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There's still a beauty in Greece and in being Greek. Even if these days it means reminding myself of what it was like growing up with Greek values and Greek traditions outside of Greece.
The drawing is part of a set created for Art Source Publishing illustrating what being Greek means to Greeks living abroad.
You can see the rest of the Traditionally Greek set too.
Daytime wind storm knocked over the sign at Value Village.
Bloor St. at St. Helens Ave., Bloordale, Toronto, Ontario, Canada.
May 4, 2018.
Be Your Own Beloved - June
Day 23 - Valuing Ourselves and Our Experience
I got rained out of my first location this morning, so it is by happenstance that I found myself at this beautiful, tranquil location. I was not prepared to shoot here, but I made the best of it, the light was too beautiful to pass up. I wish my face was a little sharper in focus, but overall pretty pleased.
See also: www.albelli.nl/onlinefotoboek-bekijken/66948188-f350-4898...
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And, as Apollo punished him (Marsyas), he cried, “Ah-h-h! why are you now tearing me apart? A flute has not the value of my life!”
Even as he shrieked out in his agony, his living skin was ripped off from his limbs, till his whole body was a flaming wound, with nerves and veins and viscera exposed.
But all the weeping people of that land, and all the Fauns and Sylvan Deities, and all the Satyrs, and Olympus, his loved pupil—even then renowned in song, and all the Nymphs, lamented his sad fate; and all the shepherds, roaming on the hills, lamented as they tended fleecy flocks.
And all those falling tears, on fruitful Earth, descended to her deepest veins, as drip the moistening dews,—and, gathering as a fount, turned upward from her secret-winding caves, to issue, sparkling, in the sun-kissed air, the clearest river in the land of Phrygia,—through which it swiftly flows between steep banks down to the sea: and, therefore, from his name, ’tis called “The Marsyas” to this very day.
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Apamea Cibotus, Apamea ad Maeandrum (on the Maeander), Apamea or Apameia (Ancient Greek: Ἀπάμεια, Ancient Greek: κιβωτός) was an ancient city in Anatolia founded in the 3rd century BC by Antiochus I Soter, who named it after his mother Apama. It was in Hellenistic Phrygia, but became part of the Roman province of Pisidia. It was near, but on lower ground than, Celaenae (Kelainai).
The site is now partly occupied by the city of Dinar (sometimes locally known also as Geyikler, "the gazelles," perhaps from a tradition of the Persian hunting-park, seen by Xenophon at Celaenae), which by 1911 was connected with İzmir by railway; there are considerable remains, including a theater and a great number of important Graeco-Roman inscriptions. Strabo (p. 577) says, that the town lies at the source (ekbolais) of the Marsyas, and the river flows through the middle of the city, having its origin in the city, and being carried down to the suburbs with a violent and precipitous current it joins the Maeander after the latter is joined by the Orgas (called the Catarrhactes by Herodotus, vii. 26).
The original inhabitants were residents of Celaenae who were compelled by Antiochus I Soter to move farther down the river, where they founded the city of Apamea (Strabo, xii. 577). Antiochus the Great transplanted many Jews there. (Josephus, Ant. xii. 3, § 4). It became a seat of Seleucid power, and a center of Graeco-Roman and Graeco-Hebrew civilization and commerce. There Antiochus the Great collected the army with which he met the Romans at Magnesia, and two years later the Treaty of Apamea between Rome and the Seleucid realm was signed there. After Antiochus' departure for the East, Apamea lapsed to the Pergamene kingdom and thence to Rome in 133 BCE, but it was resold to Mithridates V of Pontus, who held it till 120 BCE. After the Mithridatic Wars it became and remained a great center for trade, largely carried on by resident Italians and by Jews. By order of Flaccus, a large amount of Jewish money – nearly 45 kilograms of gold – intended for the Temple in Jerusalem was confiscated in Apamea in the year 62 BCE. In 84 BCE Sulla made it the seat of a conventus, and it long claimed primacy among Phrygian cities. When Strabo wrote, Apamea was a place of great trade in the Roman province of Asia, next in importance to Ephesus. Its commerce was owing to its position on the great road to Cappadocia, and it was also the center of other roads. When Cicero was proconsul of Cilicia, 51 BCE, Apamea was within his jurisdiction (ad Fam. xiii. 67), but the dioecesis, or conventus, of Apamea was afterwards attached to Asia. Pliny the Elder enumerates six towns which belonged to the conventus of Apamea, and he observes that there were nine others of little note.
coin of Kibotos
The city minted its own coins in antiquity. The name Cibotus appears on some coins of Apamea, and it has been conjectured that it was so called from the wealth that was collected in this great emporium; for kibôtos in Greek is a chest or coffer. Pliny (v. 29) says that it was first Celaenae, then Cibotus, and then Apamea; which cannot be quite correct, because Celaenae was a different place from Apamea, though near it. But there may have been a place on the site of Apamea, which was called Cibotus.
The country about Apamea has been shaken by earthquakes, one of which is recorded as having happened in the time of Claudius (Tacit. Ann. xii. 58); and on this occasion the payment of taxes to the Romans was remitted for five years. Nicolaus of Damascus (Athen. p. 332) records a violent earthquake at Apamea at a previous date, during the Mithridatic Wars: lakes appeared where none were before, and rivers and springs; and many which existed before disappeared. Strabo (p. 579) speaks of this great catastrophe, and of other convulsions at an earlier period.
Apamea continued to be a prosperous town under the Roman Empire. Its decline dates from the local disorganization of the empire in the 3rd century; and though a bishopric, it was not an important military or commercial center in Byzantine times. The Turks took it first in 1080, and from the late 13th century onwards it was always in Muslim hands. For a long period it was one of the greatest cities of Asia Minor, commanding the Maeander road; but when the trade routes were diverted to Constantinople it rapidly declined, and its ruin was completed by an earthquake.
Apamea in Jewish tradition
Apamea is mentioned in the Talmud. The passages relating to witchcraft in Apamea (Ber. 62a) and to a dream in Apamea (Niddah, 30b) probably refer to the Apamea in Phrygia which was looked upon as a fabulously distant habitation. Similarly the much-discussed passage, Yeb. 115b, which treats of the journey of the exilarch Isaac, should also be interpreted to mean a journey from Corduene to Apamea in Phrygia; for if Apamea in Mesene were meant (Brüll's Jahrb. x. 145) it is quite impossible that the Babylonians should have had any difficulty in identifying the body of such a distinguished personage.
