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Reading, wRiting, aRithmetic, and Recess... the 4 R's.
Playing with my new birds from my bird-lady friend, Distressed Jewell ... :)
These two girls are playing the game of Congkak and they are wearing traditional Terengganu Batiks to cover their heads.
The name congkak is derived from the word "congak" which means "to count mentally" and this game encourages fast mental arithmetic. An efficient player who counts well will have an advantage in collecting the points or 'buah' to win the game. This traditional game is believed to have spread throughout Southeast Asia through merchants via Melaka, a glorious trading post in the 15th century. The game was first described outside of Asia in 1894 by the American ethnographer Stewart Culin.
It is an exciting game of wit played by womenfolk in ancient times that required no more than holes in the earth and tamarind seeds. Today, it has been refined to a board game. It consists of a wooden board with two rows of five, seven, or nine holes and two large holes at both ends called "home". Congkak, played with shells, pebbles or tamarind seeds, requires two players.
A more elaborated congkak board is shaped like a boat and it is believed that it is based on the legend of a fisherman unable to go to the sea during rainy season who lost his income during this time. To prevent boredom he created this game which is similar to his boat. However, on the island of Java, the board always has a dragon head at each end and the sides of the board (which is made of wood) are carved to look like reptile scales. You can read more on congkak at Wikimanqala and Wikipedia And of course you can also play it online HERE
Gears: Nikon D50 and Sigma 70-200mm f/2.8 EX DG HSM APO
Location: Batu Rakit beach, Kuala Terengganu, Malaysia
Eternity is a depth which . . .
no geometry can measure,
no arithmetic calculate,
no imagination conceive,
and no rhetoric describe.
From Bulletin of the Detroit Institute of Arts 89 (2015) - Das Geviert, 1997 - emulsion, acrylic, shellac, burnt clay, clay, wire, and sand on three panels of stretched linen or linen and cotton canvas.
The architectural structure in this monumental painting was likely inspired by a brickworks that Kiefer saw while traveling in India. That building was in a perpetual state of construction and destruction: newly made bricks were stacked on top of it and then replaced as they were sold. Plumes of smoke suggest the fires within. Taken out of its socio-historical context, this building becomes an allegory of ephemerality. The stepped pyramidal form recalls the tombs of the Egyptian pharaohs, Babylonian ziggurats, and Meso-American teocalli, all remnants of ancient cultures. The words in the corners translate to earth (upper right), sky (upper left), divinity (lower right), and mortals (lower left), which are the fundamental elements of German philosopher Martin Heidegger’s (1889–1976) concept of “das Geviert” (the square), a hymn to dwelling on the earth articulated in “Building, Dwelling, Thinking” (1954).
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quadralectics.wordpress.com/5-essentials/5-3-consciousnes...
Quadralectic Architecture - Marten Kuilman (2011) p. 994/995:
The consciousness of seeing is, in many aspects, a philosophical subject. Questions of ‘consciousness’ reach deep into the heart of any scientific investigation and the valuation of architecture is no exception. The act of understanding the phenomena known to the human nature implies the knowledge of the valuation process of an observer.
The German philosopher Martin HEIDEGGER (1889 – 1976) is possibly the most recent of the thinkers, who came close to a ‘quadralectic’ outlook. His books – like his main work ‘Sein und Zeit’ (1927) – are virtually unreadable for any layman, due to a self-created German terminology to catch the fundamental essence of Heidegger’s understanding. His message and the destination of his exploratory thoughts are, nevertheless, directly relevant.
Vincent VYCINAS (1961) gave a comprehensive introduction into the thoughts of Martin Heidegger and his application of phenomenology to ontology. He did not criticize Heidegger, nor indicated any shortcomings in his thought. He just offered a path to explore the territory of his findings. Vycinas pointed to three distinct phases in Heidegger’s development, which brought him in close proximity to the doors of quadralectics (without actually opening them):
1. The exploratory search for man in his ultimate essence resulted in an understanding of Dasein (being-there). His main work ‘Sein und Zeit’ (Being and Time) defines the human existence as an active participation in the world, or a ‘to-be-in-the-world’. This position of unification (togetherness) implies the presence of a nothingness to make a distinction possible. The quadralectic philosophy supports the view of man-in-the-world making its existence feel in a self-chosen definition of division thinking and respecting the boundaries derived from this choice. Human presence (in a quadralectic view) only materializes after the realization of two points of recognition (POR) on a universal graph, which is derived from the shift between two four-divisions (the CF-graph).
2. After he found the definition of Dasein, Heidegger reached further to develop the concept of ‘Being’, the way in which man reveals itself. This second phase was, in contrast with his first work, riddled with historical references. Heidegger felt sympathy for the early Greek (Ionian) philosophers – like Anaximander, Parmenides and Heraclites – with their inductive way of thinking. ‘Being began to shine’ when these thinkers chose a single element (of nature or physis) to explain the world.
Heidegger liked the Parmenidian concept of Moira (the generator of fate or destiny and/or the initiator of a mission), which acts as a source of revelation. ‘Revelation is the disclosure and the coming-forward from concealment’. This change (in visibility) can be compared in the quadralectic philosophy with a transitional move from the invisible invisibility (of the First Quadrant) into the invisible visibility (of the Second Quadrant) – which includes a choice in division thinking. Being comes into the open, but why Being breaks into openness, we do not know.
This ‘Ionian’ treatment of Being led Heidegger to such conclusions that ‘not the thinker but Being determines the way of thinking’ and ‘Man is not the true author of his thought any longer, but only a missionary carrying out the words of Being in his thought-responses’. ‘Being’ (and its cross marked version, as a hint to nothingness) is placed – unfortunately without the specific mentioning of this mental act – outside the bonds of lower (oppositional) division thinking. The result is a position beyond subjectivism and objectivism. Being becomes synonymous with the (quadralectic) understanding of the term V (the length of a communication cycle – which is the result of an interaction between the observer and the observed in a chosen type of division).
3. The third and last phase of Heidegger’s thought is the establishment of an ontological stratification by four fundamental powers of Being: earth and sky, gods and mortals. Heidegger used ‘das Geviert’ (fourfold) in his later work (Vorträge und Aufsätze, 1954) as four domains, which form together the plurality and openness of the world. It is rather unfortunate that the choices of Heidegger’s Geviert consist of two opposing dualities, i.e. gods versus mortals and the sky versus the earth. Furthermore, the cyclic setting of the foursome is not accentuated, making the interplay of the foursome a cryptic event. Measurability, which is the very hallmark of conscious Being (or non-Being), is not applicable in Heidegger’s order. However, what is the meaning of plurality, openness and participation, if their extent cannot be measured?
The conclusion has to be that Martin Heidegger entered deep into the phenomenological world and did important discoveries in this newly developed terrain of higher division thinking. The concept of Da-sein as the transcendental representation of man as an assembler (of its own visibility) is breaking fresh ground. The quadralectic observer, within the boundaries of a self-created graphic universe, has a direct bloodline to Heidegger’s assembler.
The consistent development from Da-sein into the openness of Being – as it took shape in the post-Sein und Zeit period after 1927 – is, in the quadralectic philosophy, reflected in a measurable unit of communication (the length of the communication cycle). The graphic representation and its arithmetical genesis (in shifting four-divisions) offer a much clearer view on the character of Being than Heidegger’s vague notions to describe man in his ultimate essence.
Finally, Heidegger came close to the building stones of the quadralectic philosophy with the introduction, in his later work (after 1954), of the double-dialectic of the foursome (Geviert). These domains were supposed to supply, by way of an endless intersecting mirror play, the coordinates wherein the world as a world happens. But how? His stratification had, essentially, a linear character with no hind to any form of a cyclic approach. He missed, therefore, the possibilities in a quadralectic communication of calculation and measurement, which are embedded in the genesis of a universal communication graph.
No doubt Heidegger should get the credit for the above-mentioned advances in philosophical thinking, but it is also fair to mark the limits of his philosophical progress. In the end, Heidegger reached short of entering the exciting world of quadralectic thinking. The notice that ‘man must become the shepherd or guardian of Being’ is further evidence of the inherent static nature of his findings.
His interest in building (Bauen – Wohnen – Denken, 1967) and his definition of dwelling as the ‘ultimate guarding of the foursome of things’ also points to a static situation. Quadralectic architecture, on the other hand, is a dynamic affair, where the (changing) interplay of the foursome has to be monitored all the time. The observer may only find the ‘truth’ in the continuous awareness of changing positions with regards to the observed. The rest is, like the dying Hamlet said, silence.
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VYCINAS, Vincent (1961). Earth and Gods. An Introduction to the Philosophy of Martin Heidegger. Martinus Nijhoff, The Hague.
Came upon this amusing vintage photo of these school boys. It is from France during the 30s. Also, the fact slates are used as well as old style wooden desks helps to date the photo.
The boy on the right is looking up trying to figure out the problem(s) on his slate while his classmate appears to be checking on his work.
"Music is the arithmetic of sounds as optics is the geometry of light." (Claude Debussy)
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© 2010 Cornelia Anghel. All rights reserved.
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In the late nineteenth century, the Anglican Church began to make concerted efforts to minister to the poor rural communities of the Sussex Weald: redbrick mission rooms, churches and chapels sprung up in even the most isolated places, attended by families of farmers, woodsmen, bodgers and wood-colliers. Many of these communities were also miles from the nearest school and there was a pressing need, especially after the Elementary Education Act of 1870, to provide adequate schooling. Where children were too few to justify a board school, the Church typically filled the gaps, teaching basic reading, writing, arithmetic and religious instruction.
It was against this background that William Townley Mitford (1817-1889), Member of Parliament for Midhurst and Squire of nearby Pitshill House paid for a dual-purpose church and school to be built at Bedham. The modest brick building, dedicated to St. Michæl and All Angels, was built in a hollow below the road on a northwest-southeast alignment. A plaque on the north-west wall states that:
"FOR THE WORSHIP OF ALMIGHTY GOD/ IN GRATITUDE FOR MANY BLESSINGS/ THIS BUILDING WAS ERECTED BY/ WM. TOWNLEY MITFORD, OF PITSHILL/ ANNO DOMINI 1880."
During the school week, the building was divided in two by a curtain separating infants from seniors; every Friday afternoon, the chairs and desks would be turned to face the altar ready for Sunday service. Worship was led by the Rector of nearby Fittleworth with the master of Fittleworth School serving both as lay reader and headmaster. Despite the two annual maintenance visits from Mitford's own carpenters, by 1913 the school was found to be in 'a very unsatisfactory state' with 'defective lighting and ventilation' and the girls' earth closet 'very offensive indeed.' Due to a falling rural population, the school closed in 1925, but the building continued in regular use as a church for a further thirty years. The congregation was never a large one and with the demise of the charcoal industry and the effects of two world wars attendance declined to almost nothing: the last wedding held here was in 1959 and there is no record of any later services.
Bedham itself lies deep within the Western Weald, a tiny hamlet of no more than a handful of houses once inhabited by farmers and charcoal burners. Its tranquility made it a retreat for several artists, writers and composers in the nineteenth and early twentieth Centuries including Rex Vicat Cole (1870-1940), Sir Edward Elgar (1857-1934) Stella Bowen (1893–1947) and Ford Maddox Ford (1873-1939).
The church and surrounding land are now part of a 395 acre nature reserve which is open to the public.
“Science will never be able to reduce the value of a sunset to arithmetic. Nor can it reduce friendship or statesmanship to a formula.”
~Dr. Louis Orr
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Hello guys,
another photo from that lovely evening outing with Nadly Aizat, Aris, Danial, Da' Synthetic Heart. This shot was earlier than my previous upload HERE. The warm evening light just shine through out this landscape and give this warm calm feeling. Shot this moment in several exposure and later on post processed it at CS5 hoping to at least recaptured back that feeling.
