, it’s more than a job, at it’s heart, it’s core, it’s about love, trust and understanding. You add these qualities to a professional approach to meeting everyday needs, mentor ship and everything blossoms.
Truly, little could make me happier, than seeing Simon and Kirsty getting the help and support they so deserve.
I’ll be back next week to continue work on their story.
Different forms of fluctuations of the terrestrial gravity field are observed by gravity experiments. For example, atmospheric pressure fluctuations generate a gravity-noise foreground in measurements with super-conducting gravimeters. Gravity changes caused by high-magnitude earthquakes have been detected with the satellite gravity experiment GRACE, and we expect high-frequency terrestrial gravity fluctuations produced by ambient seismic fields to limit the sensitivity of ground-based gravitational-wave (GW) detectors. Accordingly, terrestrial gravity fluctuations are considered noise and signal depending on the experiment. Here, we will focus on ground-based gravimetry. This field is rapidly progressing through the development of GW detectors. The technology is pushed to its current limits in the advanced generation of the LIGO and Virgo detectors, targeting gravity strain sensitivities better than 10−23 Hz−1/2 above a few tens of a Hz. Alternative designs for GW detectors evolving from traditional gravity gradiometers such as torsion bars, atom interferometers, and superconducting gradiometers are currently being developed to extend the detection band to frequencies below 1 Hz. The goal of this article is to provide the analytical framework to describe terrestrial gravity perturbations in these experiments. Models of terrestrial gravity perturbations related to seismic fields, atmospheric disturbances, and vibrating, rotating or moving objects, are derived and analyzed. The models are then used to evaluate passive and active gravity noise mitigation strategies in GW detectors, or alternatively, to describe their potential use in geophysics. The article reviews the current state of the field, and also presents new analyses especially with respect to the impact of seismic scattering on gravity perturbations, active gravity noise cancellation, and time-domain models of gravity perturbations from atmospheric and seismic point sources. Our understanding of terrestrial gravity fluctuations will have great impact on the future development of GW detectors and high-precision gravimetry in general, and many open questions need to be answered still as emphasized in this article.
Keywords: Terrestrial gravity, Newtonian noise, Wiener filter, Mitigation
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Introduction
In the coming years, we will see a transition in the field of high-precision gravimetry from observations of slow lasting changes of the gravity field to the experimental study of fast gravity fluctuations. The latter will be realized by the advanced generation of the US-based LIGO [1] and Europe-based Virgo [7] gravitational-wave (GW) detectors. Their goal is to directly observe for the first time GWs that are produced by astrophysical sources such as inspiraling and merging neutron-star or black-hole binaries. Feasibility of the laser-interferometric detector concept has been demonstrated successfully with the first generation of detectors, which, in addition to the initial LIGO and Virgo detectors, also includes the GEO600 [119] and TAMA300 [161] detectors, and several prototypes around the world. The impact of these projects onto the field is two-fold. First of all, the direct detection of GWs will be a milestone in science opening a new window to our universe, and marking the beginning of a new era in observational astronomy. Second, several groups around the world have already started to adapt the technology to novel interferometer concepts [60, 155], with potential applications not only in GW science, but also geophysics. The basic measurement scheme is always the same: the relative displacement of test masses is monitored by using ultra-stable lasers. Progress in this field is strongly dependent on how well the motion of the test masses can be shielded from the environment. Test masses are placed in vacuum and are either freely falling (e.g., atom clouds [137]), or suspended and seismically isolated (e.g., high-quality glass or crystal mirrors as used in all of the detectors listed above). The best seismic isolations realized so far are effective above a few Hz, which limits the frequency range of detectable gravity fluctuations. Nonetheless, low-frequency concepts are continuously improving, and it is conceivable that future detectors will be sufficiently sensitive to detect GWs well below a Hz [88].
Terrestrial gravity perturbations were identified as a potential noise source already in the first concept laid out for a laser-interferometric GW detector [171]. Today, this form of noise is known as “terrestrial gravitational noise”, “Newtonian noise”, or “gravity-gradient noise”. It has never been observed in GW detectors, but it is predicted to limit the sensitivity of the advanced GW detectors at low frequencies. The most important source of gravity noise comes from fluctuating seismic fields [151]. Gravity perturbations from atmospheric disturbances such as pressure and temperature fluctuations can become significant at lower frequencies [51]. Anthropogenic sources of gravity perturbations are easier to avoid, but could also be relevant at lower frequencies [163]. Today, we only have one example of a direct observation of gravity fluctuations, i.e., from pressure fluctuations of the atmosphere in high-precision gravimeters [128]. Therefore, almost our entire understanding of gravity fluctuations is based on models. Nonetheless, potential sensitivity limits of future large-scale GW detectors need to be identified and characterized well in advance, and so there is a need to continuously improve our understanding of terrestrial gravity noise. Based on our current understanding, the preferred option is to construct future GW detectors underground to avoid the most dominant Newtonian-noise contributions. This choice was made for the next-generation Japanese GW detector KAGRA, which is currently being constructed underground at the Kamioka site [17], and also as part of a design study for the Einstein Telescope in Europe [140, 139]. While the benefit from underground construction with respect to gravity noise is expected to be substantial in GW detectors sensitive above a few Hz [27], it can be argued that it is less effective at lower frequencies [88].
Alternative mitigation strategies includes coherent noise cancellation [42]. The idea is to monitor the sources of gravity perturbations using auxiliary sensors such as microphones and seismometers, and to use their data to generate a coherent prediction of gravity noise. This technique is successfully applied in gravimeters to reduce the foreground of atmospheric gravity noise using collocated pressure sensors [128]. It is also noteworthy that the models of the atmospheric gravity noise are consistent with observations. This should give us some confidence at least that coherent Newtonian-noise cancellation can also be achieved in GW detectors. It is evident though that a model-based prediction of the performance of coherent noise cancellation schemes is prone to systematic errors as long as the properties of the sources are not fully understood. Ongoing experiments at the Sanford Underground Research Facility with the goal to characterize seismic fields in three dimensions are expected to deliver first data from an underground seismometer array in 2015 (see [89] for results from an initial stage of the experiment). While most people would argue that constructing GW detectors underground is always advantageous, it is still necessary to estimate how much is gained and whether the science case strongly profits from it. This is a complicated problem that needs to be answered as part of a site selection process.
More recently, high-precision gravity strainmeters have been considered as monitors of geophysical signals [83]. Analytical models have been calculated, which allow us to predict gravity transients from seismic sources such as earthquakes. It was suggested to implement gravity strainmeters in existing earthquake-early warning systems to increase warning times. It is also conceivable that an alternative method to estimate source parameters using gravity signals will improve our understanding of seismic sources. Potential applications must still be investigated in greater detail, but the study already demonstrates that the idea to use GW technology to realize new geophysical sensors seems feasible. As explained in [49], gravitational forces start to dominate the dynamics of seismic phenomena below about 1 mHz (which coincides approximately with a similar transition in atmospheric dynamics where gravity waves start to dominate over other forms of oscillations [164]). Seismic isolation would be ineffective below 1 mHz since the gravitational acceleration of a test mass produced by seismic displacement becomes comparable to the seismic acceleration itself. Therefore, we claim that 10 mHz is about the lowest frequency at which ground-based gravity strainmeters will ever be able to detect GWs, and consequently, modelling terrestrial gravity perturbations in these detectors can focus on frequencies above 10 mHz.