Christian Apamea
Apamea Cibotus is enumerated by Hierocles among the episcopal cities of the Roman province of Pisidia. Lequien gives the names of nine of its bishops. The first is a Julianus of Apamea at the Maeander who, Eusebius records, was in about 253 reported by Alexander of Hierapolis (Phrygia) to have joined others in examining the claims of the Montanist Maximilla. The list of bishops from Pisidia who participated in the First Council of Nicaea (325) includes Tharsitius of Apamea. It also gives a Paulus of Apamea, but Lequien considers that in the latter case "Apamea" is a mistake for "Acmonia". A Bishop Theodulus of Apamea (who may, however, have been of Apamea in Bithynia) witnessed a will of Gregory of Nazianzus. Paulinus took part in the Council of Chalcedon (451) and was a signatory of the letter from the bishops of Pisidia to Emperor Leo I the Thracian concerning the killing in 457 of Proterius of Alexandria. In the early 6th century, Conon abandoned his bishopric of Apamea in Phrygia and became a military leader in a rebellion against Emperor Anastasius. The acts of the Second Council of Constantinople (553) were signed by "John by the mercy of God bishop of the city of Apamea in the province of Pisidia". Sisinnius of Apamea was one of the Pisidian bishops at the Second Council of Nicaea (787). The Council held at Constantinople in 879–880 was attended by two bishops of Apamea in Pisidia, one appointed by Patriarch Ignatius of Constantinople the other by Photios I of Constantinople (Wikipedia).
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By N.S. Gill
Updated December 09, 2019
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of 02
Apollo and Marsyas
Time and again in Greek mythology, we see mere mortals foolishly daring to compete with the gods. We call this human trait hubris. No matter how good a pride-filled mortal may be at his art, he can't win against a god and shouldn't even try. Should the mortal manage to earn the prize for the contest itself, there will be little time to glory in victory before the angered deity exacts revenge. It should, therefore, come as no surprise that in the story of Apollo and Marsyas, the god makes Marsyas pay.
It's Not Just Apollo
This hubris/revenge dynamic plays out again and again in Greek mythology. The origin of the spider in Greek myth comes from the contest between Athena and Arachne, a mortal woman who boasted that her weaving skill was better than that of the goddess Athena. To take her down a peg, Athena agreed to a contest, but then Arachne performed as well as her divine opponent. In response, Athena turned her into a spider (Arachnid).
A little later, a friend of Arachne and a daughter of Tantalus, named Niobe, boasted about her brood of 14 children. She claimed she was more fortunate than Artemis and Apollo's mother Leto, who only had two. Angered, Artemis and/or Apollo destroyed Niobe's children.
On our 60th Independence day ... Happy Birthday Pakistan (August 14, 1947-2007)
Pakistan zindabad ... Long live Pakistan
National Anthem www.youtube.com/watch?v=0MfL9b-kovY&mode=related&...
More about Pakistan is here en.wikipedia.org/wiki/Pakistan
A Beat Safari csapata (karácsonyra való telkintettel :D )
ezúttal Current Value-t látja vendégül!
▼ Current Value ▼
(Blackout NL, Critical Music, Subsistenz, TSM, MethLab)
Artist Profile : methlab-agency.com/agency/artist/current-value
Facebook : www.facebook.com/currentvalue
Soundcloud : twitter.com/TIMCURRENTVALUE
Website : www.currentvalue.eu/
▼ Midland Breakz - (UK) ▼
▼ Gosh - Highscore - (AT) ▼
▼ Konor - dnbnoise.com, wirsindcybo ▼
THE BEAT SAFARI CREW:
▼ SiN - Beat Safari, wirsindcybo ▼
▼ Khaist - Beat Safari ▼
▼ Stuy - Beat Safari ▼
▼ Mgl - Beat Safari ▼
▼ Mist - Beat Safari ▼
▼ Magematix - Beat Safari ▼
Deko: Goof Art Deko
JEGYEK A HELYSZÍNEN MÉG KAPHATÓK KORLÁTOZOTT SZÁMBAN:
- 3000 HUF
SEAT Leon MK2, is a sporty and practical hatchback known for its sharp handling and good value, sharing its chassis with the Volkswagen Golf. MK2 was introduced in May 2005.
The Leon MK2 is best known for its sporty handling, good value for money, and distinctive styling. It achieved a five-star Euro NCAP safety rating.
The Leon MK2 received a facelift in July 2009; model trims were Ecomotive, S, S Copa, SE Copa, FR, FR+, FR+ Supercopa, Cupra, Cupra R.
In the end of 2012, the Leon MK2 was succeeded by the the Leon MK3.
Announced at the Munch Motor Show, the SEAT car brand and the Leon range would cease production in 2030 and would be replaced by the Cupra brand, with SEAT's role as a mainstream car maker being taken over by Cupra.
Quick value study sketch. I think this may become one of my next watercolors. This was a bright, sunny day and the shapes of these barns creates a scene that caught my eye immediately.
Hopefully coming soon . . .
Sacrifice: an act of giving up something valued for the sake of something else regarded as more important or worthy.
People since the beginning, have been wondering what is the greatest sacrifice.
Some people would say its giving up everything for there kids for there happiness and success. Others would say its giving up there job, there money for others. But the real sacrifice must be a question of life and death.
The biggest sacrifice is giving up your life, something that you can never get back, for someone else. It is the most selfless action that exist.
Today, doing something that is for the sake of something/someone else is disappearing. Because we are so caught up with ourselves, we never think about the other 6 billion people on this planet. I personally think that this thinking is not helping anything. This is one of the reasons why war, pain, depression and ultimately death continues to exist. Because we are unwilling to help the person next to us instead of thinking of ourselves.
On another note, something very cool is happening today. I meeting with the head pro photographer for the magazine Worldwide Challenge. He has been the photographer for this magazine for over 25 years. We are going to shoot studio portraits. Im very happy for this!
Have a great Day!
Nathan
Crude tanker VALUE on her way to the Shell Refinery Pier in Geelong.
Ship Type: Crude Oil Tanker
Year Built: 2011
Length x Breadth: 244 m X 42 m
Gross Tonnage: 61336 t
DeadWeight: 115984 t
Flag: Malta
IMO: 9470131
MMSI: 215137000
even after a long time meddling in the grey, it's undeniable when i come across it that nothing beats a good, heavy black.
Dedicated to Anna STA, with many thanks for her supportive comments, as this flower's soft color and texture fits with the very discrete way she administers the groups Nature World, Flower & Blossom Group and Friends Forever!