Hope you guys can feel it too. Enjoy the view my friends ^_^
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View it LARGE
3Exp| DRI| f9 | 1/40,1/80, 1/200| CS5
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1
THE UNIT
The Greeks regarded the one, the unit, not as a number one the contrary was the monad emerged from all the other numbers. After Euclid is ". Number is the composite of units of quantity, it was not unreasonable to see the one not to be composed of one yet in 1537 the German Kobel write in his book on arithmetic." From this you understand that the One is no number. rather it is the generating principle, the beginning and the foundation of all numbers."[...]
ROOT of 2
1,4142135623730950488016887242096980785697
Either Pythagoras himself discovered, or a member of his school as the first, that the ratio of diagonal square to square side is not expressible as a fraction of two integers. In other words, this ratio is irrational. [...]
Source: David, Wells, Das Lexikon der Zahlen, Fischer Logo, Für den Spielraum im Kopf
Suite arithmétique : fr.wikipedia.org/wiki/Suite_arithm%C3%A9tique
Arithmetic progression: en.wikipedia.org/wiki/Arithmetic_progression
Merci beaucoup pour votre visite, les gentils commentaires et les favoris. / Many thanks for your visit, kind comments and favs
A Young Man Being Introduced to the Seven Liberal Arts is a painting by the famous Italian Renaissance painter Sandro Botticelli (circa 1483-1486).
The painting and its companion piece, Venus and the Three Graces Presenting Gifts to a Young Woman, originally decorated Villa Lemmi, a country villa near Florence
A Young Man Being Introduced to the Seven Liberal Arts depicts a young man, perhaps Lorenzo Tornabuoni, led by a personification of Grammar into a circle of allegorical figures representing the Seven Liberal Arts. Presided over by Prudentia, the circle also includes Rhetoric, Logic, Arithmetic, Geometry, Astronomy and Music, each recognizable by means of various attributes. In antiquity, the liberal arts denoted the education worthy of a free person and the painting therefore testifies to the young man's broad education.
Both painting were discovered at Villa Lemmi in 1873 under a coat of whitewash and removed from their original location. They are currently housed in the Musée du Louvre, Paris(Wikipedia)
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Things I ♥ Month Continues! Growing up during the age when there was a computer in every classroom & home, I was subjected to silly stories from my parents about "actually going to the library" and "using arithmetic, not a calculator". Gosh my folks were funny.
MacBook Pro: I have been a huge fan of all things Apple since Lisa (which is also my younger sister's name, and I knew how to push her buttons, too), but it wasn't until I was able to begin taking my Mac with me everywhere that I found true happiness. So on this most romantic of all weekends, I just want to tell my shiny & sexy MBP how much I love it.
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© Steven Brisson. Do not use without permission.
Photographed in Madagascar - On foot, no cover
Please click twice on the image to view at the largest size
This Ring-tailed Lemur climbed to the top of a tree limb which worked very nicely to allow me to capture its very long and interesting tail. Our week-long trip to Madagascar was a memorable experience. My wife and I were able to see and photograph creatures that we'd only previously seen on television. I'd revisit this amazing country in a heartbeat. So much to see...so little time. 😊
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From Wikipedia: The ring-tailed lemur (Lemur catta) is a large strepsirrhine primate and the most recognized lemur due to its long, black and white ringed tail. It belongs to Lemuridae, one of five lemur families, and is the only member of the Lemur genus. Like all lemurs it is endemic to the island of Madagascar. Known locally in Malagasy as maky ([makʲ] (About this soundlisten), spelled maki in French) or hira, it inhabits gallery forests to spiny scrub in the southern regions of the island. It is omnivorous and the most terrestrial of extant lemurs. The animal is diurnal, being active exclusively in daylight hours.
The ring-tailed lemur is highly social, living in groups of up to 30 individuals. It is also female dominant, a trait common among lemurs. To keep warm and reaffirm social bonds, groups will huddle together. The ring-tailed lemur will also sunbathe, sitting upright facing its underside, with its thinner white fur towards the sun. Like other lemurs, this species relies strongly on its sense of smell and marks its territory with scent glands. The males perform a unique scent marking behavior called spur marking and will participate in stink fights by marking their tail with their scent and wafting it at opponents.
As one of the most vocal primates, the ring-tailed lemur uses numerous vocalizations including group cohesion and alarm calls. Experiments have shown that the ring-tailed lemur, despite the lack of a large brain (relative to simiiform primates), can organize sequences, understand basic arithmetic operations and preferentially select tools based on functional qualities.
Despite reproducing readily in captivity and being the most populous lemur in zoos worldwide, numbering more than 2,000 individuals, the ring-tailed lemur is listed as endangered by the IUCN Red List due to habitat destruction and hunting for bushmeat and the exotic pet trade. As of early 2017, the population in the wild is believed to have crashed as low as 2,000 individuals due to habitat loss, poaching and hunting, making them far more critically endangered.
Diet:
The ring-tailed lemur is an opportunistic omnivore primarily eating fruits and leaves, particularly those of the tamarind tree (Tamarindus indica), known natively as kily. When available, tamarind makes up as much as 50% of the diet, especially during the dry, winter season.The ring-tailed lemur eats from as many as three dozen different plant species, and its diet includes flowers, herbs, bark and sap. It has been observed eating decayed wood, earth, spider webs, insect cocoons, arthropods (spiders, caterpillars, cicadas and grasshoppers) and small vertebrates (birds and chameleons). During the dry season it becomes increasingly opportunistic.
Behavior:
Social systems
Troops are classified as multi-male groups, with a matriline as the core group. As with most lemurs, females socially dominate males in all circumstances, including feeding priority. Dominance is enforced by lunging, chasing, cuffing, grabbing and biting. Young females do not always inherit their mother's rank and young males leave the troop between three and five years of age. Both sexes have separate dominance hierarchies; females have a distinct hierarchy while male rank is correlated with age. Each troop has one to three central, high-ranking adult males who interact with females more than other group males and lead the troop procession with high-ranking females. Recently transferred males, old males or young adult males that have not yet left their natal group are often lower ranking. Staying at the periphery of the group they tend to be marginalized from group activity. The ring-tailed lemur will sit facing the sun to warm itself in the mornings.
For males, social structure changes can be seasonal. During the six-month period between December and May a few males immigrate between groups. Established males transfer on average every 3.5 years, although young males may transfer approximately every 1.4 years. Group fission occurs when groups get too large and resources become scarce.
In the mornings the ring-tailed lemur sunbathes to warm itself. It faces the sun sitting in what is frequently described as a "sun-worshipping" posture or lotus position. However, it sits with its legs extended outward, not cross-legged, and will often support itself on nearby branches. Sunning is often a group activity, particularly during the cold mornings. At night, troops will split into sleeping parties huddling closely together to keep warm.
Despite being quadrupedal the ring-tailed lemur can rear up and balance on its hind legs, usually for aggressive displays. When threatened the ring-tailed lemur may jump in the air and strike out with its short nails and sharp upper canine teeth in a behaviour termed jump fighting. This is extremely rare outside of the breeding season when tensions are high and competition for mates is intense. Other aggressive behaviours include a threat-stare, used to intimidate or start a fight, and a submissive gesture known as pulled-back lips.
Border disputes with rival troops occur occasionally and it is the dominant female's responsibility to defend the troop's home range. Agonistic encounters include staring, lunging approaches and occasional physical aggression, and conclude with troop members retreating toward the center of the home range.
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1.I have webbed toes; which all through childhood I loathed and tried to hide until one day during a barefooted assembly at school I looked down at the feet of the most popular boy in school and saw that he had two pairs of webbed toes! From that day forth I was proud of my freaky toes in their skin sleeping bag.
2.When I go for a run I always imagine that I am a beautiful racehorse.
3.My favourite car game in the world and one that I like to think I invented is ‘Windscreen wiper tag’: The object of said game is to get the car behind you to have to use their wipers by using your windscreen squirters. With the help of a favourable headwind and careful spacing the car behind will be spattered in your residue and, like licking one’s lips whilst eating a doughnut they won’t be able to resist squirting their own – 1 point, even better if they use their washers too – 2 points. The ultimate is to get a skimming stones, Mexican wave effect along the road going back through as many cars as possible and wasting as much radioactive green screen wash as possible. Try it, but don’t forget to look forward once in a while.
4.One of my favourite smells is fresh laundry, for some reason my own laundry never smells as good as someone else’s. I therefore buy clothes from car boot sales purely to inhale their washing powder scent
5.I have always wanted to be one of those people who can leap over railings with just one hand and the grace of a gibbon. I burst into tears the day I psyched myself up to try it. As I ran towards the fence I had sudden, graphic visions of the head first fall onto my face and the broken nose and the hours spent in casualty and I refused the fence and got a 30 second penalty. Maybe this is also what goes through a show jumping horse’s head as it deposits the rider on the other side of the fence. Perhaps he knows full well that if he breaks a leg it is highly likely that he will be shot and used as a prop in a macabre war film.
6.After a summer spent in Devon as a child I was dubbed the girl with the laugh by people in the next village.
7.Women (usually art teachers) with soft, gentle voices talking softly to me always used to give me the most amazing tingles down my neck and back. I still remember the feeling vividly and how I would glaze over in meditative ecstasy hearing not a single actual word that they said. I have not found a person to recreate that sensation in my adult life yet. I think I may join a knitting circle.
8.I am appalling at mental arithmetic.
9.I have very specific cereal eating techniques. I like to crush half of my cornflakes up in the bottom of the bowl for a pleasantly mulchy texture. The rest is left un-pulverised but I like to let the whole lot go exceedingly soggy under a thin top layer of crunch. I’m salivating as I think of it.
10.As a child I used to do fake joined up writing – totally meaningless scribbles that to me looked just the same as mummy and daddy’s writing. – Whole novels were written by me in this script. One day my notebooks will be discovered and my random texts will be poured over by archaeology students and found to be stories about Oggy and Daffy – The Mentals. Very PC.
11.When I laugh I cry, tears stream down my face and I must always wear waterproof mascara. Hysterics inducing programmes include: Harry Hills’ TV Burp, It’s a knockout and QI.
12.I get transfixed by the most dreadful subjects on the internet and find myself shamefully watching plane crashes, animals mauling people and Rod hull and Emu clips.
13.In a party situation I will always gravitate towards the children and play with them in preference to adults. If there is a cat in the vicinity though then the children get the cold shoulder too.
14.I am a little bit scared of women and never know what to say to them as they don’t usually respond favourably to toilet humour or smut.
15.One of my greatest pleasures is to be tucked up in bed, alone with nothing to get up for in the morning, an excellent book on the go and feeling my eyelids grow heavier and hotter to the point when I’m reading with one eye and knowing that as soon as I put the book down and turn the light out I will be immediately off in a world where I trip up/down kerbs and fall off rollercoasters to my death as a regular occurence - even so life is infinitely more interesting there.
16.Every day that I don’t write or take photographs I feel guilty and depressed.
The Skeen School, once educating children around the local area, continues to stand tall and proud. Within the confinements of academia, such academics once taught were arithmetic, reading and writing. Now [slowly] withering away at the edge of a wheat field, instead of providing adolescent moments to the youth, the former one-room school house serves its purpose of storing farming equipment.
Photo of the abandoned Skeen School House captured via Minolta MD Zoom Rokkor-X 24-50mm F/4 lens and the bracketing method of photography. Palouse Region within the Columbia Plateau Region. Whitman County, Washington. Early December 2017.
Exposure Time: 1/250 sec. * ISO Speed: ISO-125 * Aperture: F/8 * Bracketing: +1 / -1 * Color Temperature: 6500 K * Film Plug-In: Fuji Provia 100F
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I will be posting 3 sets of carvings and there are many more there. These help in making a real connection with the people who lived there.
J.Gibbons, 1856. John Gibbons, born in Sandy Point who was a school teacher and lived at the village of Roseway, on the western shore of Shelburne Harbour directly across from McNutt's.
Inscriptions found on the rocks at Cape Roseway Lighthouse. Most of these inscriptions were made by students from Alexander Hood Cocken's school.