This article is divided into six main sections. Section 2 serves as an introduction to gravity measurements focussing on the response mechanisms and basic properties of gravity sensors. Section 3 describes models of gravity perturbations from ambient seismic fields. The results can be used to estimate noise spectra at the surface and underground. A subsection is devoted to the problem of noise estimation in low-frequency GW detectors, which differs from high-frequency estimates mostly in that gravity perturbations are strongly correlated between different test masses. In the low-frequency regime, the gravity noise is best described as gravity-gradient noise. Section 4 is devoted to time domain models of transient gravity perturbations from seismic point sources. The formalism is applied to point forces and shear dislocations. The latter allows us to estimate gravity perturbations from earthquakes. Atmospheric models of gravity perturbations are presented in Section 5. This includes gravity perturbations from atmospheric temperature fields, infrasound fields, shock waves, and acoustic noise from turbulence. The solution for shock waves is calculated in time domain using the methods of Section 4. A theoretical framework to calculate gravity perturbations from objects is given in Section 6. Since many different types of objects can be potential sources of gravity perturbations, the discussion focusses on the development of a general method instead of summarizing all of the calculations that have been done in the past. Finally, Section 7 discusses possible passive and active noise mitigation strategies. Due to the complexity of the problem, most of the section is devoted to active noise cancellation providing the required analysis tools and showing limitations of this technique. Site selection is the main topic under passive mitigation, and is discussed in the context of reducing environmental noise and criteria relevant to active noise cancellation. Each of these sections ends with a summary and a discussion of open problems. While this article is meant to be a review of the current state of the field, it also presents new analyses especially with respect to the impact of seismic scattering on gravity perturbations (Sections 3.3.2 and 3.3.3), active gravity noise cancellation (Section 7.1.3), and timedomain models of gravity perturbations from atmospheric and seismic point sources (Sections 4.1, 4.5, and 5.3).
Even though evident to experts, it is worth emphasizing that all calculations carried out in this article have a common starting point, namely Newton’s universal law of gravitation. It states that the attractive gravitational force equation M1 between two point masses m1, m2 is given by
equation M21
where G = 6.672 × 10−11 N m2/kg2 is the gravitational constant. Eq. (1) gives rise to many complex phenomena on Earth such as inner-core oscillations [156], atmospheric gravity waves [157], ocean waves [94, 177], and co-seismic gravity changes [122]. Due to its importance, we will honor the eponym by referring to gravity noise as Newtonian noise in the following. It is thereby clarified that the gravity noise models considered in this article are non-relativistic, and propagation effects of gravity changes are neglected. While there could be interesting scenarios where this approximation is not fully justified (e.g., whenever a gravity perturbation can be sensed by several sensors and differences in arrival times can be resolved), it certainly holds in any of the problems discussed in this article. We now invite the reader to enjoy the rest of the article, and hope that it proves to be useful.
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Gravity Measurements
In this section, we describe the relevant mechanisms by which a gravity sensor can couple to gravity perturbations, and give an overview of the most widely used measurement schemes: the (relative) gravimeter [53, 181], the gravity gradiometer [125], and the gravity strainmeter. The last category includes the large-scale GW detectors Virgo [6], LIGO [91], GEO600 [119], KAGRA [17], and a new generation of torsion-bar antennas currently under development [13]. Also atom interferometers can potentially be used as gravity strainmeters in the future [62]. Strictly speaking, none of the sensors only responds to a single field quantity (such as changes in gravity acceleration or gravity strain), but there is always a dominant response mechanism in each case, which justifies to give the sensor a specific name. A clear distinction between gravity gradiometers and gravity strainmeters has never been made to our knowledge. Therefore the sections on these two measurement principles will introduce a definition, and it is by no means the only possible one. Later on in this article, we almost exclusively discuss gravity models relevant to gravity strainmeters since the focus lies on gravity fluctuations above 10 mHz. Today, the sensitivity near 10 mHz of gravimeters towards gravity fluctuations is still competitive to or exceeds the sensitivity of gravity strainmeters, but this is likely going to change in the future so that we can expect strainmeters to become the technology of choice for gravity observations above 10 mHz [88]. The following sections provide further details on this statement. Space-borne gravity experiments such as GRACE [167] will not be included in this overview. The measurement principle of GRACE is similar to that of gravity strainmeters, but only very slow changes of Earth gravity field can be observed, and for this reason it is beyond the scope of this article.
The different response mechanisms to terrestrial gravity perturbations are summarized in Section 2.1. While we will identify the tidal forces acting on the test masses as dominant coupling mechanism, other couplings may well be relevant depending on the experiment. The Shapiro time delay will be discussed as the only relativistic effect. Higher-order relativistic effects are neglected. All other coupling mechanisms can be calculated using Newtonian theory including tidal forces, coupling in static non-uniform gravity fields, and coupling through ground displacement induced by gravity fluctuations. In Sections 2.2 to 2.4, the different measurement schemes are explained including a brief summary of the sensitivity limitations (choosing one of a few possible experimental realizations in each case). As mentioned before, we will mostly develop gravity models relevant to gravity strainmeters in the remainder of the article. Therefore, the detailed discussion of alternative gravimetry concepts mostly serves to highlight important differences between these concepts, and to develop a deeper understanding of the instruments and their role in gravity measurements.
Gravity response mechanisms
Gravity acceleration and tidal forces We will start with the simplest mechanism of all, the acceleration of a test mass in the gravity field. Instruments that measure the acceleration are called gravimeters. A test mass inside a gravimeter can be freely falling such as atom clouds [181] or, as suggested as possible future development, even macroscopic objects [72]. Typically though, test masses are supported mechanically or magnetically constraining motion in some of its degrees of freedom. A test mass suspended from strings responds to changes in the horizontal gravity acceleration. A test mass attached at the end of a cantilever with horizontal equilibrium position responds to changes in vertical gravity acceleration. The support fulfills two purposes. First, it counteracts the static gravitational force in a way that the test mass can respond to changes in the gravity field along a chosen degree of freedom. Second, it isolates the test mass from vibrations. Response to signals and isolation performance depend on frequency. If the support is modelled as a linear, harmonic oscillator, then the test mass response to gravity changes extends over all frequencies, but the response is strongly suppressed below the oscillators resonance frequency. The response function between the gravity perturbation δg(ω) and induced test mass acceleration δa(ω) assumes the form
equation M32
where we have introduced a viscous damping parameter γ, and ω0 is the resonance frequency. Well below resonance, the response is proportional to ω2, while it is constant well above resonance. Above resonance, the supported test mass responds like a freely falling mass, at least with respect to “soft” directions of the support. The test-mass response to vibrations δα(ω) of the support is given by
equation M43
This applies for example to horizontal vibrations of the suspension points of strings that hold a test mass, or to vertical vibrations of the clamps of a horizontal cantilever with attached test mass. Well above resonance, vibrations are suppressed by ω−2, while no vibration isolation is provided below resonance. The situation is somewhat more complicated in realistic models of the support especially due to internal modes of the mechanical system (see for example [76]), or due to coupling of degrees of freedom [121]. Large mechanical support structures can feature internal resonances at relatively low frequencies, which can interfere to some extent with the desired performance of the mechanical support [173]. While Eqs. (2) and (3) summarize the properties of isolation and response relevant for this paper, details of the readout method can fundamentally impact an instrument’s response to gravity fluctuations and its susceptibility to seismic noise, as explained in Sections 2.2 to 2.4.