Made from tutorial by Katie of Sew Katie Did (http://metrosupialdesigns.wordpress.com/2009/03/20/value-quilts-tutorial/)
I made this quilt for my 2 yrs old grandson. I used many children' fabrics, great fun!
The quilt measures: 49 inches x 77 inches (124 cm x196 cm)
All cotton (fabric and batting)
Machine pieced and quilted
Blogged here
The history of the Austrian Museum of Applied Arts/Contemporary Art
1863 / After many years of efforts by Rudolf Eitelberger decides Emperor Franz Joseph I on 7 March on the initiative of his uncle Archduke Rainer, following the model of the in 1852 founded South Kensington Museum (now the Victoria and Albert Museum, London), the establishment of the "k. k. Austrian Museum for Art and Industry" and apponted Rudolf von Eitelberger, the first professor of art history at the University of Vienna, to director. The museum should be serving as a specimen collection for artists, industrialists, and public and as a training and education center for designers and craftsmen.
1864/ on 12th of May, opened the museum - provisionally in premises of the ball house next to the Vienna Hofburg, the architect Heinrich von Ferstel for museum purposes had adapted. First exhibited objects are loans and donations from the imperial collections, monasteries, private property and from the kk polytechnic in Vienna. Reproductions, masters and plaster casts are standing value-neutral next originals.
1865-1897 / The Museum of Art and Industry publishes the journal Communications of Imperial (k. k.) Austrian Museum for Art and Industry .
1866 / Due to the lack of space in the ballroom setting up of an own museum building is accelerated. A first project of Rudolf von Eitelberger and Heinrich von Ferstel provides the integration of the museum in the project of imperial museums in front of the Hofburg Imperial Forum. Only after the failure of this project, the site of the former Exerzierfelds (parade ground) of the defense barracks before Stubentor the museum here is assigned, next to the newly created city park on the still being under development Rind Road.
1867 / Theoretical and practical training are combined with the establishment of the School of Applied Arts. This will initially be housed in the old gun factory, Währinger Straße 11-13/Schwarzspanierstrasse 17, Vienna 9.
1868 / With the construction of the building at Stubenring is started as soon as it is approved by Emperor Franz Joseph I. the second draft of Heinrich Ferstel.
1871 / The opening of the building at Stubering takes place after three years of construction, 15 November. Designed according to plans by Heinrich von Ferstel in the Renaissance style, it is the first built museum building on the ring. Objects from now on could be placed permanently and arranged according to main materials. / / The Arts School moves into the house on Stubenring. / / Opening of Austrian art and crafts exhibition.
1873 / Vienna World Exhibition. / / The Museum of Art and Industry and the Vienna School of Arts and Crafts are exhibiting together at Stubenring. / / Rudolf von Eitelberger organizes in the framework of the World Exhibition the worldwide first international art scientific congress in Vienna, thus emphasizing the orientation of the Museum on teaching and research. / / During the World Exhibition major purchases for the museum of funds of the Ministry are made, eg 60 pages of Indo-Persian Journal Mughal manuscript Hamzanama.
1877 / decision on the establishment of taxes for the award of Hoftiteln (court titels). With the collected amounts the local art industry can be promoted. / / The new building of the School of Applied Arts, adjoining the museum, Stubenring 3 , also designed by Heinrich von Ferstel, is opened.
1878 / participation of the Museum of Art and Industry and the School of Art at the Paris World Exhibition.
1884 / founding of the Vienna Arts and Crafts Association with seat in the museum. Many well-known companies and workshops (led by J. & L. Lobmeyr), personalities and professors of the arts and crafts school join the Arts and Crafts Association. Undertaking of this association is to further develop all creative and executive powers the arts and crafts since the 1860s has obtained. For this reason are organized various times changing, open to the public exhibitions at the Imperial Austrian Museum for Art and Industry. The exhibits can also be purchased. These new, generously carried out exhibitions give the club the necessary national and international resonance.
1885 / After the death of Rudolf von Eitelberger is Jacob von Falke, his longtime deputy, appointed manager. Falke plans all collection areas als well as publications to develop newly and systematically. With his popular publications he influences significantly the interior design style of the historicism in Vienna.
1888 / The Empress Maria Theresa exhibition revives the contemporary discussion with the high baroque in the history of art and in applied arts in particular.
1895 / end of the Directorate of Jacob von Falke. Bruno Bucher, longtime curator of the Museum of metal, ceramic and glass, and since 1885 deputy director, is appointed director.
1896 / The Vienna Congress exhibition launches the confrontation with the Empire and Biedermeier style, the sources of inspiration of Viennese Modernism .
1897 / end of the Directorate of Bruno Bucher. Arthur von Scala, Director of the Imperial Oriental Museum in Vienna since its founding in 1875 (renamed Imperial Austrian Trade Museum 1887), takes over the management of the Museum of Art and Industry. / / Scala wins Otto Wagner, Felician of Myrbach, Koloman Moser, Josef Hoffmann and Alfred Roller to work at the museum and school of applied arts. / / The style of the Secession is crucial for the Arts and Crafts School. Scala propagated the example of the Arts and Crafts Movement and makes appropriate acquisitions for the museum's collection.
1898 / Due to differences between Scala and the Arts and Crafts Association, which sees its influence on the Museum wane, Archduke Rainer puts down his function as protector. / / New statutes are written.
1898-1921 / The Museum magazine art and crafts replaces the Mittheilungen (Communications) and soon gaines international reputation.
1900 / The administration of Museum and Arts and Crafts School is disconnected.
1904 / The Exhibition of Old Vienna porcelain, the to this day most comprehensive presentation on this topic, brings with the by the Museum in 1867 definitely taken over estate of the " k. k. Aerarial Porcelain Manufactory" (Vienna Porcelain Manufactory) important pieces of collectors from all parts of the Habsburg monarchy together.
1907 / The Museum of Art and Industry takes over the majority of the inventories of the Imperial Austrian Trade Museum, including the by Arthur von Scala founded Asia collection and the extensive East Asian collection of Heinrich von Siebold .
1908 / Integration of the Museum of Art and Industry in the Imperial and Royal Ministry of Public Works.
1909 / separation of Museum and Arts and Crafts School, the latter remains subordinated to the Ministry of Culture and Education. / / After three years of construction, the according to plans of Ludwig Baumann extension building of the museum (now Weiskirchnerstraße 3, Wien 1) is opened. The museum receives thereby rooms for special and permanent exhibitions. / / Arthur von Scala retires, Eduard Leisching follows him as director. / / Revision of the statutes.