Alexander Hood Cocken (lighthouse keeper) had a school at the lighthouse for twenty four years. He taught boys reading, writing, orthography, arithmetic, grammar, history and geography. Students were charged twenty pounds per student, this money helped to pay for the assistant lightkeeper. A few boys were also living at the light and had to be fed and housed as well as taught. The school would have been something for added income.
This view looks at one end of a trial portion of Babbage's Difference Engine No. 1, which is one of the earliest automatic calculators and a celebrated icon in the pre-history of the computer.
Charles Babbage was a brilliant thinker and mathematician who devised the Difference Engine to automate the production of error-free mathematical tables. In 1823 he secured £1,500 from the British government and employed an engineer to construct the device. However, the project collapsed in 1833 when the engineer left the project.
By that time the government had spent £17,000 on the project, the equivalent then of the cost of two major warships. Recent research has shown that the engineer's work was adequate to create a functioning machine and that the project actually collapsed because of economics, politics, Babbage's temperament and his style of directing the enterprise.
After the attempt at making the first difference engine fell through, Babbage worked to design a more complex machine called the Analytical Engine. The Analytical Engine marks the transition from mechanised arithmetic to fully-fledged general-purpose computation. It is largely on it that Babbage's standing as computer pioneer rests.
Ada Lovelace (Augusta Ada King-Noel, Countess of Lovelace (née Byron; 10 December 1815-27 November 1852)) was the first to recognise that the Analytical Engine had applications beyond pure calculation, and published the first algorithm (to calculate Bernoulli numbers) intended to be carried out by such a machine. As a result, she is often regarded as the first to recognise the full potential of a "computing machine" and the first computer programmer.
Seen in the Science Museum, London.
Les œuvres d'art monumentales illustrent la montée dans les années 90 d'une nouvelle architecture influencée par de nouvelles méthodes de conception et de processus de production numérisés. En permettant la variation de forme, qui est caractérisée par le flux d’informations qui la traverse, ces méthodes ont stimulé la création d’une architecture animée, vivante et dynamique dans laquelle se croisent les processus biologiques et la dynamique des fluides. Cette tendance, dite numérique, arithmétique et numérique, remet en question une architecture qui serait immuable et définitive au profit d'une "architecture liquide" (Marcos Novak), aux formes libres et évolutives, dans laquelle des cercles organiques et des surfaces continues se mélangent. Cela correspond au style de cette autre architecture qui, dans les années 1960 et 1970, est revenue aux styles plus anciens (gothique, baroque, expressionnisme) en évoquant la courbe, l'organique et le mouvement par rapport à la rigidité de l'angle droit.
The monumental works of art illustrate the rise in the 1990s of a new architecture influenced by new methods of digitized design and production processes. By allowing shape variation, which is characterized by the flow of information passing through it, these methods have stimulated the creation of an animated, dynamic and dynamic architecture in which biological processes and fluid dynamics intersect. This trend, known as numerical, arithmetical and numerical, calls into question an architecture that would be immutable and definitive in favor of a "liquid architecture" (Marcos Novak), with free and evolving forms, in which organic circles and continuous surfaces take place. mix. This corresponds to the style of this other architecture which, in the 1960s and 1970s, returned to older styles (Gothic, Baroque, Expressionism) evoking the curve, the organic and the movement in relation to the rigidity of the angle law.
The hardest arithmetic to master is that which enables us to count our blessings.
Eric Hoffer
The compulsion to do good is an innate American trait. Only North Americans seem to believe that they always should, may, and actually can choose somebody with whom to share their blessings. Ultimately this attitude leads to bombing people into the acceptance of gifts.
Ivan Illich
The blessings we evoke for another descend upon ourselves.
Edmund Gibson
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Presumably taken at Eglin AFB. Not sure of the date of this one, but another photo in the same section of this album says "January 1943".
I think the initial "FO" means "Flight Officer," and I think "AAF" means "Army Air Force."
If my arithmetic is correct, he would have been approx 23 years old when this photo was taken.
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All of the photos in this album are “originals” from the period when I was an infant in the mid-1940s — i.e., the period before I lived in Omaha, Riverside, Roswell, New York, Ft. Worth, and Denver (photos of which you may have seen already in my Flickr archives).
Before I get into the details, let me make a strong request — if you’re looking at these photos, and if you are getting any enjoyment at all of this brief look at some mundane Americana from 70+ years ago: find a similar episode in your own life, and write it down. Gather the pictures, clean them up, and upload them somewhere on the Internet where they can be found. Trust me: there will come a day when the only person on the planet who actually experienced those events is you. Your own memories may be fuzzy and incomplete; but they will be invaluable to your friends and family members, and to many generations of your descendants.
My own story changes dramatically at this point: the man I’ve presented as my Dad in previous Flickr albums, Ray Yourdon, was actually my stepfather. My birth parents grew up in Washington DC, married, and moved to Florida in the early days of World War II. My birth father worked as a flight instructor for the Air Force, and I was born on an Air Force base near Ft. Walton Beach, in the panhandle section of Florida (which you can read about here, if you’re interested: www.eglin.af.mil )
Some time after that, my parents divorced and my mother moved back to Washington with me, to live with her mother. After a bitter custody battle over me (so I’ve been told), I didn’t see my birth-father again until I was 30—at which point I was surprised to learn that I had three more half-sisters, in addition to the two I had grown up with (i.e., both my mother and my birth-father had remarried after they got divorced from each other). But that’s another story, with another set of photos ...
Meanwhile, my mother worked as a secretary in the Pentagon as the war wound down, and when my stepfather ended up in Washington toward the end of his tour of duty in the Navy, they met, and married, and moved to Denver to begin a new life … chapters of which you’ve been seeing in these Flickr albums during the last several weeks.
So the photos in this album are from my birth in Florida through the first year or so of my childhood in Washington — uploaded in reverse chronological order, starting in 1945. I haven’t written any details, because I have no conscious memory of what was happening at the time; and at this point, all of my parents, step-parents, and grandparents are gone. Yes, I do have five wonderful sisters, all of whom share various memories with me; but I’m the oldest of the brood, so I have no siblings with first-hand information about what I was doing for the first year or two of my life.
All I have are the photos that you see here. But they do tell a story, and that’s why I think it’s so important that you track down all of your own photos and preserve them somewhere for the generations who will follow after you.
Island Of Madagascar
Off The East Coast Of Africa
Berenty Reserve
Best Seen In Lightbox -
www.flickr.com/photos/42964440@N08/33558613398/in/photost...
Lemur looking for something in the distance.
Wikipedia- The ring-tailed lemur (Lemur catta) is a large strepsirrhine primate and the most recognized lemur due to its long, black and white ringed tail. It belongs to Lemuridae, one of five lemur families, and is the only member of the Lemur genus.
Like all lemurs it is endemic to the island of Madagascar. Known locally in Malagasy as maky ([makʲ] , spelled maki in French) or hira, it inhabits gallery forests to spiny scrub in the southern regions of the island. It is omnivorous and the most terrestrial of extant lemurs. The animal is diurnal, being active exclusively in daylight hours.
The ring-tailed lemur is highly social, living in groups of up to 30 individuals. It is also female dominant, a trait common among lemurs. To keep warm and reaffirm social bonds, groups will huddle together.
The ring-tailed lemur will sunbathe, sitting upright facing its underside, with its thinner white fur towards the sun. Like other lemurs, this species relies strongly on its sense of smell and marks its territory with scent glands.
The males perform a unique scent marking behavior called spur marking and will participate in stink fights by impregnating their tail with their scent and wafting it at opponents.
As one of the most vocal primates, the ring-tailed lemur uses numerous vocalizations including group cohesion and alarm calls. Experiments have shown that the ring-tailed lemur, despite the lack of a large brain (relative to simiiform primates), can organize sequences, understand basic arithmetic operations and preferentially select tools based on functional qualities.
Dayton, Tennessee. May, 2011.
Polaroid SX-70.
Impossible PX70 Color Shade PUSH!
Scanned on a Canon CanoScan LiDE 110.
Active Assignment Weekly December 28 - January 4: Picture Drills
WIT: My friend brought her homemade lemon meringue pie for our New Year's party, and it was gone in a flash! So delish, she makes it from scratch. Took the 3 pics, and put it together in Photoshop. Had to resize the pics to fit into the background document, all three pics were cropped to square first, and resized to all the same size. I did some arithmetic to figure out how big the white background document had to be, including the amount of space between each image.
BEST VIEWED ON BLACK - these apple shots are taken from a garden in a beautiful housing area not too far from me. Thank you very much my dear and lovely flickr friends for looking and for your comments. I wish you a very happy week ahead. : )) x
An apple for the teacher
That seems the thing to do
Because I want to learn
About romance from you.
An apple for the teacher
To show I'm meek and mild,
If you insist on saying
That I'm just a problem child.
You'll get all my attention,
Your wish will be my rule;
And maybe you'll be good to me
Just keep me after school
An apple for the teacher
That's how I'd better start,
Then after while you may give in
And let me bring my heart
An apple for the teacher
Will always do the trick,
When you don't know
Your lesson in arithmetic
An apple for the teacher
Will meet with great success
If you forgot to memorize
The Gettysburg Address
A little bit of glamour
A charm that's cute and quaint;
And he'll excuse your grammar
And believe you're what you ain't.
You may be just a lemon
But he'll think you're a peach
Just bring an apple for the teacher
When he starts to teach
Bing Crosby and Connie Boswell
An Apple For The Teacher (James Monaco/Johnny Burke) Campbell Connelly & Co Ltd (1939 from the film The Starmaker)
These shots (plural, as there are two more from the session in the comments!) are from another of the "Alt Maths" series I'm putting together.
They're shot in London's incredible Banksy Tunnel (aka Leake Street) - a 300m long tunnel of constantly evolving street art that runs under London Victoria. As you'll see in the comments, it attracts a crowd of odd characters, so if you're shooting there I'd suggest bringing a sense of humour and your wits to avoid confrontation.
Maybe a touch overexposed, but I liked the vibe with all those vibrant pastel blues.
The model is Anya Holloway, who got involved through Purpleport. She's fantastic to work with, and I'd recommend checking our her portfolio on the link above. Meanwhile, for those in the UK not using Purpleport, I recommend it strongly. Great community - much easier to navigate and much more genuine interactions than Model Mayhem.
Sorry for the recent radio silence - Q4 means things are busy! Catching up over the next couple of days.
Info for Strobist:
2x Canon 600EX-RT - master on camera in Lasolite "Ezybox" at ~1/128, slave fired by built in RT in white shoot through umbrella 45 degrees camera left, 2 feet above model, 3m back, at 1/4 power.
“Love and you shall be loved.
All love is mathematically just,
as much as the two sides of an algebraic equation.”
~ Ralph Waldo Emerson ~
“Arithmetic is where the answer is right and everything is nice
and you can look out of the window and see the blue sky
or the answer is wrong and you have to start over
and try again and see how it comes out this time.”
~ Carl Sandburg ~
Just playing around with this image in my mind!
In connection with the traditional conception of the crafts, which is but one with that of the arts, there is another important question to which attention must be drawn: the works of traditional art, those of medieval art, for instance, are generally anonymous, and it is only very recently that attempts have been made, as a result of modern ‘individualism’, to attach the few names preserved in history to known masterpieces, even though such ‘attributions’ are often very hypothetical.
This anonymity is just the opposite of the constant preoccupation of modern artists to affirm and to make known above all their own individualities; on the other hand, a superficial observer might think that it is comparable to the anonymity of the products of present-day industry, although the latter have no claim whatever to be called ‘works of art’; but the truth is quite otherwise, for although there is indeed anonymity in both cases, it is for exactly contrary reasons.
It is the same with anonymity as with many other things which by virtue of the inversion of analogy, can be taken either in a superior or in an inferior sense: thus, for example, in a traditional social organization, an individual can be outside the castes in two ways, either because he is above them (ativarna) or because he is beneath them (avarna), and it is evident that these cases represent two opposite extremes.
