Dual Clapton coils inside, 24g Kanthal core, 17g Kanthal outer, 0.26Ω (four wraps).

 

I have two favourite juices ATM: Cuttwood "Unicorn Milk" and Ruthless "Menage A Trios" and today, I managed to clone both very nicely :-) <---smug smile.

1. 306/366 Soup for Two, 2. 307/366 Village Church, South Kyme, 3. 308/366 Sunset [Explored], 4. 309/366 Stow Minster, 5. 310/366 Reflected Clouds, 6. 311/366 Displaying their wing feathers, 7. 312/366 Cow Parsley, 8. 313/366 Perfume Atomiser, 9. 314/366 Spilling Out, 10. 315/366 Portrait, 11. 316/366 Stirring the Christmas Cake, 12. 317/366 More Glasses, 13. 318/366 Cat Dozing, 14. 319/366 Geraniums [Focus stacked], 15. 320/366 Abstract, 16. 321/366 & MM - Keyhole, 17. 322/366 Rose in the Saucer, 18. 324/366 St Leonard's, Kirkstead, 19. 323/366 It's that Rose Again, 20. 325/366 The Last of the Rose, 21. 326/366 Lean on Me! [Explored], 22. 327/366 Spiky Macro, 23. 328/366 Along the Riverbank, 24. 329/366 Stems, 25. 330/366 & 87/120 Pins & Needles Day, 26. 331/366 Tomatoes & Olive Oil, 27. 332/366 Kyme Tower at Sunset, 28. 333/366 In the 'Spot' light, 29. 334/366 & MM - Bathroom, 30. 335/366 Man up a Tree

HMS Jupiter (F60) was a Batch 3 Leander-class frigate of the Royal Navy (RN). She was, like the rest of the class, named after a figure of mythology. Built by Yarrow Shipbuilders of Scotstoun, she was launched on 4 September 1967 and commissioned on 9 August 1969.

In 1980, Jupiter's modernisation commenced, and included the addition of the Sea Wolf missile system, as well as the removal of her twin 4.5 in gun turret in favour of the Exocet anti-ship missile. The boilers were modified to the Babcock & Wilcox Y160 Steam Atomisation type water-tube boiler. The modernisation was completed in 1983. On 13 June, 1984, as she was leaving the Pool of London after a visit to the capital, she collided with London Bridge causing significant damage to both ship and bridge. The ship's Captain, Commander Colin Hamilton, was later court martialed in Portsmouth on December 4th, 1984.

In September 1986, Jupiter was part of the NATO exercise "Autumn Train '86'" and visited Gibraltar, then spent a continuous four weeks in the Mediterranean, and returned to Gibraltar prior to returning to her (then) home base of Plymouth. Jupiter changed her home port to Portsmouth in 1985. She was a member of the 7th Frigate Squadron.

In 1986, captained by Commander R Bridges, Jupiter deployed to the Persian Gulf - the Armilla Patrol - in partnership with HMS Newcastle and RFA Brambleleaf (A81), and while there, helped in the evacuation of British and Commonwealth nationals from the People's Democratic Republic of Yemen after a bloody campaign to overthrow the government of that country began.

Her last deployment came in late 1991 to early 1992 when she deployed to the South Atlantic.

Jupiter decommissioned in 1992.

She was sold for scrap in 1997 and towed to Alang in India to be beached and broken up.

 

Maiko (apprentice geisha) Masaya of Osaka with a cameo glass perfume atomiser and a bisque figurine. The caption reads (不許復製) 新 粧 政彌 (not an imitation) new adornment of Masaya.