1909 / Archduke Carl exhibition. For the centenary of the Battle of Aspern. / / The Biedermeier style is discussed in exhibitions and art and crafts.
1914 / Exhibition of works by the Austrian art industry from 1850 to 1914, a competitive exhibition that highlights, among other things, the role model of the museum of arts and crafts in the fifty years of its existence.
1919 / After the founding of the First Republic it comes to assignments of former imperial possession to the museum, for example, of oriental carpets that are shown in an exhibition in 1920. The Museum now has one of the finest collections of oriental carpets worldwide .
1920 / As part of the reform of museums of the First Republic, the collection areas are delineated. The Antiquities Collection of the Museum of Art and Industry is given away to the Museum of Art History.
1922 / The exhibition of glasses of classicism, the Empire and Biedermeier time offers with precious objects from the museum and private collections an overview of the art of glassmaking from the former Austro-Hungarian Empire. / / Biedermeier glass serves as a model for contemporary glass production and designs, such as Josef Hoffmann.
1922 / affiliation of the museal inventory of the royal table and silver collection to the museum. Until the institutional separation the former imperial household and table decoration is co-managed by the Museum of Art and Industry and is inventoried for the first time by Richard Ernst.
1925 / After the end of the Directorate of Eduard Leisching Hermann Trenkwald is appointed director.
1926 / The exhibition Gothic in Austria gives a first comprehensive overview of the Austrian panel painting and of arts and crafts of the 12th to 16th Century.
1927 / August Schestag succeeds Hermann Trenkwald as director .
1930 / The Werkbund (artists' organization) Exhibition Vienna, A first comprehensive presentation of the Austrian Werkbund, takes place on the occasion of the meeting of the Deutscher Werkbund in Austria, it is organized by Josef Hoffmann in collaboration with Oskar Strnad, Josef Frank, Ernst Lichtblau and Clemens Holzmeister.
1931 / August Schestag finishes his Directorate .
1932 / Richard Ernst is the new director .
1936 and 1940 / In exchange with the Kunsthistorisches Museum (Museum of Art History), the museum at Stubenring gives away part of the sculptures and takes over craft inventories of the collection Albert Figdor and the Kunsthistorisches Museum.
1937 / The Collection of the Museum of Art and Industry is re-established by Richard Ernst according to periods. / / Oskar Kokoschka exhibition on the 50th birthday of the artist.
1938 / After the "Anschluss" of Austria by Nazi Germany, the museum was renamed "National Museum of Decorative Arts in Vienna".
1939-1945 / The museums are taking over numerous confiscated private collections. The collection of the "State Museum of Applied Arts in Vienna" is also enlarged in this way.
1945 / Partial destruction of the museum building by impact of war. / / War losses on collection objects, even in the places of rescue of objects.
1946 / The return of the outsourced objects of art begins. A portion of the during the Nazi time expropriated objects is returned in the following years.
1947 / The "State Museum of Applied Arts in Vienna" is renamed "Austrian Museum of Applied Arts".
1948 / The "Cathedral and Metropolitan Church of St. Stephen" organizes the exhibition The St. Stephen's Cathedral in the Museum of Applied Arts. History, monuments, reconstruction.
1949 / The Museum is reopened after repair of the war damages.
1950 / As last exhibition under director Richard Ernst takes place Great art from Austria's monasteries (Middle Ages).
1951 / Ignaz Schlosser is appointed manager.
1952 / The exhibition Social home decor, designed by Franz Schuster, makes the development of social housing in Vienna again the topic of the Museum of Applied Arts.
1955 / The comprehensive archive of the Wiener Werkstätte (workshop) is acquired.
1955-1985 / The Museum publishes the periodical ancient and modern art .
1956 / Exhibition New Form from Denmark, modern design from Scandinavia becomes topic of the museum and model.
1957 / On the occasion of the exhibition Venini Murano glass, the first presentation of Venini glass in Austria, there are significant purchases and donations for the collection of glass.
1958 / End of the Directorate Ignaz Schlosser
1959 / Viktor Griesmaier is appointed as the new director.
1960 / Exhibition Artistic creation and mass production of Gustavsberg, Sweden. Role model of Swedish design for the Austrian art and crafts.
1963 / For the first time in Europe, in the context of a comprehensive exhibition art treasures from Iran are shown.
1964 / The exhibition Vienna 1900 presents Crafts of Art Nouveau for the first time after the Second World War. / / It is started with the systematic processing of the archive of the Wiener Werkstätte. / / On the occasion of the founding anniversary grantes the exhibition 100 years Austrian Museum of Applied Arts using examples of historicism insights into the collection.
1965 / The Geymüllerschlössel is as a branch of the Museum angegliedert (annexed). Gleichzeitig (at the same time) with the building came the important collection of Franz Sobek - old Viennese clocks, emerged between 1760 and the second half of the 19th Century - and furniture from the years 1800 to 1840 in the possession of the MAK.
1966 / In the exhibition Selection 66 selected items of modern Austrian interior designers (male and female ones) are merged.
1967 / The Exhibition The Wiener Werkstätte. Modern Arts and Crafts from 1903 to 1932 is founding the boom that continues to today of Austria's most important design project in the 20th Century.
1968 / On Viktor Griesmaier follows Wilhelm Mrazek as director.
1969 / The exhibition Sitting 69 shows on the international modernism oriented positions of Austrian designers, inter alia by Hans Hollein.
1974 / For the first time outside of China Archaeological Finds of the People's Republic of China are shown in a traveling exhibition in the so-called Western world.
1979 / Gerhart Egger is appointed director .
1980 / The exhibition New Living. Viennese interior design 1918-1938 provides the first comprehensive presentation of the art space in Vienna during the interwar period.
1981 / Herbert Fux follows Gerhart Egger as Director.
1984 / Ludwig Neustift is appointed interim director. / / Exhibition Achille Castiglioni: Designer. First exhibition of the Italian designer in Austria
1986 / Peter NOEVER is appointed as Director and started building up the collection of contemporary art.
1987 / Josef Hoffmann. Ornament between hope and crime is the first comprehensive exhibition on the work of the architect and designer.
1989-1993 / General renovation of thee old buildings and construction of a two-storey underground storeroom and a connecting tract. A generous deposit for collection and additional exhibit spaces arise.
1989 / Exhibition Carlo Scarpa. The other city, the first comprehensive exhibition on the work of the architect outside Italy.