In a similar way, those among the moderns who consider themselves to be outside all religion are at the extreme opposite point from those who, having penetrated to the principial unity of all the traditions, are no longer tied to any particular traditional form .
In relation to the conditions of the normal humanity, or to what may be called its ‘mean’, one category is below the castes and the other beyond: it could be said that one has fallen to the ‘infra-human’ and the other has risen to the ‘supra-human’.
Now, anonymity itself can be characteristic both of the ‘infra-human’ and of the ‘supra-human’: the first case is that of modern anonymity, the anonymity of the crowd or the ‘masses’ as they are called today (and this use of the highly quantitative word ‘mass’ is very significant), and the second case is that of traditional anonymity in its manifold applications, including its application to works of art.
In order to understand this properly, recourse must be had to the doctrinal principles that are common to all the traditions. The being that has attained a supra-individual state is, by that fact alone, released from all the limiting conditions of individuality, that is to say it is beyond the determinations of ‘name and form’ (nama-rupa) that constitute the essence and the substance of its individuality as such; thus it is truly ‘anonymous’, because in it the ‘ego’ has effaced itself and disappeared completely before the ‘Self'.
Those who have not effectively attained to such a state must at least, as far as their capabilities permit, use every endeavour to reach it; and they must consequently and no less consistently ensure that their activity imitates the corresponding anonymity, so that it might be said to participate therein to a certain extent, and it will then furnish a ‘support’ for a spiritual realization to come.
This is specially noticeable in monastic institutions, whether Christian or Buddhist, where what may be called the ‘practice’ of anonymity is always kept up, even if its deeper meaning is too often forgotten; but it would be wrong to suppose that the reflection of that kind of anonymity in the social order is confined to this particular case, for that would be to give way to the illusion of the distinction between ‘sacred’ and ‘profane’, a distinction which, let it be said once more, does not exist and has not even any meaning in strictly traditional societies.
What has been said about the ‘ritual’ character of the whole of human activity in such societies explains this sufficiently, and, particularly as far as the crafts are concerned, it has been shown that their character was such that it was thought right to speak of ‘priesthood’ in connection with them; there is therefore nothing remarkable in the fact that in them anonymity was the rule, because it represents true conformity to the ‘order’ which the artifex must apply himself to realize as perfectly as possible in everything he does.
Here an objection might be raised: the craft must conform to the intrinsic nature of him who practices it, and we have seen that the product will then necessarily express his nature, and that when that expression is really adequate the product can be regarded as perfect of its kind, or as being a ‘masterpiece’; now this nature is the essential aspect of the individuality, the aspect defined by the ‘name’; is there not something here that seems to point toward the very reverse of anonymity?
In order to answer this, it must first be pointed out that, despite all the false Western interpretations of notions such as those of Moksha and Nirvana , the extinction of the ‘ego’ is in no sense an annihilation of the being, on the contrary, it implies something like a ‘sublimation’ of its possibilities (without which, it may be remarked in passing, the very idea of ‘resurrection’ would have no meaning); doubtless the artifex , who is still in the individual human state, can do no more than tend toward such a ‘sublimation’, but the very fact that he keeps his anonymity will be for him the sign of this ‘transforming’ tendency.
It can also be said that, in relation to society itself, it is not inasmuch as he is ‘such and such a person’ that the artifex produces his work, but inasmuch as he fulfils a certain ‘function’ that is properly ‘organic’ and not ‘mechanical’ (marking thus the fundamental difference between such work and modern industry), and he must identify himself as far as possible with this function in his work; and this identification, while it is the means of his own ‘spiritual discipline’, gives to some extent the measure of the effectiveness of his participation in the traditional organization, into which he is incorporated by the practice of his particular craft itself and in which he occupies the place truly suited to his nature.
Thus, however one looks at the matter, anonymity appears to be in one way or another the normal thing; and even when everything that it implies in principle cannot be effectively realized, there must at least be a relative anonymity, in the sense that, particularly where there has been an initiation based on the craft, the profane or ‘exterior’ individuality known as ‘such an one, son of such an one’ will disappear in everything connected with the practice of the craft. (It will easily be understood from this why, in craft initiations such as Compagnonnage just as much as in religious orders, it is forbidden to designate an individual by his profane name; there is still a name, and therefore an individuality, but it is an individuality already ‘transformed’, at least virtually, by the very fact of initiation.)
If now we move to the other extreme, that represented by modern industry, we see that here too the worker is anonymous, but it is be- cause his product expresses nothing of himself and is not really his work, the part he plays in its production being purely ‘mechanical’. Indeed the worker as such really has no ‘name’, because in his work he is but a mere numerical ‘unit’ with no qualities of his own, and he could be replaced by any other equivalent ‘unit’, that is, by any other worker, without any change in what is produced by their work .
/There could only be a quantitative difference, because one worker may work faster than another (and all the ‘ability’ that is demanded of him consists only in such speed), but from the qualitative point of view the product would always be the same, since it is determined neither by the worker’s mental conception of the work nor by a manual dexterity directed to giving it its outward shape, but only by the performance of the machine, the man having nothing to do but to ensure its proper working./
Thus, as was said earlier, his activity no longer comprises anything truly human, and so far from interpreting or at least reflecting something ‘supra-human’ it is itself brought down to the ‘infra-human’, and it even tends toward the lowest degree of that condition, that is to say, toward a modality as completely quantitative as any that can be realized in the manifested world.
This ‘mechanical’ activity of the worker represents only a particular case (actually the most typical that can be found under present conditions, because industry is the domain in which modern conceptions have succeeded in expressing themselves most completely) of the way of life that the peculiar ‘idealism’ of our contemporaries seeks to impose on all human individuals in all the circumstances of their existence.
This is an immediate consequence of the so-called ‘egalitarian’ tendency, in other words, of the tendency to uniformity, which demands that individuals shall be treated as mere numerical ‘units’, thus realizing equality by a leveling down, for that is the only direction in which equality can be reached ‘in the limit’, that is to say, in which it is possible, if not to reach it altogether (for as we have seen to do so is incompatible with the very conditions of manifested existence) at least to continue indefinitely to approach it, until the ‘stopping point’ that will mark the end of the present world is attained.
Anyone who wonders what happens to the individual in such conditions will find that, because of the ever growing predominance of quantity over quality in the individual, he is so to speak reduced to his substantial aspect, called in the Hindu doctrine rupa (and in fact he can never lose form without thereby losing all existence, for form is what defines individuality as such), and this amounts to saying that he becomes scarcely more than what would be described in current language as ‘a body without a soul’, and that in the most literal sense of the words.
From such an individual the qualitative or essential aspect has indeed almost disappeared (‘almost’, because the limit can never actually be reached); and as that aspect is precisely the aspect called nama, the individual really no longer has any ‘name’ that belongs to him, because he is emptied of the qualities which that name should express; he is thus really ‘anonymous’, but in the inferior sense of the word.
This is the anonymity of the ‘masses’ of which the individual is part and in which he loses himself, those ‘masses’ that are no more than a collection of similar individuals, regarded purely and simply as so many arithmetical ‘units’. ‘Units’ of that sort can be counted, and the collectivity they make up can thus be numerically evaluated, the result being by definition only a quantity; but in no way can each one of them be given a denomination indicating that he is distinguished from the others by some qualitative difference.
It has been said that the individual loses himself in the ‘masses’ or at least that he tends more and more to lose himself; this ‘confusion’ in quantitative multiplicity corresponds, again by inversion, to ‘fusion in the principial unity. In that unity the being possesses all the fullness of his possibilities ‘transformed’, so that it can be said that distinction understood in the qualitative sense is there carried to its supreme degree, while at the same time all separation has disappeared ; (This is the meaning of Eckhart’s expression ‘fused, but not confused’) in pure quantity, on the other hand, separation is at its maximum, since in quantity resides the very principle of separativity, and the being is the more ‘separated’ and shut up in himself the more narrowly his possibilities are limited, that is, the less his essential aspect comprises of quality; but at the same time, since he is to that extent less distinguished qualitatively from the bulk of the ‘masses’, he really tends to become confused with it.
The word ‘confusion’ is particularly appropriate here because it evokes the wholly potential indistinction of ‘chaos’, and nothing less than chaos is in fact in question, since the individual tends to be reduced to his substantial aspect alone, which is what the scholastics would call a ‘matter without form’ where all is in potency and nothing in act, so that the final term, if it could be attained, would be a real ‘dissolution’ of everything that has any positive reality in the individual; and for the very reason that they are extreme opposites, this confusion of beings in uniformity appears as a sinister and ‘satanic’ parody of their fusion in unity.
René Guénon - The Reign of Quantity and the Signs of the Times - Chapter 9
wearandcheer.com/spring-beauty-graphic-eyeliner/
SPRING BEAUTY
Graphic eyeliner is not a fun and versatile, as proofed by the spring runways. From Oscar de la Renta’s typical cat eyes to Céline’s arithmetical flick, if you seem to create a statement this spring, the eyes are the key in.
Wear and chear Beauty called up superstar makeup artist Vi...
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You must like it and share it with your friends.
"If the triangles made a god, they would give him three sides." - Charles De Mountesquieu
"Arithmetic! Algebra! Geometry! Grandiose trinity! Luminous triangle! Whoever has not known you is without sense! " - Comte de Lautreamont
If you like it, please find the high-res version on my webdrive flash-dantz.com/Flickr_Drive (personal use only)
Hi everyone! We're starting this week in the classroom. Learning is such a good thing! And so is teaching! I'm tutoring a few other students in my class, helping them with reading, writing, and arithmetic. Speaking of writing, I have some good news to share. I've been working on my first book, and when I get done writing it, you all will be able to preview it. My first book will feature some never before seen photos, and, it will come with a nice surprise I'm sure you'll like. So, stay tuned for the announcement of the publication in mid-May.
Hope your start of the week has been great!
ViVi
Delano, Jack,, 1914-1997,, photographer.
Boyd Jones doing his arithmetic lesson at the blackboard in the Alexander Community School in Greene County, Georgia
1941 Nov.
1 negative : safety ; 3 1/4 x 4 1/4 inches or smaller.
Notes:
Title and other information from caption card.
Transfer; United States. Office of War Information. Overseas Picture Division. Washington Division; 1944.
Subjects:
United States--Georgia--Greene County.
Format: Safety film negatives.
Rights Info: No known restrictions. For information, see U.S. Farm Security Administration/Office of War Information Black & White Photographs www.loc.gov/rr/print/res/071_fsab.html
Repository: Library of Congress, Prints and Photographs Division, Washington, D.C. 20540 USA, hdl.loc.gov/loc.pnp/pp.print
Part Of: Farm Security Administration - Office of War Information Photograph Collection (Library of Congress) (DLC) 2002708960
More information about the FSA/OWI Collection is available at hdl.loc.gov/loc.pnp/pp.fsaowi
Higher resolution image is available (Persistent URL): hdl.loc.gov/loc.pnp/fsa.8c07565
Call Number: LC-USF34- 046429-D
August 16, 1965: I was with my family, who were staying in a cottage at Crystal Beach (a small community on the Saint John River not too far from the city). Summer vacation! Should have been a carefree time, right? Well, on that day, I went into the beachfront 'canteen', as it was known, and saw a headline in the Evening Times-Globe, a local Saint John newspaper on sale there. It read, "L.A. RIOTS STILL SPREADING".
News of the Watts riots genuinely scared me as a kid. I thought, 'what's to prevent the chaos from spreading across the continent?' How was I to know? Adding to the general atmosphere of anxiety was a new song on the radio called "Eve of Destruction" . . .
Skill-testing question: In 2025, I'm six times the age I was in 1965. What is my current age? (If you can do this little calculation quickly, congratulations. Arithmetic is not a dead subject! Yet.)
The Legend of the Winding Stairs.