Next, we discuss the response to tidal forces. In Newtonian theory, tidal forces cause a relative acceleration δg12(ω) between two freely falling test masses according to
equation M54
where equation M6 is the Fourier amplitude of the gravity potential. The last equation holds if the distance r12 between the test masses is sufficiently small, which also depends on the frequency. The term equation M7 is called gravity-gradient tensor. In Newtonian approximation, the second time integral of this tensor corresponds to gravity strain equation M8, which is discussed in more detail in Section 2.4. Its trace needs to vanish in empty space since the gravity potential fulfills the Poisson equation. Tidal forces produce the dominant signals in gravity gradiometers and gravity strainmeters, which measure the differential acceleration or associated relative displacement between two test masses (see Sections 2.3 and 2.4). If the test masses used for a tidal measurement are supported, then typically the supports are designed to be as similar as possible, so that the response in Eq. (2) holds for both test masses approximately with the same parameter values for the resonance frequencies (and to a lesser extent also for the damping). For the purpose of response calibration, it is less important to know the parameter values exactly if the signal is meant to be observed well above the resonance frequency where the response is approximately equal to 1 independent of the resonance frequency and damping (here, “well above” resonance also depends on the damping parameter, and in realistic models, the signal frequency also needs to be “well below” internal resonances of the mechanical support).
Shapiro time delay Another possible gravity response is through the Shapiro time delay [19]. This effect is not universally present in all gravity sensors, and depends on the readout mechanism. Today, the best sensitivities are achieved by reflecting laser beams from test masses in interferometric configurations. If the test mass is displaced by gravity fluctuations, then it imprints a phase shift onto the reflected laser, which can be observed in laser interferometers, or using phasemeters. We will give further details on this in Section 2.4. In Newtonian gravity, the acceleration of test masses is the only predicted response to gravity fluctuations. However, from general relativity we know that gravity also affects the propagation of light. The leading-order term is the Shapiro time delay, which produces a phase shift of the laser beam with respect to a laser propagating in flat space. It can be calculated from the weak-field spacetime metric (see chapter 18 in [124]):
equation M95
Here, c is the speed of light, ds is the so-called line element of a path in spacetime, and equation M10. Additionally, for this metric to hold, motion of particles in the source of the gravity potential responsible for changes of the gravity potential need to be much slower than the speed of light, and also stresses inside the source must be much smaller than its mass energy density. All conditions are fulfilled in the case of Earth gravity field. Light follows null geodesics with ds2 = 0. For the spacetime metric in Eq. (5), we can immediately write
equation M116
As we will find out, this equation can directly be used to calculate the time delay as an integral along a straight line in terms of the coordinates equation M12, but this is not immediately clear since light bends in a gravity field. So one may wonder if integration along the proper light path instead of a straight line yields additional significant corrections. The so-called geodesic equation must be used to calculate the path. It is a set of four differential equations, one for each coordinate t, equation M13 in terms of a parameter λ. The weak-field geodesic equation is obtained from the metric in Eq. (5):
equation M147
where we have made use of Eq. (6) and the slow-motion condition equation M15. The coordinates equation M16 are to be understood as functions of λ. Since the deviation of a straight path is due to a weak gravity potential, we can solve these equations by perturbation theory introducing expansions equation M17 and t = t(0) +t(1) + …. The superscript indicates the order in ψ/c2. The unperturbed path has the simple parametrization
equation M188
We have chosen integration constants such that unperturbed time t(0) and parameter λ can be used interchangeably (apart from a shift by t0). Inserting these expressions into the right-hand side of Eq. (7), we obtain
equation M199
As we can see, up to linear order in equation M20, the deviation equation M21 is in orthogonal direction to the unperturbed path equation M22, which means that the deviation can be neglected in the calculation of the time delay. After some transformations, it is possible to derive Eq. (6) from Eq. (9), and this time we find explicitly that the right-hand-side of the equation only depends on the unperturbed coordinates1. In other words, we can integrate the time delay along a straight line as defined in Eq. (8), and so the total phase integrated over a travel distance L is given by
equation M2310
In static gravity fields, the phase shift doubles if the light is sent back since not only the direction of integration changes, but also the sign of the expression substituted for dt/dλ.
Gravity induced ground motion As we will learn in Section 3, seismic fields produce gravity perturbations either through density fluctuations of the ground, or by displacing interfaces between two materials of different density. It is also well-known in seismology that seismic fields can be affected significantly by self-gravity. Self-gravity means that the gravity perturbation produced by a seismic field acts back on the seismic field. The effect is most significant at low frequency where gravity induced acceleration competes against acceleration from elastic forces. In seismology, low-frequency seismic fields are best described in terms of Earth’s normal modes [55]. Normal modes exist as toroidal modes and spheroidal modes. Spheroidal modes are influenced by self-gravity, toroidal modes are not. For example, predictions of frequencies and shapes of spheroidal modes based on Earth models such as PREM (Preliminary Reference Earth Model) [68] are inaccurate if self-gravity effects are excluded. What this practically means is that in addition to displacement amplitudes, gravity becomes a dynamical variable in the elastodynamic equations that determine the normal-mode properties. Therefore, seismic displacement and gravity perturbation cannot be separated in normal-mode formalism (although self-gravity can be neglected in calculations of spheroidal modes at sufficiently high frequency).
In certain situations, it is necessary or at least more intuitive to separate gravity from seismic fields. An exotic example is Earth’s response to GWs [67, 49, 47, 30, 48]. Another example is the seismic response to gravity perturbations produced by strong seismic events at large distance to the source as described in Section 4. It is more challenging to analyze this scenario using normal-mode formalism. The sum over all normal modes excited by the seismic event (each of which describing a global displacement field) must lead to destructive interference of seismic displacement at large distances (where seismic waves have not yet arrived), but not of the gravity amplitudes since gravity is immediately perturbed everywhere. It can be easier to first calculate the gravity perturbation from the seismic perturbation, and then to calculate the response of the seismic field to the gravity perturbation at larger distance. This method will be adopted in this section. Gravity fields will be represented as arbitrary force or tidal fields (detailed models are presented in later sections), and we simply calculate the response of the seismic field. Normal-mode formalism can be avoided only at sufficiently high frequencies where the curvature of Earth does not significantly influence the response (i.e., well above 10 mHz). In this section, we will model the ground as homogeneous half space, but also more complex geologies can in principle be assumed.