Reading the current Economist, I found this wonderfully evocative passage, drawing me in:

 

“OBSERVED at a distance, traditional societies hold a great fascination for people who are raised in the secure world of middle-class modernity. There is a keen appetite for memoirs and works of popular anthropology that offer some sense of what it is like to grow up in a setting where loyalty to the extended family, the faith, the tribe is unquestioned; and where people’s self-worth depends on acting out rituals and roles inherited from distant ancestors. When set against the atomised solitude of some forms of contemporary Western existence, life as an Ottoman imam, a tsarist peasant or an African warrior can appear romantic—even, somehow, whole and well-integrated where modern life is all too often fragmented and prolix.

 

For anyone who has ever felt a tinge of rose-tinted nostalgia for the traditional, Ayaan Hirsi Ali provides a bracing, and on the whole healthy, cold shower. Having experienced traditional society from the inside—in the form of a Muslim Somali family headed by a well-known politician who practised polygamy and left a deeply troubled and dysfunctional progeny—she has no time for sentimentality. As the world’s most famous ex-Muslim (who became a politician in the Netherlands, then a public intellectual in America), she tells people who have grown up in countries shaped by the Enlightenment and the scientific revolution that they don’t know how lucky they are.

 

Her African upbringing, as she recounts the story, was dark, fearful, full of tedious labour, meaningless rituals and irrational cruelty of which female circumcision was only the most egregious example. People succumbed to terrible diseases because they did not know the elementary facts about hygiene and health. An obsessive concern with the hereafter sapped their will to take practical steps that could have made their lives more bearable.”

— book review of her new book, Nomad

 

I had a chance to talk with her in the quiet shade of the trees of Aspen….

 

Regarding 9/11 as a trigger for her fracture of faith: “when I told my mom that there were Muslims in the World Trade towers, she replied ‘if they were in the towers, they were not Muslims.”

 

In response to a question from Deborah Scranton, the director of The War Tapes who was sitting with us: “For anyone who has spent time in the Muslim world, it is obvious that they believe they are in a holy war with the West.”

Inside each purse is an atomiser

 

IMG_1199fxdwm.JPG

THE MAYBACH SW-38

 

Gottlieb Daimler and Wilhelm Maybach can be considered two grandfathers of mechanical transportation, and both the Daimler Motoren Gesellschaft and the Maybach Motorenbau had great impact on the early history of the automobile. Wilhlem Maybach worked closely with Gottlieb Daimler during the development of the very first automobile at roughly the same time that Karl Benz was developing his Patentmotorwagen.

 

Maybach was an incredibly gifted engineer, who among his many inventions could count the honeycomb radiator and the atomising carburetor. Prior to and during World War I, he performed development work on a number of aircraft engines, while perfecting his own large displacement V-12 used to power the dirigibles invented by Count Zeppelin. Maybach's original intention was to remain an engine manufacturer, but he had difficulty finding a market for his technically superior, but always expensive and complex products.

 

The first Maybach W3 automobile was introduced in 1921, and development over the ensuing years culminated with the fabulous V-12 type DS-7 and DS-8 in the early 1930s. While the absolute pinnacle of engineering at the time, these models were, on the one hand, very large, usually requiring a chauffeur, and incredibly expensive, exclusive and heavy on maintenance on the other with their many cylinders and 8-speed pre-selector vacuum assisted gearboxes. Few had the need for such an over-the-top machine, and even fewer could afford it.

 

The smaller type SW-38 was introduced in 1936. This was the final model to be released before the war and was available in three versions with straight-six engines of 3.5 litre, 3.8 litre and 4.2 litre capacities. The engineering was a tour-de-force, and the automotive world was stunned by this 6-cylinder car, which was capable of reaching speeds close to 100 mph, a bench-mark velocity during the era. The build quality remained on par with the DS cars, and the exquisite manufacture of even the smallest accessories left absolutely nothing to be desired. Customers were captivated by this new lighter and more agile model. It was a deserved commercial success for the marque and sold well in consideration of its exclusivity. A total of 520 chassis were built between 1936 and 1939, which was a substantial number in Maybach terms. Only around 152 of these fabulous Maybachs are known to exist today, so ownership continues to be very exclusive.