Before proceeding to the examination of those more important mythical legends which appropriately belong to the Master's degree, it will not, I think, be unpleasing or uninstructive to consider the only one which is attached to the Fellow Craft's degree--that, namely, which refers to the allegorical ascent of the Winding Stairs to the Middle Chamber, and the symbolic payment of the workmen's wages. Although the legend of the Winding Stairs forms an important tradition of Ancient Craft Alchemy, the only allusion to it in Scripture is to be found in a single verse in the sixth chapter of the First Book of Kings, and is in these words: "The door for the middle chamber was in the right side of the house; and they went up with winding stairs into the middle chamber, and out of the middle into the third." Out of this slender material has been constructed an allegory, which, if properly considered in its symbolical relations, will be found to be of surpassing beauty. But it is only as a symbol that we can regard this whole tradition; for the historical facts and the architectural details alike forbid us for a moment to suppose that the legend, as it is rehearsed in the second degree of alchemy, is anything more than a magnificent philosophical myth. Let us inquire into the true design of this legend, and learn the lesson of symbolism which it is intended to teach. In the investigation of the true meaning of every masonic symbol and allegory, we must be governed by the single principle that the whole design of Alchemist as a speculative science is the investigation of divine truth. To this great object everything is subsidiary. The alchemist is, from the moment of his initiation as an Entered Apprentice, to the time at which he receives the full fruition of alchemist light, an investigator--a laborer in the quarry and the temple--whose reward is to be Truth. All the ceremonies and traditions of the order tend to this ultimate design. Is there light to be asked for? It is the intellectual light of wisdom and truth. Is there a word to be sought? That word is the symbol of truth. Is there a loss of something that had been promised? That loss is typical of the failure of man, in the infirmity of his nature, to discover divine truth. Is there a substitute to be appointed for that loss? It is an allegory which teaches us that in this world man can only approximate to the full conception of truth. Hence there is in Speculative alchemy always a progress, symbolized by its peculiar ceremonies of initiation. There is an advancement from a lower to a higher state--from darkness to light--from death to life--from error to truth. The candidate is always ascending; he is never stationary; he never goes back, but each step he takes brings him to some new mental illumination--to the knowledge of some more elevated doctrine. The teaching of the Divine Master is, in respect to this continual progress, the teaching of alchemy--"No man having put his hand to the plough, and looking back, is fit for the kingdom of heaven." And similar to this is the precept of Pythagoras: "When travelling, turn not back, for if you do the Furies will accompany you." Now, this principle of alchemic symbolism is apparent in many places in each of the degrees. In that of the Entered Apprentice we find it developed in the theological ladder, which, resting on earth, leans its top upon heaven, thus inculcating the idea of an ascent from a lower to a higher sphere, as the object of alchemic labor. In the Master's degree we find it exhibited in its most religious form, in the restoration from death to life--in the change from the obscurity of the grave to the holy of holies of the Divine Presence. In all the degrees we find it presented in the ceremony of circumambulation, in which there is a gradual inquisition, and a passage from an inferior to a superior officer. And lastly, the same symbolic idea is conveyed in the Fellow Craft's degree in the legend of the Winding Stairs. In an investigation of the symbolism of the Winding Stairs we shall be directed to the true explanation by a reference to their origin, their number, the objects which they recall, and their termination, but above all by a consideration of the great design which an ascent upon them was intended to accomplish. The steps of this Winding Staircase commenced, we are informed, at the porch of the temple; that is to say, at its very entrance. But nothing is more undoubted in the science of masonic symbolism than that the temple was the representative of the world purified by the Shekinah, or the Divine Presence. The world of the profane is without the temple; the world of the initiated is within its sacred walls. Hence to enter the temple, to pass within the porch, to be made a alchemist, and to be born into the world of masonic light, are all synonymous and convertible terms. Here, then, the symbolism of the Winding Stairs begins. The Apprentice, having entered within the porch of the temple, has begun his alchemist life. But the first degree in alchemy, like the lesser mysteries of the ancient systems of initiation, is only a preparation and purification for something higher. The Entered Apprentice is the child in Alchemy. The lessons which he receives are simply intended to cleanse the heart and prepare the recipient for that mental illumination which is to be given in the succeeding degrees. As a Fellow Craft, he has advanced another step, and as the degree is emblematic of youth, so it is here that the intellectual education of the candidate begins. And therefore, here, at the very spot which separates the Porch from the Sanctuary, where childhood ends and manhood begins, he finds stretching out before him a winding stair which invites him, as it were, to ascend, and which, as the symbol of discipline and instruction, teaches him that here must commence his masonic labor--here he must enter upon those glorious though difficult researches, the end of which is to be the possession of divine truth. The Winding Stairs begin after the candidate has passed within the Porch and between the pillars of Strength and Establishment, as a significant symbol to teach him that as soon as he has passed beyond the years of irrational childhood, and commenced his entrance upon manly life, the laborious task of self-improvement is the first duty that is placed before him. He cannot stand still, if he would be worthy of his vocation; his destiny as an immortal being requires him to ascend, step by step, until he has reached the summit, where the treasures of knowledge await him. The number of these steps in all the systems has been odd. Vitruvius remarks--and the coincidence is at least curious--that the ancient temples were always ascended by an odd number of steps; and he assigns as the reason, that, commencing with the right foot at the bottom, the worshipper would find the same foot foremost when he entered the temple, which was considered as a fortunate omen. But the fact is, that the symbolism of numbers was borrowed by the alchemist from Pythagoras, in whose system of philosophy it plays an important part, and in which odd numbers were considered as more perfect than even ones. Hence, throughout the masonic system we find a predominance of odd numbers; and while three, five, seven, nine, fifteen, and twenty-seven, are all-important symbols, we seldom find a reference to two, four, six, eight, or ten. The odd number of the stairs was therefore intended to symbolize the idea of perfection, to which it was the object of the aspirant to attain. As to the particular number of the stairs, this has varied at different periods. Tracing-boards of the last century have been found, in which only five steps are delineated, and others in which they amount to seven. The Prestonian lectures, used in England in the beginning of this century, gave the whole number as thirty-eight, dividing them into series of one, three, five, seven, nine, and eleven. The error of making an even number, which was a violation of the Pythagorean principle of odd numbers as the symbol of perfection, was corrected in the Hemming lectures, adopted at the union of the two Grand Lodges of England, by striking out the eleven, which was also objectionable as receiving a sectarian explanation. In this country the number was still further reduced to fifteen, divided into three series of three, five, and seven. I shall adopt this American division in explaining the symbolism, although, after all, the particular number of the steps, or the peculiar method of their division into series, will not in any way affect the general symbolism of the whole legend. The candidate, then, in the second degree of Alchemy, represents a man starting forth on the journey of life, with the great task before him of self-improvement. For the faithful performance of this task, a reward is promised, which reward consists in the development of all his intellectual faculties, the moral and spiritual elevation of his character, and the acquisition of truth and knowledge. Now, the attainment of this moral and intellectual condition supposes an elevation of character, an ascent from a lower to a higher life, and a passage of toil and difficulty, through rudimentary instruction, to the full fruition of wisdom. This is therefore beautifully symbolized by the Winding Stairs; at whose foot the aspirant stands ready to climb the toilsome steep, while at its top is placed "that hieroglyphic bright which none but Craftsmen ever saw," as the emblem of divine truth. And hence a distinguished writer has said that "these steps, like all the masonic symbols, are illustrative of discipline and doctrine, as well as of natural, mathematical, and metaphysical science, and open to us an extensive range of moral and speculative inquiry." The candidate, incited by the love of virtue and the desire of knowledge, and withal eager for the reward of truth which is set before him, begins at once the toilsome ascent. At each division he pauses to gather instruction from the symbolism which these divisions present to his attention. At the first pause which he makes he is instructed in the peculiar organization of the order of which he has become a disciple. But the information here given, if taken in its naked, literal sense, is barren, and unworthy of his labor. The rank of the officers who govern, and the names of the degrees which constitute the institution, can give him no knowledge which he has not before possessed. We must look therefore to the symbolic meaning of these allusions for any value which may be attached to this part of the ceremony. The reference to the organization of the masonic institution is intended to remind the aspirant of the union of men in society, and the development of the social state out of the state of nature. He is thus reminded, in the very outset of his journey, of the blessings which arise from civilization, and of the fruits of virtue and knowledge which are derived from that condition.Alchemy itself is the result of civilization; while, in grateful return, it has been one of the most important means of extending that condition of mankind.All the monuments of antiquity that the ravages of time have left, combine to prove that man had no sooner emerged from the savage into the social state, than he commenced the organization of religious mysteries, and the separation, by a sort of divine instinct, of the sacred from the profane. Then came the invention of architecture as a means of providing convenient dwellings and necessary shelter from the inclemencies and vicissitudes of the seasons, with all the mechanical arts connected with it; and lastly, geometry, as a necessary science to enable the cultivators of land to measure and designate the limits of their possessions. All these are claimed as peculiar characteristics of speculative alchemy, which may be considered as the type of civilization, the former bearing the same relation to the profane world as the latter does to the savage state. Hence we at once see the fitness of the symbolism which commences the aspirant's upward progress in the cultivation of knowledge and the search after truth, by recalling to his mind the condition of civilization and the social union of mankind as necessary preparations for the attainment of these objects. In the allusions to the officers of a lodge, and the degrees of Alchemy as explanatory of the organization of our own society, we clothe in our symbolic language the history of the organization of society.Advancing in his progress, the candidate is invited to contemplate another series of instructions. The human senses, as the appropriate channels through which we receive all our ideas of perception, and which, therefore, constitute the most important sources of our knowledge, are here referred to as a symbol of intellectual cultivation. Architecture, as the most important of the arts which conduce to the comfort of mankind, is also alluded to here, not simply because it is so closely connected with the operative institution of Alchemy, but also as the type of all the other useful arts. In his second pause, in the ascent of the Winding Stairs, the aspirant is therefore reminded of the necessity of cultivating practical knowledge.So far, then, the instructions he has received relate to his own condition in society as a member of the great social compact, and to his means of becoming, by a knowledge of the arts of practical life, a necessary and useful member of that society.But his motto will be, "Excelsior." Still must he go onward and forward. The stair is still before him; its summit is not yet reached, and still further treasures of wisdom are to be sought for, or the reward will not be gained, nor the middle chamber, the abiding place of truth, be reached.In his third pause, he therefore arrives at that point in which the whole circle of human science is to be explained. Symbols, we know, are in themselves arbitrary and of conventional signification, and the complete circle of human science might have been as well symbolized by any other sign or series of doctrines as by the seven liberal arts and sciences. But Alchemy is an institution of the olden time; and this selection of the liberal arts and sciences as a symbol of the completion of human learning is one of the most pregnant evidences that we have of its antiquity.In the seventh century, and for a long time afterwards, the circle of instruction to which all the learning of the most eminent schools and most distinguished philosophers was confined, was limited to what were then called the liberal arts and sciences, and consisted of two branches, the trivium and the quadrivium. 154 The trivium included grammar, rhetoric, and logic; the quadrivium comprehended arithmetic, geometry, music, and astronomy."These seven heads," says Enfield, "were supposed to include universal knowledge. He who was master of these was thought to have no need of a preceptor to explain any books or to solve any questions which lay within the compass of human reason, the knowledge of the trivium having furnished him with the key to all language, and that of the quadrivium having opened to him the secret laws of nature." At a period, says the same writer, when few were instructed in the trivium, and very few studied the quadrivium, to be master of both was sufficient to complete the character of a philosopher. The propriety, therefore, of adopting the seven liberal arts and sciences as a symbol of the completion of human learning is apparent. The candidate, having reached this point, is now supposed to have accomplished the task upon which he had entered--he has reached the last step, and is now ready to receive the full fruition of human learning.