Gravity can be introduced in two ways into the elastodynamic equations, as a conservative force −∇ψ [146, 169], or as tidal strain The latter method was described first by Dyson to calculate Earth’s response to GWs [67]. The approach also works for Newtonian gravity, with the difference that the tidal field produced by a GW is necessarily a quadrupole field with only two degrees of freedom (polarizations), while tidal fields produced by terrestrial sources are less constrained. Certainly, GWs can only be fully described in the framework of general relativity, which means that their representation as a Newtonian tidal field cannot be used to explain all possible observations [124]. Nonetheless, important here is that Dyson’s method can be extended to Newtonian tidal fields. Without gravity, the elastodynamic equations for small seismic displacement can be written as
equation M2411
where equation M25 is the seismic displacement field, and equation M26 is the stress tensor [9]. In the absence of other forces, the stress is determined by the seismic field. In the case of a homogeneous and isotropic medium, the stress tensor for small seismic displacement can be written as
equation M2712
The quantity equation M28 is known as seismic strain tensor, and λ, μ are the Lamé constants (see Section 3.1). Its trace is equal to the divergence of the displacement field. Dyson introduced the tidal field from first principles using Lagrangian mechanics, but we can follow a simpler approach. Eq. (12) means that a stress field builds up in response to a seismic strain field, and the divergence of the stress field acts as a force producing seismic displacement. The same happens in response to a tidal field, which we represent as gravity strain equation M29. A strain field changes the distance between two freely falling test masses separated by equation M30 by equation M312. For sufficiently small distances L, the strain field can be substituted by the second time integral of the gravity-gradient tensor equation M32. If the masses are not freely falling, then the strain field acts as an additional force. The corresponding contribution to the material’s stress tensor can be written
equation M3313
Since we assume that the gravity field is produced by a distant source, the local contribution to gravity perturbations is neglected, which means that the gravity potential obeys the Laplace equation, equation M34. Calculating the divergence of the stress tensor according to Eq. (11), we find that the gravity term vanishes! This means that a homogeneous and isotropic medium does not respond to gravity strain fields. However, we have to be more careful here. Our goal is to calculate the response of a half-space to gravity strain. Even if the half-space is homogeneous, the Lamé constants change discontinuously across the surface. Hence, at the surface, the divergence of the stress tensor reads
equation M3514
In other words, tidal fields produce a force onto an elastic medium via gradients in the shear modulus (second Lamé constant). The gradient of the shear modulus can be written in terms of a Dirac delta function, equation M36, for a flat surface at z = 0 with unit normal vector equation M37. The response to gravity strain fields is obtained applying the boundary condition of vanishing surface traction, equation M38:
equation M3915
Once the seismic strain field is calculated, it can be used to obtain the seismic stress, which determines the displacement field equation M40 according to Eq. (11). In this way, one can for example calculate that a seismometer or gravimeter can observe GWs by monitoring surface displacement as was first calculated by Dyson [67].
Coupling in non-uniform, static gravity fields If the gravity field is static, but non-uniform, then displacement equation M41 of the test mass in this field due to a non-gravitational fluctuating force is associated with a changing gravity acceleration according to
equation M4216
We introduce a characteristic length λ, over which gravity acceleration varies significantly. Hence, we can rewrite the last equation in terms of the associated test-mass displacement ζ
equation M4317
where we have neglected directional dependence and numerical factors. The acceleration change from motion in static, inhomogeneous fields is generally more significant at low frequencies. Let us consider the specific case of a suspended test mass. It responds to fluctuations in horizontal gravity acceleration. The test mass follows the motion of the suspension point in vertical direction (i.e., no seismic isolation), while seismic noise in horizontal direction is suppressed according to Eq. (3). Accordingly, it is possible that the unsuppressed vertical (z-axis) seismic noise ξz(t) coupling into the horizontal (x-axis) motion of the test mass through the term ∂xgz = ∂zgx dominates over the gravity response term in Eq. (2). Due to additional coupling mechanisms between vertical and horizontal motion in real seismic-isolation systems, test masses especially in GW detectors are also isolated in vertical direction, but without achieving the same noise suppression as in horizontal direction. For example, the requirements on vertical test-mass displacement for Advanced LIGO are a factor 1000 less stringent than on the horizontal displacement [22]. Requirements can be set on the vertical isolation by estimating the coupling of vertical motion into horizontal motion, which needs to take the gravity-gradient coupling of Eq. (16) into account. Although, because of the frequency dependence, gravity-gradient effects are more significant in low-frequency detectors, such as the space-borne GW detector LISA [154].
Next, we calculate an estimate of gravity gradients in the vicinity of test masses in large-scale GW detectors, and see if the gravity-gradient coupling matters compared to mechanical vertical-to-horizontal coupling.
One contribution to gravity gradients will come from the vacuum chamber surrounding the test mass. We approximate the shape of the chamber as a hollow cylinder with open ends (open ends just to simplify the calculation). In our calculation, the test mass can be offset from the cylinder axis and be located at any distance to the cylinder ends (we refer to this coordinate as height). The gravity field can be expressed in terms of elliptic integrals, but the explicit solution is not of concern here. Instead, let us take a look at the results in Figure Figure1.1. Gravity gradients ∂zgx vanish if the test mass is located on the symmetry axis or at height L/2. There are also two additional ∂zgx = 0 contour lines starting at the symmetry axis at heights ∼ 0.24 and ∼0.76. Let us assume that the test mass is at height 0.3L, a distance 0.05L from the cylinder axis, the total mass of the cylinder is M = 5000 kg, and the cylinder height is L = 4 m. In this case, the gravity-gradient induced vertical-to-horizontal coupling factor at 20 Hz is
equation M4418
This means that gravity-gradient induced coupling is extremely weak, and lies well below estimates of mechanical coupling (of order 0.001 in Advanced LIGO3). Even though the vacuum chamber was modelled with a very simple shape, and additional asymmetries in the mass distribution around the test mass may increase gravity gradients, it still seems very unlikely that the coupling would be significant. As mentioned before, one certainly needs to pay more attention when calculating the coupling at lower frequencies. The best procedure is of course to have a 3D model of the near test-mass infrastructure available and to use it for a precise calculation of the gravity-gradient field.
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Figure 1
Gravity gradients inside hollow cylinder. The total height of the cylinder is L, and M is its total mass. The radius of the cylinder is 0.3L. The axes correspond to the distance of the test mass from the symmetry axis of the cylinder, and its height above one of the cylinders ends. The plot on the right is simply a zoom of the left plot into the intermediate heights.
Gravimeters
Gravimeters are instruments that measure the displacement of a test mass with respect to a non-inertial reference rigidly connected to the ground. The test mass is typically supported mechanically or magnetically (atom-interferometric gravimeters are an exception), which means that the test-mass response to gravity is altered with respect to a freely falling test mass. We will use Eq. (2) as a simplified response model. There are various possibilities to measure the displacement of a test mass. The most widespread displacement sensors are based on capacitive readout, as for example used in superconducting gravimeters (see Figure Figure22 and [96]). Sensitive displacement measurements are in principle also possible with optical readout systems; a method that is (necessarily) implemented in atom-interferometric gravimeters [137], and prototype seismometers [34] (we will explain the distinction between seismometers and gravimeters below). As will become clear in Section 2.4, optical readout is better suited for displacement measurements over long baselines, as required for the most sensitive gravity strain measurements, while the capacitive readout should be designed with the smallest possible distance between the test mass and the non-inertial reference [104].
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Figure 2
Sketch of a levitated sphere serving as test mass in a superconducting gravimeter. Dashed lines indicate magnetic field lines. Coils are used for levitation and precise positioning of the sphere. Image reproduced with permission from [96]; copyright by Elsevier.
Let us take a closer look at the basic measurement scheme of a superconducting gravimeter shown in Figure Figure2.2. The central part is formed by a spherical superconducting shell that is levitated by superconducting coils. Superconductivity provides stability of the measurement, and also avoids some forms of noise (see [96] for details). In this gravimeter design, the lower coil is responsible mostly to balance the mean gravitational force acting on the sphere, while the upper coil modifies the magnetic gradient such that a certain “spring constant” of the magnetic levitation is realized. In other words, the current in the upper coil determines the resonance frequency in Eq. (2).