 

THE MOTOR CAR OFFERED

 

While the SW-38 was meant to be a new smaller Maybach, "small" is a relative value, and it is only in relation to its gargantuan siblings that the SW-38 can be considered a compact automobile.

 

According to information printed in the main reference work for the marque, Michael Graff Wolff Metternich's Maybach Register, chassis 2240 was delivered new to TOTAL KG, Förstner & Co. of Berlin, who were manufacturers of fire extinguishers. It is described as having been fitted with a Spezial Four Door Cabriolet body, which it clearly retains to this day. The register states that this coachwork was by Petera & Söhne of Hohenelbe, Sudetengau, a lesser known German coachbuilder, who exhibited at the Berlin Auto Show in 1938, although today it wears plates for Spohn, one of those most associated with the brand, an anomaly of little consequence given that its coachwork is clearly original.

 

Modest details of its specific features as new are also listed by Metternich, including a split windscreen and Telefunken radio. It is understood also from this source that as new the car was finished in black with a black top and beige leather upholstery. Its Berlin registration was IA 2057 when delivered in 1939.

 

Mr. Metternich then notes its postwar history to have found the car at the U.S. Air Force base in Frankfurt/Main, where it was assigned to the 'National Supply' and served as a taxi for several years. After this period of service the cabriolet is understood to have been brought to America by a U.S. Army soldier. It would spend time in Gainesville, Florida, then later an owner in Pittsburgh and Keesport, Pennsylvania. Some years ago it would become the property of the famed Imperial Palace Museum Collection in Las Vegas. During its time in that custody the car was comprehensively restored to the condition it can be found today.

 

It was acquired by the current owner some years ago, to join a prominent American collection of pre-war automobiles where it has continued to be cherished and used sparingly.

 

Over the course of the last two decades the Maybach name has of course been revived and quite rightly is associated with the pinnacle of quality, even alongside Mercedes-Benz. Today, this majestic Maybach returns to Europe for the first time in nearly half a century. A remarkable statement of its era, it would no doubt be welcomed at Concours events across the continent.

 

Les Grandes Marques du Monde au Grand Palais

Bonhams

Sold for € 672.750

Estimated : € 750.000 - 950.000

 

Parijs - Paris

Frankrijk - France

February 2017

Inside each is a handy perfume atomiser.

 

IMG_4268wm.jpg

Violetta: "Ooo, my favourite scent."

 

Violetta checking out the new cosmetic bottles made from beads and Sugru and jewellery findings.

 

I made the 'atomiser' and its matching bottle, also the green& orange one & the cream one with the 'rose' on top.

THE MAYBACH SW-38

 

Gottlieb Daimler and Wilhelm Maybach can be considered two grandfathers of mechanical transportation, and both the Daimler Motoren Gesellschaft and the Maybach Motorenbau had great impact on the early history of the automobile. Wilhlem Maybach worked closely with Gottlieb Daimler during the development of the very first automobile at roughly the same time that Karl Benz was developing his Patentmotorwagen.

 

Maybach was an incredibly gifted engineer, who among his many inventions could count the honeycomb radiator and the atomising carburetor. Prior to and during World War I, he performed development work on a number of aircraft engines, while perfecting his own large displacement V-12 used to power the dirigibles invented by Count Zeppelin. Maybach's original intention was to remain an engine manufacturer, but he had difficulty finding a market for his technically superior, but always expensive and complex products.

 

The first Maybach W3 automobile was introduced in 1921, and development over the ensuing years culminated with the fabulous V-12 type DS-7 and DS-8 in the early 1930s. While the absolute pinnacle of engineering at the time, these models were, on the one hand, very large, usually requiring a chauffeur, and incredibly expensive, exclusive and heavy on maintenance on the other with their many cylinders and 8-speed pre-selector vacuum assisted gearboxes. Few had the need for such an over-the-top machine, and even fewer could afford it.