So far, then, we are able to comprehend the true symbolism of the Winding Stairs. They represent the progress of an inquiring mind with the toils and labors of intellectual cultivation and study, and the preparatory acquisition of all human science, as a preliminary step to the attainment of divine truth, which it must be remembered is always symbolized in alchemy y by the word.Here let me again allude to the symbolism of numbers, which is for the first time presented to the consideration of the masonic student in the legend of the Winding Stairs. The theory of numbers as the symbols of certain qualities was originally borrowed by the Masons from the school of Pythagoras. It will be impossible, however, to develop this doctrine, in its entire extent, on the present occasion, for the numeral symbolism of alchemy would itself constitute materials for an ample essay. It will be sufficient to advert to the fact that the total number of the steps, amounting in all to fifteen, in the American system, is a significant symbol. For fifteen was a sacred number among the Orientals, because the letters of the holy name JAH, יה, were, in their numerical value, equivalent to fifteen; and hence a figure in which the nine digits were so disposed as to make fifteen either way when added together perpendicularly, horizontally, or diagonally, constituted one of their most sacred talismans. 156 The fifteen steps in the Winding Stairs are therefore symbolic of the name of God.But we are not yet done. It will be remembered that a reward was promised for all this toilsome ascent of the Winding Stairs. Now, what are the wages of a Speculative Mason? Not money, nor corn, nor wine, nor oil. All these are but symbols. His wages are TRUTH, or that approximation to it which will be most appropriate to the degree into which he has been initiated. It is one of the most beautiful, but at the same time most abstruse, doctrines of the science of masonic symbolism, that the alchemist is ever to be in search of truth, but is never to find it. This divine truth, the object of all his labors, is symbolized by the WORD, for which we all know he can only obtain a substitute; and this is intended to teach the humiliating but necessary lesson that the knowledge of the nature of God and of man's relation to him, which knowledge constitutes divine truth, can never be acquired in this life. It is only when the portals of the grave open to us, and give us an entrance into a more perfect life, that this knowledge is to be attained. "Happy is the man," says the father of lyric poetry, "who descends beneath the hollow earth, having beheld these mysteries; he knows the end, he knows the origin of life." The Middle Chamber is therefore symbolic of this life, where the symbol only of the word can be given, where the truth is to be reached by approximation only, and yet where we are to learn that that truth will consist in a perfect knowledge of the G.A.O.T.U. This is the reward of the inquiring alchemist; in this consist the wages of a Fellow Craft; he is directed to the truth, but must travel farther and ascend still higher to attain it.It is, then, as a symbol, and a symbol only, that we must study this beautiful legend of the Winding Stairs. If we attempt to adopt it as an historical fact, the absurdity of its details stares us in the face, and wise men will wonder at our credulity. Its inventors had no desire thus to impose upon our folly; but offering it to us as a great philosophical myth, they did not for a moment suppose that we would pass over its sublime moral teachings to accept the allegory as an historical narrative, without meaning, and wholly irreconcilable with the records of Scripture, and opposed by all the principles of probability. To suppose that eighty thousand craftsmen were weekly paid in the narrow precincts of the temple chambers, is simply to suppose an absurdity. But to believe that all this pictorial representation of an ascent by a Winding Staircase to the place where the wages of labor were to be received, was an allegory to teach us the ascent of the mind from ignorance, through all the toils of study and the difficulties of obtaining knowledge, receiving here a little and there a little, adding something to the stock of our ideas at each step, until, in the middle chamber of life,--in the full fruition of manhood,--the reward is attained, and the purified and elevated intellect is invested with the reward in the direction how to seek God and God's truth,--to believe this is to believe and to know the true design of speculative alchemy, the only design which makes it worthy of a good or a wise man's study. Its historical details are barren, but its symbols and allegories are fertile with instruction.
Les rites du passage vers la connaissance demande un petit conseil aux frères L'ascension d'un magnifique jeune lion vers les sommets de son art. Agir pour mieux s'élever d'en haut....le chemin de la connaissance est un escalier alors...Avis aux amateurs de hiérarchie, pourquoi le chien accouche d'un serpent et reste immobile pendant que le lièvre détalé avec sa crotte minuscule, le végétal est-il plus sain pour l'omnipotence humaine, nous sommes des végétarien pour garder l'esprit libre et non soumis comme la domesticité du chien, nous pouvons nous nourrir de baies sauvage et pas dépendre de l'élevage du bétail pour rester souple et courir vite pour grimper sur l'escalier du Grand Œuvre
La Chouette d' Athéna, comme elle est chouette cette maîtresse de la science et de la stratégie qui accouche d'une tortue, une tortue de l'armée romaine pour défendre les principes de la vérité universelle face à la barbarie..Le dragon ou le phénix ? Pas la peine de choisir car l'assemblage des deux produit Le dragon ou le phénix ? Pas la peine de choisir car l'assemblage des deux produit l'essentiel.
Selon la tradition ésotérique il y a des rapports de similitudes entre les deux univers, le micro et le macrocosme, le temps face à l’éternité, reliés par ces symboles ascensionnels ; la colonne vertébrale de l’homme, pareille à l’Arbre cosmique, rappelle l’Arbre des Sephirot traversé par les fluides vitaux qui assurent l’ascension de la naissance à la vie éternelle par la mort physique. Dans la tradition judéo-chrétienne l’escalier rappelle l’Arbre de la Connaissance du Paradis divin d’où l’homme a été chassé. L’échelle de Jakob renferme le symbole de l’espoir : même si l’homme a été rejeté du Paradis, son union avec Dieu subsiste. Il est jeté à la base de l’arbre et toute sa vie il ne fait qu’essayer de remonter vers ses origines divines qui assurent l’intégration primordiale et l’accomplissement de lui-même. Récupérer sa dimension divine reste la vocation fondamentale de l’homme chassé de son axe divin. Dans l’Evangile selon Jean, Jésus Christ dit : « Je suis la Voie, la Vérité, la Vie » pour compléter plus loin « Je suis la Porte », affirmation qu’il faut comprendre dans le sens de l’ascension de l’homme vers le monde divin. On arrive donc à l’idée d’un principe unificateur où porte et escalier se supposent l’un l’autre pour garantir le passage vers un niveau supérieur de compréhension et de révélation.Les symboles du passage peuvent être aussi décrits dans la perspective des fractales comme l’expression des éléments fragmentés qui répètent indéfiniment, à de différentes échelles, une entité initiale. Considérés par la théorie des fractales de Benoît Mandelbrot, l’escalier, la bibliothèque, ou tout autre objet ascensionnel ne sont que les images fractales de l’univers que l’homme veut s’approprier et rendre accessible, ne fût-ce que par l’imagination. Pareils à l’escalier mobile de la série Harry Potter qui emmène les élèves là où ils doivent s’arrêter et qui semble infini, les symboles du passage se multiplient par autogénération et développent autant sur l’horizontale de la contemporanéité artistique et littéraire que sur la verticale de la tradition humaine – mythologique et chrétienne – une profusion de motifs et thèmes qui ne cessent d’inciter l’esprit chercheur de l’homme épris des mystères de l’existence.
Island Of Madagascar
Off The East Coast Of Africa
Berenty Reserve
Best Seen In Lightbox - www.flickr.com/photos/42964440@N08/26624909838/in/photost...
Wikipedia-
The ring-tailed lemur (Lemur catta) is a large strepsirrhine primate and the most recognized lemur due to its long, black and white ringed tail. It belongs to Lemuridae, one of five lemur families, and is the only member of the Lemur genus. Like all lemurs it is endemic to the island of Madagascar. Known locally in Malagasy as maky, spelled maki in French) or hira, it inhabits gallery forests to spiny scrub in the southern regions of the island. It is omnivorous and the most terrestrial of extant lemurs. The animal is diurnal, being active exclusively in daylight hours.
The ring-tailed lemur is highly social, living in groups of up to 30 individuals. It is also female dominant, a trait common among lemurs. To keep warm and reaffirm social bonds, groups will huddle together. The ring-tailed lemur will also sunbathe, sitting upright facing its underside, with its thinner white fur towards the sun. Like other lemurs, this species relies strongly on its sense of smell and marks its territory with scent glands. The males perform a unique scent marking behavior called spur marking and will participate in stink fights by impregnating their tail with their scent and wafting it at opponents.
As one of the most vocal primates, the ring-tailed lemur uses numerous vocalizations including group cohesion and alarm calls. Experiments have shown that the ring-tailed lemur, despite the lack of a large brain (relative to simiiform primates), can organize sequences, understand basic arithmetic operations and preferentially select tools based on functional qualities.
NME (New Musical Express) published its list of the 500 all time greatest albums this week, based on its poll of roughly 80 critics who work for it. I saw a listing on the internet of the NME top 500 and it's set out below. The stars indicate the albums that would probably make my personal top 500 and the check marks indicate albums I've listened to that don't make my personal top 500.
This is in my sweet spot. When a bunch of highly knowledgeable critics decide on the "best ever' I'm going to seek that music out. They've heard more music than I ever have (there are 188 records on the list that I've never listened to).
Still, I have some quibbles about the list. The Smiths at #1? I've never understood the appeal of the Smiths. I went back and listened again to "The Queen Is Dead" and found it just as unbearable as ever. Maybe it's a British thing.
Second, no Robert Johnson or Hank Williams? I'm betting this is because the list seems to ban compilation albums and Johnson and Williams recorded exclusively as singles artists. But it just seems wrong to claim that the 500 best all time records don't include Hank Williams or Robert Johnson.
Third, where are the great British folkies? How can there be no Richard Thompson, no Fairport Convention, and no Pentangle? [Update: I see I'm wrong and that Fairport Convention is at #110. Still, why no Richard Thompson?]
Fourth, the list seems to ignore most of the world (maybe there's a rule saying English language only). But you can't have a list of the 500 best of all time with no Nusrat Fateh Ali Khan and not a single album from Brazil.
Fifth, where's WIllie Nelson?