1990 / exhibition Hidden impressions. Japonisme in Vienna 1870-1930, first exhibition on the theme of the Japanese influence on the Viennese Modernism.
1991 / exhibition Donald Judd Architecture, first major presentation of the artist in Austria.
1992 / Magdalena Jetelová domestication of a pyramid (installation in the MAK portico).
1993 / The permanent collection is re-established, interventions of internationally recognized artists (Barbara Bloom, Eichinger oder Knechtl, Günther Förg, GANGART, Franz Graf, Jenny Holzer, Donald Judd, Peter Noever, Manfred Wakolbinger and Heimo Zobernig) update the prospects, in the sense of "Tradition and Experiment". The halls on Stubenring accommodate furthermore the study collection and the temporary exhibitions of contemporary artists reserved gallery. The building in the Weiskirchnerstraße is dedicated to changing exhibitions. / / The opening exhibition Vito Acconci. The City Inside Us shows a room installation by New York artist.
1994 / The Gefechtsturm (defence tower) Arenbergpark becomes branch of the MAK. / / Start of the cooperation MAK/MUAR - Schusev State Museum of Architecture Moscow. / / Ilya Kabakov: The Red Wagon (installation on the MAK terrace plateau).
1995 / The MAK founds the branch of MAK Center for Art and Architecture in Los Angeles, in the Schindler House and at the Mackey Apartments, MAK Artists and Architects-in-Residence Program starts in October 1995. / / Exhibition Sergei Bugaev Africa : Krimania.
1996 / For the exhibition Philip Johnson: Turning Point designs the American doyen of architectural designing the sculpture "Viennese Trio", which is located since 1998 at the Franz-Josefs-Kai/Schottenring.
1998 / The for the exhibition James Turrell. The other Horizon designed Skyspace today stands in the garden of MAK Expositur Geymüllerschlössel. / / Overcoming the utility. Dagobert Peche and the Wiener Werkstätte, the first comprehensive Personale of the work of the designer of Wiener Werkstätte after the Second World War.
1999 / Due to the Restitution Act and the Provenance Research from now on numerous during the Nazi time confiscated objects are returned .
2000 / Outsourcing the federal museums, transforming the museum into a "scientific institution under public law". / / The exhibition of art and industry. The beginnings of the Austrian Museum of Applied Arts in Vienna are dealing with the founding history of the house and the collection.
2001 / As part of the exhibition Franz West: No Mercy, for which the sculptor and installation artist developed his hitherto most extensive work the "Four lemurs heads " are placed at the Stubenbrücke located next to the MAK. / / Dennis Hopper: A System of Moments.
2001-2002 / The CAT Project - Contemporary Art Tower after New York, Los Angeles, Moscow and Berlin in Vienna is presented.
2002 / Exhibition Nodes. symmetrical-asymmetrical. The historic Oriental Carpets of the MAK presents the extensive rug collection.
2003 / Exhibition Zaha Hadid. Architecture. / / For the anniversary of the artist workshop, the exhibition The Price of Beauty. 100 years Wiener Werkstätte takes place. / / Richard Artschwager: The Hydraulic Door Check. Sculpture, painting, drawing.
2004 / James Turrell MAKlite is since November 2004 permanently on the facade of the building installed. / / Exhibition Peter Eisenmann. Barefoot on White-Hot Walls, large-scaled architectural installation on the work of the influential American architect and theorist.
2005 / Atelier Van Lieshout: The Disziplinatornbsp / / The exhibition Ukiyo-e Reloaded for the first time presents the collection of Japanese woodblock prints of the MAK in large scale.
2006 / Since the beginning of the year the birthplace of Josef Hoffmann in Brtnice of the Moravian Gallery in Brno and the MAK Vienna as a joint branch is run and presents special exhibitions annually. / / The exhibition The Price of Beauty. The Wiener Werkstätte and the Stoclet House brings the objects of the Wiener Werkstätte to Brussels. / / Exhibition Jenny Holzer: XX.
2007/2008 / Exhibition Coop Himmelb(l)au. Beyond the Blue, is the hitherto largest and most comprehensive museal presentation of the global team of architects .
2008 / The 1936 according to plans of Rudolph M. Schindler built Fitzpatrick-Leland House, a generous gift from Russ Leland to the MAK Center LA, becomes using a promotion that granted the Bureau of Educational and Cultural Affairs of the U.S. Department the MAK Center, the center of the MAK UFI project - MAK Urban Future Initiative. / / Julian Opie: Recent Works / / The exhibition Recollecting. Looting and Restitution examines the status of efforts to restitute expropriated objects from Jewish property of museums in Vienna.
2009 / The permanent exhibition Josef Hoffmann: Inspiration is in the Josef Hoffmann Museum, Brtnice opened. / / Exhibition Anish Kapoor. Shooting into the Corner / / The museum sees itself as a promoter of Cultural Interchange and discusses in the exhibition Global:lab Art as a message. Asia and Europe 1500-1700 the intercultural as well as the intercontinental cultural exchange based on objects from the MAK and from international collections.
2011 / After Peter Noevers resignation Martina Kandeler-Fritsch takes over temporarily the management. / / Since 1 September Christoph Thun-Hohenstein is director of the MAK.
Scrapped? Disappointing if so as it looked quite tidy, and of course Mk1 Lagunas are in a no-man's land of desirability and value.
Past an MOT in May 2016 with 107k on the clock, and had an owner change in February 2017.
True Value, Shop Rite Hardware and Paint Supply, Silas Deane Hwy Wethersfield, CT, Pics by Mike Mozart of JeepersMedia and TheToyChannel on YouTube
The de Havilland DH.98 Mosquito was a British multi-role combat aircraft with a two-man crew that served during and after the Second World War. It was one of few operational front-line aircraft of the era constructed almost entirely of wood and was nicknamed "The Wooden Wonder". The Mosquito was also known affectionately as the "Mossie" to its crews. Originally conceived as an unarmed fast bomber, the Mosquito was adapted to roles including low to medium-altitude daytime tactical bomber, high-altitude night bomber, pathfinder, day or night fighter, fighter-bomber, intruder, maritime strike aircraft, and fast photo-reconnaissance aircraft. It was also used by the British Overseas Airways Corporation (BOAC) as a fast transport to carry small high-value cargoes to, and from, neutral countries, through enemy-controlled airspace.