Capacitor plates are distributed around the sphere. Whenever a force acts on the sphere, the small signal produced in the capacitive readout is used to immediately cancel this force by a feedback coil. In this way, the sphere is kept at a constant location with respect to the external frame. This illustrates a common concept in all gravimeters. The displacement sensors can only respond to relative displacement between a test mass and a surrounding structure. If small gravity fluctuations are to be measured, then it is not sufficient to realize low-noise readout systems, but also vibrations of the surrounding structure forming the reference frame must be as small as possible. In general, as we will further explore in the coming sections, gravity fluctuations are increasingly dominant with decreasing frequency. At about 1 mHz, gravity acceleration associated with fluctuating seismic fields become comparable to seismic acceleration, and also atmospheric gravity noise starts to be significant [53]. At higher frequencies, seismic acceleration is much stronger than typical gravity fluctuations, which means that the gravimeter effectively operates as a seismometer. In summary, at sufficiently low frequencies, the gravimeter senses gravity accelerations of the test mass with respect to a relatively quiet reference, while at higher frequencies, the gravimeter senses seismic accelerations of the reference with respect to a test mass subject to relatively small gravity fluctuations. In superconducting gravimeters, the third important contribution to the response is caused by vertical motion ξ(t) of a levitated sphere against a static gravity gradient (see Section 2.1.4). As explained above, feedback control suppresses relative motion between sphere and gravimeter frame, which causes the sphere to move as if attached to the frame or ground. In the presence of a static gravity gradient ∂zgz, the motion of the sphere against this gradient leads to a change in gravity, which alters the feedback force (and therefore the recorded signal). The full contribution from gravitational, δa(t), and seismic, equation M45, accelerations can therefore be written
equation M4619
It is easy to verify, using Eqs. (2) and (3), that the relative amplitude of gravity and seismic fluctuations from the first two terms is independent of the test-mass support. Therefore, vertical seismic displacement of the reference frame must be considered fundamental noise of gravimeters and can only be avoided by choosing a quiet measurement site. Obviously, Eq. (19) is based on a simplified support model. One of the important design goals of the mechanical support is to minimize additional noise due to non-linearities and cross-coupling. As is explained further in Section 2.3, it is also not possible to suppress seismic noise in gravimeters by subtracting the disturbance using data from a collocated seismometer. Doing so inevitably turns the gravimeter into a gravity gradiometer.
Gravimeters target signals that typically lie well below 1 mHz. Mechanical or magnetic supports of test masses have resonance frequencies at best slightly below 10 mHz along horizontal directions, and typically above 0.1 Hz in the vertical direction [23, 174]4. Well below resonance frequency, the response function can be approximated as equation M47. At first, it may look as if the gravimeter should not be sensitive to very low-frequency fluctuations since the response becomes very weak. However, the strength of gravity fluctuations also strongly increases with decreasing frequency, which compensates the small response. It is clear though that if the resonance frequency was sufficiently high, then the response would become so weak that the gravity signal would not stand out above other instrumental noise anymore. The test-mass support would be too stiff. The sensitivity of the gravimeter depends on the resonance frequency of the support and the intrinsic instrumental noise. With respect to seismic noise, the stiffness of the support has no influence as explained before (the test mass can also fall freely as in atom interferometers).
For superconducting gravimeters of the Global Geodynamics Project (GGP) [52], the median spectra are shown in Figure Figure3.3. Between 0.1 mHz and 1 mHz, atmospheric gravity perturbations typically dominate, while instrumental noise is the largest contribution between 1 mHz and 5 mHz [96]. The smallest signal amplitudes that have been measured by integrating long-duration signals is about 10−12 m/s2. A detailed study of noise in superconducting gravimeters over a larger frequency range can be found in [145]. Note that in some cases, it is not fit to categorize seismic and gravity fluctuations as noise and signal. For example, Earth’s spherical normal modes coherently excite seismic and gravity fluctuations, and the individual contributions in Eq. (19) have to be understood only to accurately translate data into normal-mode amplitudes [55].
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Figure 3
Median spectra of superconducting gravimeters of the GGP. Image reproduced with permission from [48]; copyright by APS.
Gravity gradiometers
It is not the purpose of this section to give a complete overview of the different gradiometer designs. Gradiometers find many practical applications, for example in navigation and resource exploration, often with the goal to measure static or slowly changing gravity gradients, which do not concern us here. For example, we will not discuss rotating gradiometers, and instead focus on gradiometers consisting of stationary test masses. While the former are ideally suited to measure static or slowly changing gravity gradients with high precision especially under noisy conditions, the latter design has advantages when measuring weak tidal fluctuations. In the following, we only refer to the stationary design. A gravity gradiometer measures the relative acceleration between two test masses each responding to fluctuations of the gravity field [102, 125]. The test masses have to be located close to each other so that the approximation in Eq. (4) holds. The proximity of the test masses is used here as the defining property of gradiometers. They are therefore a special type of gravity strainmeter (see Section 2.4), which denotes any type of instrument that measures relative gravitational acceleration (including the even more general concept of measuring space-time strain).
Gravity gradiometers can be realized in two versions. First, one can read out the position of two test masses with respect to the same rigid, non-inertial reference. The two channels, each of which can be considered a gravimeter, are subsequently subtracted. This scheme is for example realized in dual-sphere designs of superconducting gravity gradiometers [90] or in atom-interferometric gravity gradiometers [159].
It is schematically shown in Figure Figure4.4. Let us first consider the dual-sphere design of a superconducting gradiometer. If the reference is perfectly stiff, and if we assume as before that there are no cross-couplings between degrees of freedom and the response is linear, then the subtraction of the two gravity channels cancels all of the seismic noise, leaving only the instrumental noise and the differential gravity signal given by the second line of Eq. (4). Even in real setups, the reduction of seismic noise can be many orders of magnitude since the two spheres are close to each other, and the two readouts pick up (almost) the same seismic noise [125]. This does not mean though that gradiometers are necessarily more sensitive instruments to monitor gravity fields. A large part of the gravity signal (the common-mode part) is subtracted together with the seismic noise, and the challenge is now passed from finding a seismically quiet site to developing an instrument with lowest possible intrinsic noise.
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Figure 4
Basic scheme of a gravity gradiometer for measurements along the vertical direction. Two test masses are supported by horizontal cantilevers (superconducting magnets, …). Acceleration of both test masses is measured against the same non-inertial reference frame, which is connected to the ground. Each measurement constitutes one gravimeter. Subtraction of the two channels yields a gravity gradiometer.
The atom-interferometric gradiometer differs in some important details from the superconducting gradiometer. The test masses are realized by ultracold atom clouds, which are (nearly) freely falling provided that magnetic shielding of the atoms is sufficient, and interaction between atoms can be neglected. Interactions of a pair of atom clouds with a laser beam constitute the basic gravity gradiometer scheme. Even though the test masses are freely falling, the readout is not generally immune to seismic noise [80, 18]. The laser beam interacting with the atom clouds originates from a source subject to seismic disturbances, and interacts with optics that require seismic isolation. Schemes have been proposed that could lead to a large reduction of seismic noise [178, 77], but their effectiveness has not been tested in experiments yet. Since the differential position (or tidal) measurement is performed using a laser beam, the natural application of atom-interferometer technology is as gravity strainmeter (as explained before, laser beams are favorable for differential position measurements over long baselines). Nonetheless, the technology is currently insufficiently developed to realize large-baseline experiments, and we can therefore focus on its application in gradiometry. Let us take a closer look at the response of atom-interferometric gradiometers to seismic noise. In atom-interferometric detectors (excluding the new schemes proposed in [178, 77]), one can show that seismic acceleration δα(ω) of the optics or laser source limits the sensitivity of a tidal measurement according to
equation M4820
where L is the separation of the two atom clouds, and is the speed of light. It should be emphasized that the seismic noise remains, even if all optics and the laser source are all linked to the same infinitely stiff frame. In addition to this noise term, other coupling mechanisms may play a role, which can however be suppressed by engineering efforts. The noise-reduction factor ωL/c needs to be compared with the common-mode suppression of seismic noise in superconducting gravity gradiometers, which depends on the stiffness of the instrument frame, and on contamination from cross coupling of degrees-of-freedom. While the seismic noise in Eq. (20) is a fundamental noise contribution in (conventional) atom-interferometric gradiometers, the noise suppression in superconducting gradiometers depends more strongly on the engineering effort (at least, we venture to claim that common-mode suppression achieved in current instrument designs is well below what is fundamentally possible).