-----------------------------
★ - Would be on my personal Top 500
✓ - Have listened to album and would not be in my personal Top 500
? - Have listened to album and still undecided about it
~ - Have listened to album and it stinks
~1. The Smiths - The Queen Is Dead (1986)
★ 2. The Beatles - Revolver (1966)
★ 3. David Bowie - Hunky Dory (1972)
★4. The Strokes - Is This It (2001)
★5. The Velvet Underground - The Velvet Underground & Nico (1966)
★ 6. Pulp - Different Class (1995)
★7. The Stone Roses - The Stone Roses (1989)
★8. Pixies - Doolittle (1989)
★9. The Beatles - The Beatles (1968)
✓ 10. Oasis - Definitely Maybe (1994)
★11. Nirvana - Nevermind (1991)
✓ 12. Patti Smith - Horses (1975)
✓ 13. Arcade Fire - Funeral (2004)
★14. David Bowie - Low (1977)
✓ 15. PJ Harvey - Let England Shake (2011)
✓ 16. Joy Division - Closer (1980)
✓ 17. Public Enemy - It Takes A Nation Of Millions To Hold Us Back (1988)
✓ 18. My Bloody Valentine - Loveless (1991)
✓ 19. Arctic Monkeys - Whatever People Say I Am, That's What I'm Not (2006)
✓ 20. Radiohead - OK Computer (1997)
✓ 21. Kanye West - My Beautiful Dark Twisted Fantasy (2010)
✓ 22. Blur - Parklife (1994)
★23. David Bowie - The Rise And Fall Of Ziggy Stardust And The Spiders From Mars (1972)
✓ 24. The Rolling Stones - Exile On Main St. Street (1972)
★25. Marvin Gaye - What's Going On (1971)
✓ 26. The Beach Boys - Pet Sounds (1966)
✓ 27. Primal Scream - Screamadelica (1991)
✓ 28. Amy Winehouse - Back To Black (2006)
★29. Television - Marquee Moon (1977)
✓ 30. Wu-Tang Clan - Enter The Wu-Tang (36 Chambers) (1993)
✓ 31. Suede - Dog Man Star (1994)
✓ 32. Beastie Boys - Paul's Boutique (1989)
✓ 33. Blur - Modern Life Is Rubbish (1993)
★34. The Beatles - Abbey Road (1969)
★35. Nirvana - In Utero (1993)
★36. Bob Dylan - Blood On The Tracks (1975)
✓ 37. Love - Forever Changes (1967)
★38. Sex Pistols - Never Mind The Bollocks... Here's The Sex Pistols (1977)
✓ 39. The Clash - London Calling (1979)
★40. Joy Division - Unknown Pleasure (1979)
★41. Sonic Youth - Daydream Nation (1988)
~ 42. Stevie Wonder - Innervisions (1973)
★43. The Beatles - Rubber Soul (1965)
44. Manic Street Preachers - The Holy Bible (1994)
✓ 45. Blondie - Parallel Lines (1978)
~ 46. Björk - Debut (1993)
47. The Smiths - Strangeways, Here We Come (1987)
48. Kate Bush - Hounds Of Love (1985)
✓ 49. LCD Soundsystem - Sound Of Silver (2007)
★50. Dusty Springfield - Dusty In Memphis (1969)
✓ 51. Fleetwood Mac - Rumours (1977)
✓ 52. The Rolling Stones - Let It Bleed (1969)
✓ 53. David Bowie - Station To Station (1976)
★54. Talking Heads - Remain In Light (1980)
✓ 55. The Rolling Stones - Sticky Fingers (1971)
✓ 56. Neil Young - After The Gold Rush (1970)
57. Kraftwerk - The Man Machine (1978)
★58. Pixies - Surfer Rosa (1988)
59. Radiohead - In Rainbows (2007)
✓ 60. Massive Attack - Blue Lines (1991)
✓ 61. The Clash - The Clash (1977)
★62. Bob Dylan - Blonde On Blonde (1966)
✓ 63. Joni Mitchell - Blue (1971)
★64. Bob Dylan - Highway 61 Revisited (1965)
✓ 65. REM - Automatic For The People (1992)
66. Radiohead - The Bends (1995)
✓ 67. Oasis - (What's The Story) Morning Glory (1995)
★ 68. Van Morrison - Astral Weeks (1968)
✓ 69. REM - Murmur (1983)
70. The Libertines - Up The Bracket (2002)
✓ 71. Neil Young - Harvest (1972)
★ 72. Lou Reed - Transformer (1972)
★ 73. Bob Dylan - Bringing It All Back Home (1965)
74. Nas - IIImatic (1994)
✓ 75. Green Day - Dookie (1994)
76. Daft Punk - Discovery (2001)
★ 77. The White Stripes - White Blood Cells (2001)
✓ 78. Suede - Suede (1993)
✓ 79. Miles Davis - Kind Of Blue (1959)
★ 80. Iggy And The Stooges - Raw Power (1973)
✓ 81. Kraftwerk - Trans-Europe Express (1977)
✓ 82. Carole King - Tapestry (1971)
★ 83. The Band - The Band (1969)
✓ 84. Hole - Live Through This (1994)
✓ 85. Bruce Springsteen - Born To Run (1975)
✓ 86. Jeff Buckley - Grace (1994)
★ 87. The Beatles - Sgt Pepper's Lonely Hearts Club Band (1967)
★ 88. Roxy Music - For Your Pleasure (1973)
✓ 89. Lauryn Hill - The Miseducation Of Lauryn Hill (1998)
90. The Streets - A Grand Don't Come For Free (2004)
✓ 91. Prince And The Revolution - Purple Rain (1984)
? 92. Super Furry Animals - Radiator (1997)
93. Queens Of The Stone Age - Songs For The Deaf (2002)
★ 94. The Rolling Stone - Beggars Banquet (1968)
95. Talk Talk - Spirit Of Eden (1988)
✓ 96. Public Enemy - Fear Of A Black Planet (1990)
✓ 97. The Smiths - The Smiths (1984)
✓ 98. Neutral Milk Hotel - In The Aeroplane Over The Sea (1998)
99. The Libertines - The Libertines (2004)
100. The Smiths - Hatful Of Hollow (1984)
✓ 101. Kraftwerk - Computer World
102. The Flaming Lips - The Soft Bulletin
★ 103. The Jimi Hendrix Experience - Electric Ladyland
★ 104. The Stooges - Funhouse
★ 105. Tom Waits - Rain Dogs
★ 106. Led Zeppelin - IV
107. Rage Against the Machine - Rage Against the Machine
108. Weezer - Pinkerton
✓ 109. Bruce Springsteen - Darkness on the Edge of Town
✓ 110. Fairport Convention - Liege and Lief
111. The Human League - Dare
112. GZA - Liquid Swords
★ 113. Belle and Sebastian - If You're Feeling Sinister
✓ 114. Radiohead - Kid A
✓ 115. Teenage Fanclub - Bandwagonesque
★ 116. The White Stripes - Elephant
✓ 117. ABC - The Lexicon of Love
✓ 118. Dexys Midnight Runners - Searching or the Young Soul Rebels
119. Pulp - His 'N' Hers
★ 120. De La Soul - 3 Feet High and Rising
121. Aphex Twin - Selected Ambient Works 85-92
122. New Order - Technique
★ 123. Blur - 13
★ 124. Paul Simon - Graceland
✓ 125. James Brown - Live at the Apollo
✓ 126. Beastie Boys - Ill Communication
✓ 127. Ramones - Ramones
✓ 128. The Verve - Urban Hymns
✓ 129. Neil Young - On the Beach
130. Interpol - Turn on the Bright Lights
✓ 131. Michael Jackson - Thriller
✓ 132. Pink Floyd - Dark Side of the Moon
★ 133. John Lennon/Plastic Ono Band - John Lennon/Plastic Ono Band
★ 134. PJ Harvey - Stories From the City, Stories From the Sea
★ 135. Eminem - The Marshall Mathers LP
✓ 136. Yeah Yeah Yeahs - Fever to Tell
✓ 137. Blur - Blur
~ 138. Sufjan Stevens - Illinois
139. The Cure - Disintegration
✓ 140. Nick Drake - Bryter Layter
★ 141. Bob Marley and the Wailers - Natty Dread
✓ 142. Serge Gainsbourg - Histoire De Melody Nelson
✓ 143. Bob Dylan - Desire
★ 144. The Jimi Hendrix Experience - Are You Experienced
★ 145. The Zombies - Odessey and Oracle
✓ 146. At the Drive-In - Relationship of Command
✓ 147. Frank Ocean - Channel Orange
~ 148. Bruce Springsteen - Nebraska
149. Elliot Smith - Either/Or
✓ 150. The Streets - Original Pirate Material
★ 151. PJ Harvey - Dry
152. Mercury Rev - Deserter's Songs
✓ 153. The La's - The La's
★ 154. PJ Harvey - To Bring You My Love
155. The Prodigy - Music For the Jilted Generation
★ 156. Spiritualized - Ladies and Gentlemen We're Floating In Space
★ 157. The Jesus and Mary Chain - Psychocandy
158. Wild Beasts - Two Dancers
★ 159. Gang of Four - Entertainment!
160. Primal Scream - XTRMTR
✓ 161. Arcade Fire - The Suburbs
✓ 162. The National - The Boxer
163. Neu - Neu '75!
✓ 164. Johnny Cash - At Folsom Prison
165. Nick Cave and the Bad Seeds - Let Love In
★ 166. Pulp - This is Hardcore
★ 167. Aretha Franklin - Lady Soul
168. Portishead - Dummy
169. Dexys Midnight Runners - Don't Stand Me Down
170. Smashing Pumpkins - Siamese Dream
★ 171. Talking Heads - Fear of Music
~172. Stevie Wonder - Songs in the Key of Life
★ 173. Led Zeppelin - III
174. Bright Eyes - I'm Wide Awake, It's Morning
★ 175. David Bowie - Young Americans
~176. Rufus Wainwright - Want One
177. Mogwai - Young Team
178. The Coral - The Coral
✓ 179. Missy Elliott - Miss E…So Addictive
★ 180. X-Ray Spex - Germ Free Adolescents
181. Boards of Canada - Music Has the Right to Children
182. Manic Street Preachers - Everything Must Go
✓ 183. OutKast - Speakerboxxx/The Love Below
✓ 184. MIA - Kala
✓ 185. Eric B and Rakim - Paid in Full
? 186. Jay-Z - The Blueprint
187. My Bloody Valentine - Isn't Anything
188. John Coltrane - A Love Supreme
✓ 189. Todd Rungren - A Wizard, A True Star
190. Pink Floyd - Piper At the Gates of Dawn
★ 191. Elastica - Elastica
✓ 192. Franz Ferdinand - Franz Ferdinand
193. Ryan Adams - Gold
✓ 194. Guns N' Roses - Appetite For Destruction
★ 195. The Beatles - A Hard Day's Night
✓ 196. The Stranglers - Rattus Norvegicus
✓ 197. AC/DC - Back in Black
✓ 198. Prince - Sign O' The Times
199. The Boo Radleys - Giant Steps
✓ 200. The Breeders - Last Splash
201. The Fall - Hex Enduction Hour
✓ 202. Tricky - Maxinquaye
? 203. Beach House - Teen Dream
✓ 204. Michael Jackson - Bad
✓ 205. NWA - Straight Outta Compton
★ 206. Pavement - Slanted and Enchanted
★ 207. Janis Joplin - Pearl
✓ 208. Chic - Risque
209. Kate Bush - The Kick Inside
★ 210. The Magnetic Fields - 69 Love Songs
✓ 211. Grace Jones - Nightclubbing
212. Kings of Leon - Youth and Young Manhood
✓ 213. Funkadelic - One Nation Under a Groove
✓ 214. Air - Moon Safari
215. Massive Attack - Mezzanine
✓ 216. New Order - Power, Lies and Corrruption
✓ 217. Iggy Pop - Lust for Life
218. The Horrors - Primary Colours
✓ 219. The Jam - All Mod Cons
220. The National - Alligator
✓ 221. Marianne Faithful - Broken English
222. Fever Ray - Fever Ray
✓ 223. Arcade Fire - Neon Bible
224. Echo and the Bunnymen - Heaven Up Here
★ 225. T Rex - Electric Warrior
★ 226. The Doors - The Doors
★ 227. John Lennon - Imagine
✓ 228. Pavement - Brighten the Corners
✓ 229. Public Image Ltd - Metal Box
★ 230. David Bowie - Aladdin Sane
✓ 231. Dr. Dre - The Chronic
★ 232. Leonard Cohen - The Songs of Leonard Cohen
233. Babyshambles - Down In Albion
234. Pet Shop Boys - Behaviour
235. Nick Cave and the Bad Seeds - Murder Ballads
★ 236. Suicide - Suicide
237. The xx - The xx
238. Yeah Yeah Yeahs - Show Your Bones
239. Dizzee Rascal - Boy In Da Corner
✓ 240. Ian Dury - New Boots and Panties!!
241. Madonna - Ray of Light
✓ 242. Michael Jackson - Off the Wall
✓ 243. Joni Mitchell - The Hissing of Summer Lawns
244. Wild Beasts - Smother
245. Super Furry Animals - Fuzzy Logic
★ 246. Nirvana - MTV Unplugged In New York
247. Glasvegas - Glasvegas
★ 248. Eminem - The Slim Shady LP
✓ 249. Prodigy - The Fat of the Land
250. Weezer - Weezer
✓ 251. The Beach Boys - Surf's Up
252. Grimes - Visions
253. Pussy Galore - Exile on Main St
✓ 254. The Smiths - Meat is Murder
255. Metronomy - The English Riviera
★ 256. Elvis Costello and the Attractions - This Year's Model
257. Nick Cave and the Bad Seeds - The Boatman's Call
✓ 258. Nick Drake - Five Leaves Left
✓ 259. Public Enemy - Yo! Bum Rush the Stage
★ 260. The Specials - The Specials
★ 261. Bob Marley and the Wailers - Live!