When the Mosquito began production in 1941, it was one of the fastest operational aircraft in the world. Entering widespread service in 1942, the Mosquito was a high-speed, high-altitude photo-reconnaissance aircraft, continuing in this role throughout the war. From mid-1942 to mid-1943 Mosquito bombers flew high-speed, medium or low-altitude missions against factories, railways and other pinpoint targets in Germany and German-occupied Europe. From late 1943, Mosquito bombers were formed into the Light Night Strike Force and used as pathfinders for RAF Bomber Command's heavy-bomber raids. They were also used as "nuisance" bombers, often dropping Blockbuster bombs - 4,000 lb (1,812 kg) "cookies" - in high-altitude, high-speed raids that German night fighters were almost powerless to intercept.
As a night fighter, from mid-1942, the Mosquito intercepted Luftwaffe raids on the United Kingdom, notably defeating Operation Steinbock in 1944. Starting in July 1942, Mosquito night-fighter units raided Luftwaffe airfields. As part of 100 Group, it was a night fighter and intruder supporting RAF Bomber Command's heavy bombers and reduced bomber losses during 1944 and 1945. As a fighter-bomber in the Second Tactical Air Force, the Mosquito took part in "special raids", such as the attack on Amiens Prison in early 1944, and in precision attacks against Gestapo or German intelligence and security forces. Second Tactical Air Force Mosquitos supported the British Army during the 1944 Normandy Campaign. From 1943 Mosquitos with RAF Coastal Command strike squadrons attacked Kriegsmarine U-boats (particularly in the 1943 Bay of Biscay, where significant numbers were sunk or damaged) and intercepting transport ship concentrations.
The Mosquito flew with the Royal Air Force (RAF) and other air forces in the European theatre, and the Mediterranean and Italian theatres. The Mosquito was also used by the RAF in the South East Asian theatre, and by the Royal Australian Air Force (RAAF) based in the Halmaheras and Borneo during the Pacific War.
By the early-mid-1930s, de Havilland had a reputation for innovative high-speed aircraft with the DH.88 Comet racer. The later DH.91 Albatross airliner pioneered the composite wood construction that the Mosquito used. The 22-passenger Albatross could cruise at 210 miles per hour (340 km/h) at 11,000 feet (3,400 m), better than the 100 miles per hour (160 km/h) Handley Page H.P.42 and other biplanes it was replacing. The wooden monocoque construction not only saved weight and compensated for the low power of the de Havilland Gipsy Twelve engines used by this aircraft, but simplified production and reduced construction time.
Air Ministry bomber requirements and concepts:
On 8 September 1936, the British Air Ministry issued Specification P.13/36 which called for a twin-engined medium bomber capable of carrying a bomb load of 3,000 pounds (1,400 kg) for 3,000 miles (4,800 km) with a maximum speed of 275 miles per hour (443 km/h) at 15,000 feet (4,600 m); a maximum bomb load of 8,000 pounds (3,600 kg) which could be carried over shorter ranges was also specified. Aviation firms entered heavy designs with new high-powered engines and multiple defensive turrets, leading to the production of the Avro Manchester and Handley Page Halifax.
In May 1937, as a comparison to P.13/36, George Volkert, the chief designer of Handley Page, put forward the concept of a fast unarmed bomber. In 20 pages, Volkert planned an aerodynamically clean medium bomber to carry 3,000 pounds (1,400 kg) of bombs at a cruising speed of 300 miles per hour (480 km/h). There was support in the RAF and Air Ministry; Captain R N Liptrot, Research Director Aircraft 3 (RDA3), appraised Volkert's design, calculating that its top speed would exceed the new Supermarine Spitfire. There were, however, counter-arguments that, although such a design had merit, it would not necessarily be faster than enemy fighters for long. The ministry was also considering using non-strategic materials for aircraft production, which, in 1938, had led to specification B.9/38 and the Armstrong Whitworth Albemarle medium bomber, largely constructed from spruce and plywood attached to a steel-tube frame. The idea of a small, fast bomber gained support at a much earlier stage than sometimes acknowledged though it was unlikely that the Air Ministry envisaged it not using light alloy components.
Project Mosquito:
Once design of the DH.98 had started, de Havilland built mock-ups, the most detailed at Salisbury Hall, in the hangar where E0234 was being built. Initially, this was designed with the crew enclosed in the fuselage behind a transparent nose (similar to the Bristol Blenheim or Heinkel He 111H), but this was quickly altered to a more solid nose with a more conventional canopy.
The construction of the prototype began in March 1940, but work was cancelled again after the Battle of Dunkirk, when Lord Beaverbrook, as Minister of Aircraft Production, decided there was no production capacity for aircraft like the DH.98, which was not expected to be in service until early 1941. Although Lord Beaverbrook told Air Vice-Marshal Freeman that work on the project had better stop, he did not issue a specific instruction, and Freeman ignored the request. In June 1940, however, Lord Beaverbrook and the Air Staff ordered that production was to focus on five existing types, namely the Supermarine Spitfire, Hawker Hurricane, Vickers Wellington, Armstrong-Whitworth Whitley and the Bristol Blenheim. Work on the DH.98 prototype stopped, and it seemed that the project would be shut down when the design team were denied the materials with which to build their prototype.
The Mosquito was only reinstated as a priority in July 1940, after de Havilland's General Manager L.C.L Murray, promised Lord Beaverbrook 50 Mosquitoes by December 1941, and this, only after Beaverbrook was satisfied that Mosquito production would not hinder de Havilland's primary work of producing Tiger Moth and Oxford trainers and repairing Hurricanes as well as the licence manufacture of Merlin engines. In promising Beaverbrook 50 Mosquitoes by the end of 1941, de Havilland was taking a gamble, because it was unlikely that 50 Mosquitos could be built in such a limited time; as it transpired only 20 Mosquitos were built in 1941, but the other 30 were delivered by mid-March 1942.
During the Battle of Britain, nearly a third of de Havilland's factory time was lost because the workers took cover in the factory's bomb shelters. Nevertheless, work on the prototype went quickly, such that E0234 was rolled out on 19 November 1940.
In the aftermath of the Battle of Britain, the original order was changed to 20 bomber variants and 30 fighters. It was still uncertain whether the fighter version should have dual or single controls, or should carry a turret, so three prototypes were eventually built: W4052, W4053 and W4073. The latter, both turret armed, were later disarmed, to become the prototypes for the T.III trainer. This caused some delays as half-built wing components had to be strengthened for the expected higher combat load requirements. The nose sections also had to be altered, omitting the clear perspex bomb-aimer's position, to solid noses designed to house four .303 machine guns and their ammunition.