To conclude this section, we discuss in more detail the connection between gravity gradiometers and seismically (actively or passively) isolated gravimeters. As we have explained in Section 2.2, the sensitivity limitation of gravimeters by seismic noise is independent of the mechanical support of the test mass (assuming an ideal, linear support). The main purpose of the mechanical support is to maximize the response of the test mass to gravity fluctuations, and thereby increase the signal with respect to instrumental noise other than seismic noise. Here we will explain that even a seismic isolation of the gravimeter cannot overcome this noise limitation, at least not without fundamentally changing its response to gravity fluctuations. Let us first consider the case of a passively seismically isolated gravimeter. For example, we can imagine that the gravimeter is suspended from the tip of a strong horizontal cantilever. The system can be modelled as two oscillators in a chain, with a light test mass m supported by a heavy mass M representing the gravimeter (reference) frame, which is itself supported from a point rigidly connected to Earth. The two supports are modelled as harmonic oscillators. As before, we neglect cross coupling between degrees of freedom. Linearizing the response of the gravimeter frame and test mass for small accelerations, and further neglecting terms proportional to m/M, one finds the gravimeter response to gravity fluctuations:
equation M4921
Here, ω1, γ1 are the resonance frequency and damping of the gravimeter support, while ω2, γ2 are the resonance frequency and damping of the test-mass support. The response and isolation functions R(·), S(·) are defined in Eqs. (2) and (3). Remember that Eq. (21) is obtained as a differential measurement of test-mass acceleration versus acceleration of the reference frame. Therefore, δg1(ω) denotes the gravity fluctuation at the center-of-mass of the gravimeter frame, and δg2(ω) at the test mass. An infinitely stiff gravimeter suspension, ω1 → ∞, yields R(ω; ω1, γ1) = 0, and the response turns into the form of the non-isolated gravimeter. The seismic isolation is determined by
equation M5022
We can summarize the last two equations as follows. At frequencies well above ω1, the seismically isolated gravimeter responds like a gravity gradiometer, and seismic noise is strongly suppressed. The deviation from the pure gradiometer response ∼ δg2(ω) − δg1(ω) is determined by the same function S(ω; ω1, γ1) that describes the seismic isolation. In other words, if the gravity gradient was negligible, then we ended up with the conventional gravimeter response, with signals suppressed by the seismic isolation function. Well below ω1, the seismically isolated gravimeter responds like a conventional gravimeter without seismic-noise reduction. If the centers of the masses m (test mass) and M (reference frame) coincide, and therefore δg1(ω) = δg2(ω), then the response is again like a conventional gravimeter, but this time suppressed by the isolation function S(ω; ω1, γ1).
Let us compare the passively isolated gravimeter with an actively isolated gravimeter. In active isolation, the idea is to place the gravimeter on a stiff platform whose orientation can be controlled by actuators. Without actuation, the platform simply follows local surface motion. There are two ways to realize an active isolation. One way is to place a seismometer next to the platform onto the ground, and use its data to subtract ground motion from the platform. The actuators cancel the seismic forces. This scheme is called feed-forward noise cancellation. Feed-forward cancellation of gravity noise is discussed at length in Section 7.1, which provides details on its implementation and limitations. The second possibility is to place the seismometer together with the gravimeter onto the platform, and to suppress seismic noise in a feedback configuration [4, 2]. In the following, we discuss the feed-forward technique as an example since it is easier to analyze (for example, feedback control can be unstable [4]). As before, we focus on gravity and seismic fluctuations. The seismometer’s intrinsic noise plays an important role in active isolation limiting its performance, but we are only interested in the modification of the gravimeter’s response. Since there is no fundamental difference in how a seismometer and a gravimeter respond to seismic and gravity fluctuations, we know from Section 2.2 that the seismometer output is proportional to δg1(ω) − δα(ω), i.e., using a single test mass for acceleration measurements, seismic and gravity perturbations contribute in the same way. A transfer function needs to be multiplied to the acceleration signals, which accounts for the mechanical support and possibly also electronic circuits involved in the seismometer readout. To cancel the seismic noise of the platform that carries the gravimeter, the effect of all transfer functions needs to be reversed by a matched feed-forward filter. The output of the filter is then equal to δg1(ω) − δα(ω) and is added to the motion of the platform using actuators cancelling the seismic noise and adding the seismometer’s gravity signal. In this case, the seismometer’s gravity signal takes the place of the seismic noise in Eq. (3). The complete gravity response of the actively isolated gravimeter then reads
equation M5123
The response is identical to a gravity gradiometer, where ω2, γ2 are the resonance frequency and damping of the gravimeter’s test-mass support. In reality, instrumental noise of the seismometer will limit the isolation performance and introduce additional noise into Eq. (23). Nonetheless, Eqs. (21) and (23) show that any form of seismic isolation turns a gravimeter into a gravity gradiometer at frequencies where seismic isolation is effective. For the passive seismic isolation, this means that the gravimeter responds like a gradiometer at frequencies well above the resonance frequency ω1 of the gravimeter support, while it behaves like a conventional gravimeter below ω1. From these results it is clear that the design of seismic isolations and the gravity response can in general not be treated independently. As we will see in Section 2.4 though, tidal measurements can profit strongly from seismic isolation especially when common-mode suppression of seismic noise like in gradiometers is insufficient or completely absent.
Gravity strainmeters
Gravity strain is an unusual concept in gravimetry that stems from our modern understanding of gravity in the framework of general relativity. From an observational point of view, it is not much different from elastic strain. Fluctuating gravity strain causes a change in distance between two freely falling test masses, while seismic or elastic strain causes a change in distance between two test masses bolted to an elastic medium. It should be emphasized though that we cannot always use this analogy to understand observations of gravity strain [106]. Fundamentally, gravity strain corresponds to a perturbation of the metric that determines the geometrical properties of spacetime [124]. We will briefly discuss GWs, before returning to a Newtonian description of gravity strain.