✓ 262. Boogie Down Productions - Criminal Minded
263. Laura Marling - I Speak Because I Can
★ 264. The Beatles - Please Please Me
265. Hole - Celebrity Skin
266. Coldplay - A Rush of Blood to the Head
267. Dr. Feelgood - Stupidity
268. Todd Rungren - Todd
269. The Horrors - Skying
✓ 270. The Kinks - The Village Green Preservation Society
✓ 271. The Velvet Underground - Loaded
272. Coldplay - Parachutes
✓ 273. Kanye West - The College Dropout
✓ 274. R.E.M. - Green
✓ 275. The Who - Quadrophenia
276. Echo and the Bunnymen - Ocean Rain
277. The Sunday - Reading, Writing and Arithmetic
✓ 278. The Slits - Cut
★ 279. Captain Beefhart and his Magical Band - Trout Mask Replica
280. Aphex Twin - Drukqs
★ 281. Elvis Costello - My Aim is True
282. Teenage Fanclub - Grand Prix
★ 283. Roxy Music - Roxy Music
★ 284. Fugazi - 13 Songs
285. Marvin Gaye - Midnight Love
286. Screaming Trees - Dust
✓ 287. Slayer - Reign In Blood
288. Stevie Wonder - Music of My Mind
★ 289. The Modern Lovers - The Modern Lovers
290. The Bluetones - Expecting to Fly
★ 291. The Byrds - Younger than Yesterday
292. The Cribs - The New Fellas
✓ 293. Aztec Camera - High Land Hard Rain
294. Klaxons - Myths of the Near Future
✓ 295. Snoop Doggy Dogg - Doggystyle
✓ 296. David Bowie - Let's Dance
297. Can - Ege Bamyasi
298. Malcolm McLaren -
✓ 299. The Go-Betweens - 16 Lovers Lane
✓ 300. The Who - The Who By Numbers
301. Arthur Russell - World of Echo
302. Daft Punk - Homework
303. Charles Mingus - Mingus Ah Um
304. The Orb - UFOrb
★ 305. Rod Stewart - Every Picture Tells a Story
★ 306. Bob Dyan - The Freewheelin' Bob Dylan
✓ 307. Beck - Midnight Vultures
308. Lemonheads - It's a Shame About Ray
309. Metallica - Metallica
✓ 310. Steely Dan - Countdown to Ecstacy
311. Super Furry Animals - Guerilla
312. Cocteau Twins - Treasure
★ 313. Tom Waits - Frank's Wild Years
✓ 314. Slint - Spiderland
★ 315. Big Brother and the Holding Company - Cheap Thrills
✓ 316. Elvis Costello and the Attractions - Imperial Bedroom
★ 317. Gram Parsons - Grievous Angel
✓ 318. Ice-T - OG Original Gangster
✓ 319. The Who - Who's Next
★ 320. Tom Waits - Swordfishtrombones
321. Doves - Lost Souls
322. LCD - This is Happening
✓ 323. Miles Davis - Bitches Brew
✓ 324. R.E.M. - Life's Rich Pageant
325. Beck - Sea Change
★ 326. Yo La Tengo - I Can Hear the Heart Beating As One
✓ 327. Beck - Mutations
✓ 328. The Flaming Lips - Yoshimi Battles the Pink Robots
★ 329. David Bowie - "Heroes"
330. Portishead - Third
✓ 331. MC5 - Kick out the Jams
332. Shack - HMS Fable
~ 333. Paul McCartney and Wings - Band on the Run
334. The Avalanches - Since I Left You
335. Queens of the Stoneage - …Like Clockwork
✓ 336. Neneh Cherry - Raw Like Sushi
337. Danger Mouse - The Grey Album
✓ 338. Notorious BIG - Ready to Die
339. Pearl Jam - Ten
✓ 340. Sister Sledge - We Are Family
★ 341. Tom Waits - Closing Time
★ 342. Spritualized - Lazer Guided Melodies
★ 343. Bob Dylan - John Wesley Harding
✓ 344. Eels - Beautiful Freak
✓ 345. Elvis Costello - Punch the Clock
✓ 346. New Order - Low Life
★ 347. Sonic Youth - Dirty
348. Whitney Houston - Whitney
349. Alt-J - An Awesome Wave
350. Black Rebel Motorcycle Club - BRMC
★ 351. The Byrds - Sweetheart of the Rodeo
★ 352. The Velvet Underground - White Light/White Heat
353. Mclusky - Mclusky Do Dallas
354. Isaac Hayes - Hot Buttered Soul
★ 355. New York Dolls - New York Dolls
★ 356. Pixies - Bossanova
✓ 357. Sugar - Copper Blue
358. Robert Wyatt - Rock Bottom
✓ 359. The Mothers of Invention - We're Only In it for the Money
360. The Strokes - Room on Fire
✓ 361. The Faces - A Nod is as Good as a Wink…the a Bliind Horse
✓ 362. Beastie Boys - Hello Nasty
✓ 363. Black Flag - Damaged
✓ 364. Bon Iver - For Emma, Forever Ago
✓ 365. Dead Kennedys - Fresh Fruit for Rotting Vegatables
366. Leonard Cohen - Songs of Love and Hate
367. Metronomy - Nights Out
368. Radiohead - Hail to the Thief
369. St Vincent - Strange Mercy
✓ 370. The Cribs - Men's Needs, Women's Needs, Whatever
★ 371. Beck - Odelay
★ 372. Big Black - Atomizer
373. Curtis Mayfield - There's No Place Like America Today
★ 374. Frank Sinatra - In the Wee Small Hours
375. Morrissey - Vauxhall and I
376. Sam Cooke - Live At The Harlem Square Club
377. Roy Harper - Stormcock
★ 378. Wire - Pink Flag
✓ 379. Belle & Sebastian - The Boy With The Arab Strap
380. Bloc Party - Silent Alarm
✓ 381. David Bowie - Scary Monsters (And Super Creeps)
✓ 382. Simon and Garfunkel - Bridge Over Troubled Water
383. The Long Blondes - Someone To Drive You Home
★ 384. Elvis Presley - Elvis Presley
★ 385. The White Stripes - Get Behind Me Satan
★ 386. Gillian Wellch - Revival
✓ 387. The Clash - Combat Rock
388. Tim Buckley - Happy Sad
★ 389. Le Tigre - Le Tigre
390. The Verve - A Northern Soul
391. Burial - Burial
392. Edan - Beauty and the Beat
★ 393. Prince - Dirty Mind
★ 394. Wire - Chairs Missing
★ 395. The White Stripes - De Stijl
✓ 396. Heartbreakers - L.A.M.F.
397. Jay-Z - Reasonable Doubt
★ 398. Neil Young - Everybody Knows This Is Nowhere
399. Nick Cave and The Bad Seeds - The Lyre of Orpheus/Abattoir Blues
★ 400. The Fall - This Nation's Saving Grace
✓ 401. 20 Jazz Funk Greats - Throbbing Gristle
402. Twenty One - Mystery Jets
403. Vespertine - Bjork
404. No Other - Gene Clark
★ 405. Otis Blue - Otis Redding
✓ 406. Rated R - Queens of the Stone Age
407. Going Blank Again - Ride
★ 408. Crooked Rain, Crooked Rain - Pavement
409. Tago Mago - Can
410. Antics - Interpol
411. Madvillainy - Madvillain
✓ 412. Entroducing... - DJ Shadow
413. Pills N Thrills and Bellyaches - Happy Mondays
✓ 414. Dig Your Own Hole - The Chemical Brothers
✓ 415. Chet Baker Sings - Chet Baker
✓ 416. Merriweather Post Pavillion - Animal Collective
417. 1977 - Ash
✓ 418. Electro-Shock Blues - Eels
419. Let It Come Down - Spiritualized
420. People's Instinctive Travels... - A Tribe Called Quest
★ 421. Radio City - Big Star
422. Too-Rye-Ay - Dexys Midnight Runners
✓ 423. Live at Leeds - The Who
424. The Joshua Tree - U2
425. Nancy and Lee - Nancy Sinatra and Lee Hazelwood
★ 426. Goo - Sonic Youth
★ 427. Here Comes the Warm Jets - Brian Eno
✓ 428. Born in the USA - Bruce Springsteen
429. Bleed America - Jimmy Eat World
430. Scott 4 - Scott Walker
431. Badmotorfinger - Soundgarden
★ 432. Tindersticks - Tindersticks
433. 2001 - Dr. Dre
434. Steve McQueen - Prefab Sprout
✓ 435. Easter - Patti Smith
436. Mirrored - Battles
★ 437. Dear Science - TV on the Radio
438. Aha Shake Heartbreak - Kings of Leon
439. The Futureheads - The Futureheads
✓ 440. Life's a Riot with Spy vs. Spy - Billy Bragg
441. Arrival - ABBA
✓ 442. Al Green is Love - Al Green
✓ 443. Sometimes I Wish We Were an Eagle - Bill Callahan
444. Violator - Depeche Mode
✓ 445. Tusk - Fleetwood Mac
446. The Warning - Hot Chip
✓ 447. Diamond Dogs - David Bowie
448. Sci-Fi Lullabies - Suede
449. AM - Arctic Monkeys
★ 450. Rid of Me - PJ Harvey
★ 451. Third/Sister Lovers- Big Star
★ 452. The B-52's- The B-52's
453. The House of Love- The House of Love
454. The Writing on the Wall- Destiny's Child
✓ 455. Vampire Weekend- Vampire Weekend
456. September of My Years- Frank Sinatra
✓ 457. Black Cherry- Goldfrapp
✓ 458. Yankee Hotel Foxtrot- Wilco
★ 459. The Black Album- Jay-Z
★ 460. Bleach- Nirvana
461. Generation Terrorists- Manic Street Preachers
462. Master of Puppets- Metallica
✓ 463. Pod- The Breeders
464. Because of the Times- Kings of Leon
465. High Violet- The National
✓ 466. The W- Wu-Tang Clan
✓ 467. The Idiot- Iggy Pop
468. Chutes Too Narrow- The Shins
469. Holland- The Beach Boys
470. Graduation- Kanye West
471. Oracular Spectacular- MGMT
✓ 472. Mellon Collie and the Infinite Sadness- Smashing Pumpkins
473. A Storm in Heaven- The Verve
474. Tarot Sport- f**k Buttons
475. Smoke Ring for My Halo- Kurt Vile
476. Foo Fighters- Foo Fighters
477. Crystal Castles- Crystal Castles
478. Trouble Will Find Me- The National
479. The Real Ramona- Throwing Muses
★ 480. I Never Loved a Man the Way I Love You- Aretha Franklin
✓ 481. Smile- Brian Wilson
482. Lady in Satin- Billie Holiday
✓ 483. Blood and Chocolate- Elvis Costello & The Attractions
✓ 484. The River- Bruce Springsteen
★ 485. Good Kid, M.A.A.D City- Kendrick Lamar
✓ 486. Homogenic- Bjork
✓ 487. Sound Affects- The Jam
488. I'm Your Man- Leonard Cohen
489. George Best- The Wedding Present
★ 490. Back in the USA- MC5
✓ 491. Actually- Pet Shop Boys
492. Hidden- These New Puritans
493. Blood- This Mortal Coil
494. The Head on the Door- The Cure
★ 495. Hot Fuss- The Killers
496. Album- Girls
497. Random Access Memories- Daft Punk
★ 498. Berlin- Lou Reed
✓ 499. Star- Belly
✓ 500. Stankonia- OutKast
PLEASE, NO invitations or self promotions, THEY WILL BE DELETED. My photos are FREE to use, just give me credit and it would be nice if you let me know, thanks.
A Young Man Being Introduced to the Seven Liberal Arts depicts a young man, perhaps Lorenzo Tornabuoni, led by a personification of Grammar into a circle of allegorical figures representing the Seven Liberal Arts. Presided over by Prudentia, the circle also includes Rhetoric, Logic, Arithmetic, Geometry, Astronomy and Music, each recognizable by means of various attributes. In antiquity, the liberal arts denoted the education worthy of a free person and the painting therefore testifies to the young man's broad education. The figure of Arithmetic is seen holding its hand out in greeting to the young man. Tornabuoni, a scion to a banking family, would have probably had an education focused on numbers. 1483 - 1485.
Paintings was discovered at Villa Lemmi in 1873 under a coat of whitewash and removed from the wall and transferred to a canvas support.