Overview:
The Mosquito was a fast, twin-engined aircraft with shoulder-mounted wings. The most-produced variant, designated the FB Mk VI (Fighter-bomber Mark 6), was powered by two Merlin Mk 23 or Mk 25 engines driving three-bladed de Havilland hydromatic propellers. The typical fixed armament for an FB Mk VI was four Browning .303 machine guns and four 20 mm Hispano cannon while the offensive load consisted of up to 2,000 pounds (910 kg) of bombs, or eight RP-3 unguided rockets.
Construction:
The oval-section fuselage was a frameless monocoque shell built in two halves being formed to shape by band clamps over a mahogany or concrete mould, each holding one half of the fuselage, split vertically. The shell halves were made of sheets of Ecuadorean balsawood sandwiched between sheets of Canadian birch, but in areas needing extra strength— such as along cut-outs— stronger woods replaced the balsa filler; the overall thickness of the birch and balsa sandwich skin was only 7⁄16 inch (11 mm). This sandwich skin was so stiff that no internal reinforcement was necessary from the wing's rear spar to the tail bearing bulkhead. The join was along the vertical centre line. This split construction greatly aided the assembly of the internal equipment as it allowed the technicians easy access to the fuselage interior. While the glue in the plywood skin dried, carpenters cut a sawtooth joint into the edges of the fuselage shells, while other workers installed the controls and cabling on the inside wall. When the glue completely dried, the two halves were glued and screwed together. The fuselage was strengthened internally by seven bulkheads made up of two plywood skins parted by spruce blocks, which formed the basis on each half for the outer shell. Each bulkhead was a repeat of the spruce design for the fuselage halves; a balsa sheet sandwich between two plywood sheets/skins. Bulkhead number seven carried the fittings and loads for the tailplane and rudder, The type of glue originally used was Casein, which was later replaced by "Aerolite", a synthetic urea-formaldehyde, which was more durable. Many other types of screws and flanges (made of various woods) also held the structure together.
The fuselage construction joints were made from balsa wood and plywood strips with the spruce multi-ply being connected by a balsa V joint, along with the interior frame. The spruce would be reinforced by plywood strips at the point where the two halves joined to form the V-joint. Located on top of the joint the plywood formed the outer skin. During the joining of the two halves ("boxing up"), two laminated wooden clamps would be used in the after portion of the fuselage to act as support. A covering of doped Madapolam (a fine plain woven cotton) fabric was stretched tightly over the shell and a coat of silver dope was applied, after which the exterior camouflage was applied. The fuselage had a large ventral section cut-out, which was braced during construction, to allow it to be lowered onto the wing centre-section. Once the wing was secured the lower panels were replaced, and the bomb bay or armament doors fitted.
The all-wood wing was built as a one-piece structure and was not divided into separate construction sections. It was made up of two main spars, spruce and plywood compression ribs, stringers, and a plywood covering. The outer plywood skin was covered and doped like the fuselage. The wing was installed into the roots by means of four large attachment points. The engine radiators were fitted in the inner wing, just outboard of the fuselage on either side. These gave less drag. The radiators themselves were split into three sections: an oil cooler section outboard, the middle section forming the coolant radiator and the inboard section serving the cabin heater. The wing contained metal framed and skinned ailerons, but the flaps were made of wood and were hydraulically controlled. The nacelles were mostly wood, although, for strength, the engine mounts were all metal as were the undercarriage parts. Engine mounts of welded steel tube were added, along with simple landing gear oleos filled with rubber blocks. Wood was used to carry only in-plane loads, with metal fittings used for all triaxially loaded components such as landing gear, engine mounts, control surface mounting brackets, and the wing-to-fuselage junction. The outer leading wing edge had to be brought 22 inches (56 cm) further forward to accommodate this design. The main tail unit was all wood built. The control surfaces, the rudder and elevator, were aluminium framed and fabric covered. The total weight of metal castings and forgings used in the aircraft was only 280 lb (130 kg).
In November 1944, several crashes occurred in the Far East. At first, it was thought these were as a result of wing structure failures. The casein glue, it was said, cracked when exposed to extreme heat and/or monsoon conditions. This caused the upper surfaces to "lift" from the main spar. An investigating team led by Major Hereward de Havilland travelled to India and produced a report in early December 1944 stating that "the accidents were not caused by the deterioration of the glue but by shrinkage of the airframe during the wet monsoon season". However a later inquiry by Cabot & Myers definitely attributed the accidents to faulty manufacture and this was confirmed by a further investigation team by the Ministry of Aircraft Production at Defford which found faults in six different Marks of Mosquito (all built at de Havilland's Hatfield and Leavesden plants) which showed similar defects, and none of the aircraft had been exposed to monsoon conditions or termite attack; thus it was concluded that there were construction defects found at the two plants. It was found that the "Standard of glueing...left much to be desired”. Records at the time showed that accidents caused by "loss of control" were three times more frequent on Mosquitoes than on any other type of aircraft. The Air Ministry forestalled any loss of confidence in the Mosquito by holding to Major de Havilland's initial investigation in India that the accidents were caused "largely by climate" To solve the problem, a sheet of plywood was set along the span of the wing to seal the entire length of the skin joint along the main spar.
Information regarding the de Havilland DH98 Mosquito has been taken from excerpts contained on Wikipedia
Aston Martin Ulster Roadster (1936)
In 1927 Aston Martin was taken over by race driver A. C. Bertelli. He designed a 1.5-litre, SOHC engine which would eventually power the LeMans-racing Ulster. Thoughout the years the engine was devloped to include dry sump lubrication.
The Aston Martin Ulster stands as one of the most respected pre-war racecars. It was largely based on the Mark II which came before it.
The Ulster had a breif two year race program. During this time they dominated the British Tourist Trophy at Goodwood. In 1934, Ulsters took first, second and third place. The best LeMans result was achieved in 1935. Chassis LM20 raced to third overall which put it first in the 1101 to 1500cc class.
After the race efforts, Aston Martin readied a production version of the LeMans cars. Twenty-One of these cars were built of which all are accounted for today.
Aston Martin Ulster information used from:
www.supercars.net/cars/2084.html
In the 1980's a small number (7) replicas of the Aston Martin Ulster Roadster were manufactured as a kit car:
Fergus Mosquito (Aston Martin Ulster replica)
Kop Hill Climb - 25th September 2011
Fergus Mosquito - an Aston Martin Ulster replica.
Only seven were made in Kingsbridge, Devon, in the 1980s, using donor Morris Marina B-series engines and other parts.
UIJ233 is the best of the 7 replicas.