Gravitational waves are weak perturbations of spacetime propagating at the speed of light. Freely falling test masses change their distance in the field of a GW. When the length of the GW is much larger than the separation between the test masses, it is possible to interpret this change as if caused by a Newtonian force. We call this the long-wavelength regime. Since we are interested in the low-frequency response of gravity strainmeters throughout this article (i.e., frequencies well below 100 Hz), this condition is always fulfilled for Earth-bound experiments. The effect of a gravity-strain field equation M52 on a pair of test masses can then be represented as an equivalent Newtonian tidal field
equation M5324
Here, equation M54 is the relative acceleration between two freely falling test masses, L is the distance between them, and equation M55 is the unit vector pointing from one to the other test mass, and equation M56 its transpose. As can be seen, the gravity-strain field is represented by a 3 × 3 tensor. It contains the space-components of a 4-dimensional metric perturbation of spacetime, and determines all properties of GWs5. Note that the strain amplitude h in Eq. (24) needs to be multiplied by 2 to obtain the corresponding amplitude of the metric perturbation (e.g., the GW amplitude). Throughout this article, we define gravity strain as h = ΔL/L, while the effect of a GW with amplitude aGW on the separation of two test mass is determined by aGW = 2ΔL/L.
The strain field of a GW takes the form of a quadrupole oscillation with two possible polarizations commonly denoted × (cross)-polarization and +(plus)-polarization. The arrows in Figure Figure55 indicate the lines of the equivalent tidal field of Eq. (24).
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Figure 5
Polarizations of a gravitational wave.
Consequently, to (directly) observe GWs, one can follow two possible schemes: (1) the conventional method, which is a measurement of the relative displacement of suspended test masses typically carried out along two perpendicular baselines (arms); and (2) measurement of the relative rotation between two suspended bars. Figure Figure66 illustrates the two cases. In either case, the response of a gravity strainmeter is obtained by projecting the gravity strain tensor onto a combination of two unit vectors, equation M57 and equation M58, that characterize the orientation of the detector, such as the directions of two bars in a rotational gravity strain meter, or of two arms of a conventional gravity strain meter. This requires us to define two different gravity strain projections. The projection for the rotational strain measurement is given by
equation M5925
where the subscript × indicates that the detector responds to the ×-polarization assuming that the x, y-axes (see Figure Figure5)5) are oriented along two perpendicular bars. The vectors equation M60 and equation M61 are rotated counter-clockwise by 90° with respect to equation M62 and equation M63. In the case of perpendicular bars equation M64 and equation M65. The corresponding projection for the conventional gravity strain meter reads
equation M6626
The subscript + indicates that the detector responds to the +-polarization provided that the x, y-axes are oriented along two perpendicular baselines (arms) of the detector. The two schemes are shown in Figure Figure6.6. The most sensitive GW detectors are based on the conventional method, and distance between test masses is measured by means of laser interferometry. The LIGO and Virgo detectors have achieved strain sensitivities of better than 10−22 Hz−1/2 between about 50 Hz and 1000 Hz in past science runs and are currently being commissioned in their advanced configurations [91, 7]. The rotational scheme is realized in torsion-bar antennas, which are considered as possible technology for sub-Hz GW detection [155, 69]. However, with achieved strain sensitivity of about 10−8 Hz−1/2 near 0.1 Hz, the torsion-bar detectors are far from the sensitivity we expect to be necessary for GW detection [88].
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Figure 6
Sketches of the relative rotational and displacement measurement schemes.
Let us now return to the discussion of the previous sections on the role of seismic isolation and its impact on gravity response. Gravity strainmeters profit from seismic isolation more than gravimeters or gravity gradiometers. We have shown in Section 2.2 that seismically isolated gravimeters are effectively gravity gradiometers. So in this case, seismic isolation changes the response of the instrument in a fundamental way, and it does not make sense to talk of seismically isolated gravimeters. Seismic isolation could in principle be beneficial for gravity gradiometers (i.e., the acceleration of two test masses is measured with respect to a common rigid, seismically isolated reference frame), but the common-mode rejection of seismic noise (and gravity signals) due to the differential readout is typically so high that other instrumental noise becomes dominant. So it is possible that some gradiometers would profit from seismic isolation, but it is not generally true. Let us now consider the case of a gravity strainmeter. As explained in Section 2.3, we distinguish gradiometers and strainmeters by the distance of their test masses. For example, the distance of the LIGO or Virgo test masses is 4 km and 3 km respectively. Seismic noise and terrestrial gravity fluctuations are insignificantly correlated between the two test masses within the detectors’ most sensitive frequency band (above 10 Hz). Therefore, the approximation in Eq. (4) does not apply. Certainly, the distinction between gravity gradiometers and strainmeters remains somewhat arbitrary since at any frequency the approximation in Eq. (4) can hold for one type of gravity fluctuation, while it does not hold for another. Let us adopt a more practical definition at this point. Whenever the design of the instrument places the test masses as distant as possible from each other given current technology, then we call such an instrument strainmeter. In the following, we will discuss seismic isolation and gravity response for three strainmeter designs, the laser-interferometric, atom-interferometric, and superconducting strainmeters. It should be emphasized that the atom-interferometric and superconducting concepts are still in the beginning of their development and have not been realized yet with scientifically interesting sensitivities.
Laser-interferometric strainmeters The most sensitive gravity strainmeters, namely the large-scale GW detectors, use laser interferometry to read out the relative displacement between mirror pairs forming the test masses. Each test mass in these detectors is suspended from a seismically isolated platform, with the suspension itself providing additional seismic isolation. Section 2.1.1 introduced a simplified response and isolation model based on a harmonic oscillator characterized by a resonance frequency ω0 and viscous damping γ6. In a multi-stage isolation and suspension system as realized in GW detectors (see for example [37, 121]), coupling between multiple oscillators cannot be neglected, and is fundamental to the seismic isolation performance, but the basic features can still be explained with the simplified isolation and response model of Eqs. (2) and (3). The signal output of the interferometer is proportional to the relative displacement between test masses. Since seismic noise is approximately uncorrelated between two distant test masses, the differential measurement itself cannot reject seismic noise as in gravity gradiometers. Without seismic isolation, the dominant signal would be seismic strain, i.e., the distance change between test masses due to elastic deformation of the ground, with a value of about 10−15 Hz−1/2 at 50 Hz (assuming kilometer-scale arm lengths). At the same time, without seismically isolated test masses, the gravity signal can only come from the ground response to gravity fluctuations as described in Section 2.1.3, and from the Shapiro time delay as described in Section 2.1.2.
不 可 使 慈 愛 誠 實 離 開 你 ． 要 繫 在 你 頸 項 上 、 刻 在 你 心 版 上 ．
Let not mercy and truth forsake thee: bind them about thy neck; write them upon the table of thine heart:這 樣 、 你 必 在 神 和 世 人 眼 前 蒙 恩 寵 、 有 聰 明 。So shalt thou find favour and good understanding in the sight of God and man.你 要 專 心 仰 賴 耶 和 華 、 不 可 倚 靠 自 己 的 聰 明 Trust in the LORD with all thine heart; and lean not unto thine own understanding.
在 你 一 切 所 行 的 事 上 、 都 要 認 定 他 、 他 必 指 引 你 的 路 。 In all thy ways acknowledge him, and he shall direct thy paths.Proverbs3:3~6
Today I am going away for the weekend to photograph some more churches in Auvergne. I will resume uploading photographs of Normandy on Sunday evening, or possibly only on Monday morning. Thank you for your understanding.