These two models, the de Havilland DH98 Mosquito aircraft and the Aston Martin Ulster Roadster of 1936 have been created in Lego miniland scale for Flickr LUGNuts' 79th Build Challenge, - 'LUGNuts goes Wingnuts" - featuring automotive vehicles named after, inspired by or related to aircraft.
The 7 elements of design: form, shape, line, space, value, color and texture.
Line: Graphic Unifier, Curved, Straight. Directional Thrust: Horizontal, Vertical, and Diagonal
Shape: Naturalistic, Geometric
Space /Size: Large, Medium, Small, Proportion or Scale
Value: Light, Dark
Color: Hue, Chroma, and Value
Texture: Rough, Smooth, Soft, Hard
Form:
I really dug today's brief, and the divine way we are being guided towards more authenticity through the unpacking of ourselves. I appreciate prompts that are re-focusing, re-centering, re-evaluating of where we honestly are so that we are freed to make choices with intent.
I struggled with shots today, as it is raining and I have full days without much space for creative exploration. Or at least that is what I thought. Then I re-thought... humm. What do I value? Why am I here, in this course?
Great reminders. I decided to take this course again because I knew I would be nurtured, and I so value that. Thank you, Vivienne for all the ways you nurture each of us. I also knew I would be challenged, and I so value that too!
I want to promote ageing with ferocity. I want to be creative and i want to expand what i am familiar with about myself, and this course has aimed me, like an arrow, at evoking unfamiliar ways of seeing myself as a path to that comfort. Check.
I value movement. Paramount. It has come to mean the world to me, freeing me from frozen states of trauma, and literally helping me to be in the world differently.
I have repurposed a photo from a previous shoot, making jazzy, eclectic and holy lemonade from lemons. I value both my time and the courage it takes to see myself evolve as a creative maker of my own image.
I value this experience so much. I feel fully in it, and am so inspired by the artistry, vulnerability and honesty of this cohort.
There are light colors such as the white shirt, pink shoes, and tan wall. There are dark colors as well such as the dark blue floor tiles, the black blazer, the black skirt, and the black lines on the shirt.
Inspired by Katie's value quilt tutorial. Features mostly Kaffe Fassett prints and assorted other really-colorful-lights-and-darks. Measures 60 x 72".
Giclée (/ʒiːˈkleɪ/ zhee-KLAY) is a neologism coined in 1991 by printmaker Jack Duganne for fine art digital prints made on inkjet printers. The name was originally applied to fine art prints created on a modified Iris printer in a process invented in the late 1980s. It has since been used loosely to mean any fine-art printing, usually archival, printed by inkjet. It is often used by artists, galleries, and print shops to suggest high quality printing, but is an unregulated word with no associated warranty of quality.
About color reproductions, I love them and have no qualms about hanging them in my home. I don't think I will ever own a original Dufy but I have a nice poster that makes me happy purchased sixty years ago for one dollar. My question here is value for product, the commercial side of fine art.
At Kennedy Galleries we did a good business in the sale of John Stobart limited edition color offset prints. Asked if the value would increase over time most of the sales staff would say something vague about the secondary market but few would guarantee a growth in value. The average price was five hundred for a hand signed print, forty years later the secondary market hovers around six hundred for many of his prints. Fair market value?
ok, trying to compensate for the lamentable absence of PaD last two days (shame on me!) I thought I would try to give the viewer real value for money and include a free original story to go with the pic, pro bono as they come, but being lazy I engaged an AI dude, ChatGPT to be specific, to write it for me and here it goes, I accept no responsibility for the product, not a single word changed from AI's effort
"In a city where the traffic lights were permanently stuck on yellow, and everyone walked a little sideways just because it felt right, there stood a statue of a lion with a leaf clasped gently in his mouth. The statue's name was Sir Reginald P. Lionhart III, but everyone just called him Reggie. No one knew why a lion would hold a leaf, and frankly, no one questioned the oddities in this town—like the crosswalks that led nowhere or the park benches facing brick walls.
Reggie's leaf wasn't just any leaf; it was a meticulously chosen leaf from the only tree in the city that grew upside down. The roots reached for the sky, and the branches plunged into the earth, defying all botanical logic. One day, the leaf decided it had enough of subterranean life and embarked on an adventure upward, eventually landing squarely into Reggie's open mouth.
Reggie, being a lifelike statue with a keen sense of irony, decided to keep the leaf right there. It was his silent protest against the mundane expectations placed upon stone lions. Holding a leaf was his way of saying, "I contain multitudes."
People started to notice. The local philosopher, who held office hours on the corner between the invisible bookstore and the café that only served imaginary tea, proclaimed that the leaf symbolized the absurdity of existence. "It's a manifestation of our intrinsic desire to find meaning in the meaningless!" he shouted to a crowd of none.
Children began to leave offerings at Reggie's feet: mismatched socks, left-handed gloves, and drawings of three-headed dragons playing saxophones. They felt a kinship with this lion who dared to be different in a world that was already quite different.
One night, a mime—who wasn't actually trapped in an invisible box but liked to pretend he was—approached Reggie. "Why the leaf?" the mime didn't say. Reggie didn't reply, because statues and mimes share an unspoken bond that transcends words.
Meanwhile, the mayor issued a decree that all statues must adhere to the "Statue Code of Conduct," which explicitly forbade the unauthorized holding of foliage. Reggie remained unmoved—literally and metaphorically. The townspeople loved him for it. They started a movement called "Leaf It Be," campaigning for the rights of statues to express themselves.
Amidst all this, the leaf began to sprout tiny wings. Turns out, it wasn't a leaf at all but a caterpillar in disguise, yearning to become a butterfly but accidentally becoming a leaf instead. Reggie didn't mind. He admired the caterpillar’s commitment to its absurd identity crisis.
Eventually, the caterpillar-leaf took flight, leaving Reggie's mouth and soaring into the nonsensical sky, where clouds sometimes floated underground and rain fell upwards. Reggie felt a pang of something that might have been emotion if statues could feel.
In the end, Reggie decided to hold a spoon in his mouth next, just to keep things interesting. The townspeople applauded his new choice, reading all sorts of culinary and existential meanings into it. The philosopher began writing a book titled "The Spoonful of Existence," which no one would read because the pages were all blank.
By the way, did you ever consider that maybe the lion isn't holding the leaf—the leaf is holding the lion? In a world that absurd, anything is possible. Perhaps the real question isn't why the lion has a leaf in his mouth, but why we think a leaf doesn't belong there in the first place."