For someone like me, who has set himself the task to visit and document photographically as many as possible of those wonderful Romanesque churches and monasteries, a trip to Normandy is both cause for despair and for enchanted amazement. Despair, because the Norman architect, at the time of the Romanesque which coincided with the conquest of Britain by Duke William in 1066 and the tremendous influx of power and riches that ensued, that architect is above all focused on efficiency and the projection of power and majesty. For that architect, the absolute must, the beginning and the end of church building, is the wall. Sculpture doesn’t matter. When it exists at all, it is often relegated to simple modillions under the cornice that supports the roof. The bare wall, perfectly aligned and appareled, reigns as the undisputed king of Norman Romanesque. He who likes to smile and wonder at the ingenuity and inventiveness of Mediæval sculptors, is most of the time sorely disappointed by the utter lack of adornment of those great and tall Norman churches, next to which the barest Cistercian sanctuaries look positively alive and overflowing under the comparatively unbridled abundance of rinceaux, human figures and assorted creatures.
No sculpture to speak of, then, is the norm in Normandy. But on the other hand, the masterfulness of the architects and masons turns the job of putting one stone on top of another into a veritable art: it is here, in Normandy, that was first experimented the very innovation that would bring about the end of the Romanesque: the voûte d’ogives, the rib vaulting from which the whole world of Gothic derives. It is in Normandy that it was first imagined and implemented, even as the 11th century hadn’t yet come to a close. We will see where, and how.
Founded around 1060 by Duke William, Conqueror to be, and dedicated to saint Étienne (Saint Stephen), the first martyr, the Abbaye aux Hommes (“Men’s Abbey”) was for the Duke, just like the Abbaye aux Dames (“Ladies’ Abbey”) was for his wife Mathilda of Flanders, a gesture of atonement for the sin of having married at a level of kinship prohibited by canon law —unless a special dispensation had been requested in advance from the Pope, which hadn’t been the case. The wedding took place in 1047 and the ducal couple was interdicted by Pope Leon IX in 1049. It is dubious that such interdiction had any substantial consequences in practice, as it is only in 1059 that Lanfranc of Pavia, then the most prominent intellectual figure of Normandy, was sent to Rome to obtain the required dispensation from Pope Nicholas II. William and Mathilda were subsequently “officially” married in 1063, and part of the deal was that each would found an abbey.
It is to be noted that, out of the 18 abbeys founded in Normandy under Duke William, only those two were directly founded by the ducal couple. William was buried in the Abbaye aux Hommes, just like Mathilda was in the Abbaye aux Dames, which we will soon visit.
Lanfranc was appointed first abbot of Saint Stephen’s Abbey in 1066 and archbishop of Canterbury in 1070. The founding charter of the abbey, granted in 1066 by William, freshly ascended to King of England, still exists and is kept in the municipal archives of the city of Caen, one of the two major cities of Normandy with Rouen.
The abbey, and in particular the church, was built between 1065 and 1083. The influx of riches from the Conquest, as well as the existence of stone quarries nearby, providing ample quantities of the famous pierre de Caen, explain the swiftness. Generously endowed by the Duke with revenues from land, villages and towns all over Normandy, but also in England, the abbey was to become, for many centuries, one of the richest and most powerful in all of what is today’s France.
Architecturally, the abbey church is of Lombard inspiration, as Lanfranc was himself from Lombardy. It inherited architectural features from the abbey church of Jumièges, completed a few decades earlier, such as the western massif with two towers, but more importantly brought about a decisive innovation: the façade harmonique (“harmonious façade”), which can be briefly described as unadorned but of such perfect proportions and apparel that it radiates majesty, power and visual harmony. This type of façade will be found in many Norman churches.
The abbey church was listed as a Historic Landmark on the very first list of 1840. The conventual buildings were rebuilt in the 18th century and are occupied today by the city hall.
Even though no one disputes that Norman architects and masons were true innovators in their own right, they also integrated influences from Cluniac architects: to wit, the use of broken or “pointy” arches which, no more than rib vaulting, were inventions of the Gothic Age but indeed of the Romanesque one...
This is a view of the southern aisle, looking through the transept arm and into the ambulatory at the back of the church, with its radiating chapels.
Dr. Jennifer Doudna stands at the intersection of biology and history, a scientist whose discoveries have irrevocably altered the course of human understanding. Her pioneering work on CRISPR gene editing has not only transformed molecular biology but has also raised profound ethical and philosophical questions about the very fabric of life. A Nobel laureate, she navigates these frontiers with both precision and an acute awareness of the weight of her discoveries. Her scientific vision is tempered by an almost preternatural sense of responsibility.
I photographed Doudna twice. The first time was on July 7, 2021, at the Innovative Genomics Institute (IGI) during the height of the COVID-19 pandemic. The world outside was shrouded in fog, a thick marine layer that wrapped around Berkeley’s hills, rendering everything indistinct and softened. Inside, the normally bustling institute was eerily quiet. There were no students gathering in the hallways, no hurried footsteps of researchers moving between lab stations. It was a fitting setting for a scientist whose work feels as though it has emerged from the mist of scientific uncertainty to reveal something dazzlingly clear.
In that empty space, Doudna’s presence was striking. She moved with the quiet intensity of someone accustomed to deep thought, her mind constantly engaged in the grand puzzle of molecular biology. The discovery she had helped bring to light, CRISPR-Cas9, had given scientists an unprecedented ability to edit genes with ease and precision. For the first time in human history, we had the capacity to rewrite the very code of life. With CRISPR, the genome was no longer a fixed text but an editable manuscript, full of potential revisions and possibilities.
The implications were staggering. Within just a few years, researchers had already begun using CRISPR to correct genetic diseases in animal models, paving the way for future human therapies. In agriculture, scientists were engineering crops resistant to drought and disease, potentially revolutionizing global food security. Yet for all its promise, CRISPR was also a technology fraught with ethical and societal concerns. The ability to alter DNA brought with it the specter of unintended consequences: off-target effects, genetic inequalities, and the possibility of enhancement rather than just therapy.
Doudna was acutely aware of these challenges. She has often spoken of the moment when, after her team’s initial breakthroughs, she awoke from a dream in which someone had asked her to explain CRISPR to Adolf Hitler. The dream unsettled her—not because the science was flawed, but because its power could so easily be misused. Unlike many scientists, she did not shy away from this realization. Instead, she became one of the most vocal advocates for ethical guidelines and called for global discussions on how gene editing should be regulated.
The second time I photographed her was at her home. It was a more personal setting, where she stood alongside her husband, biochemist Jamie Cate. This session would result in her official Nobel portrait, an image meant to capture not only the scientist but the thinker—the human being at the center of one of biology’s most consequential breakthroughs. In this environment, away from the sterility of the lab, Doudna was quick to smile, yet just as quick to consider the larger implications of her work. CRISPR, in her mind, was not simply a tool of innovation. It was a force that demanded careful stewardship.
Few scientists can move so effortlessly between the precise world of molecular biology and the broad, messy conversations of bioethics, governance, and human destiny. But Doudna is one of them. She understands that the future of gene editing is not simply about what science can achieve, but about what it should achieve. This balance between the limitless potential of discovery and the necessity of caution defines her approach.
Even as CRISPR is being explored as a treatment for sickle cell disease, blindness, and certain cancers, she remains focused on ensuring that this technology does not outpace our ability to control it. She has advocated for a moratorium on heritable human genome editing, recognizing that the decision to alter the genetic blueprint of future generations is one that cannot be made lightly. The world may be racing toward a new era of genetic medicine. But if Doudna has her way, it will not be reckless.
Her legacy is still unfolding, but one truth is already apparent. The world she is shaping will look very different from the one she inherited. And as science advances, her voice will remain one of its most thoughtful, deliberate, and necessary guides. She is a scientist of precision, yes. But more importantly, she is a scientist of conscience.