 

The smaller type SW-38 was introduced in 1936. This was the final model to be released before the war and was available in three versions with straight-six engines of 3.5 litre, 3.8 litre and 4.2 litre capacities. The engineering was a tour-de-force, and the automotive world was stunned by this 6-cylinder car, which was capable of reaching speeds close to 100 mph, a bench-mark velocity during the era. The build quality remained on par with the DS cars, and the exquisite manufacture of even the smallest accessories left absolutely nothing to be desired. Customers were captivated by this new lighter and more agile model. It was a deserved commercial success for the marque and sold well in consideration of its exclusivity. A total of 520 chassis were built between 1936 and 1939, which was a substantial number in Maybach terms. Only around 152 of these fabulous Maybachs are known to exist today, so ownership continues to be very exclusive.

 

THE MOTOR CAR OFFERED

 

While the SW-38 was meant to be a new smaller Maybach, "small" is a relative value, and it is only in relation to its gargantuan siblings that the SW-38 can be considered a compact automobile.

 

According to information printed in the main reference work for the marque, Michael Graff Wolff Metternich's Maybach Register, chassis 2240 was delivered new to TOTAL KG, Förstner & Co. of Berlin, who were manufacturers of fire extinguishers. It is described as having been fitted with a Spezial Four Door Cabriolet body, which it clearly retains to this day. The register states that this coachwork was by Petera & Söhne of Hohenelbe, Sudetengau, a lesser known German coachbuilder, who exhibited at the Berlin Auto Show in 1938, although today it wears plates for Spohn, one of those most associated with the brand, an anomaly of little consequence given that its coachwork is clearly original.

 

Modest details of its specific features as new are also listed by Metternich, including a split windscreen and Telefunken radio. It is understood also from this source that as new the car was finished in black with a black top and beige leather upholstery. Its Berlin registration was IA 2057 when delivered in 1939.

 

Mr. Metternich then notes its postwar history to have found the car at the U.S. Air Force base in Frankfurt/Main, where it was assigned to the 'National Supply' and served as a taxi for several years. After this period of service the cabriolet is understood to have been brought to America by a U.S. Army soldier. It would spend time in Gainesville, Florida, then later an owner in Pittsburgh and Keesport, Pennsylvania. Some years ago it would become the property of the famed Imperial Palace Museum Collection in Las Vegas. During its time in that custody the car was comprehensively restored to the condition it can be found today.

 

It was acquired by the current owner some years ago, to join a prominent American collection of pre-war automobiles where it has continued to be cherished and used sparingly.

 

Over the course of the last two decades the Maybach name has of course been revived and quite rightly is associated with the pinnacle of quality, even alongside Mercedes-Benz. Today, this majestic Maybach returns to Europe for the first time in nearly half a century. A remarkable statement of its era, it would no doubt be welcomed at Concours events across the continent.

 

Les Grandes Marques du Monde au Grand Palais

Bonhams

Sold for € 672.750

Estimated : € 750.000 - 950.000

 

Parijs - Paris

Frankrijk - France

February 2017

There can be few gardening partnerships forged from more dramatic beginnings than that of Janet Wheatcroft and Dawa Sherpa. In 1995 Wheatcroft was crossing the Arun river in Nepal as a member of a plant-hunting and botanising expedition. The river was in full spate, the water roiling, when a landslide upstream sent a torrent of mud and boulders the size of London buses towards the group.

Dawa clung to Wheatcroft, exchanging terrified glances. He eventually hauled her to safety. As incredible as it was that he saved my life, she says, it was the realisation that he wasn't going to leave me and would rather go down as well that will always stay with me. Wheatcroft and Dawa stayed in touch and, a few years later, she invited him to visit her and her husband, Andrew, at their home at Craigieburn near Moffat close to the Scottish Borders.

The foothills of the Himalayas have a summer climate very similar to that of south-west Scotland. At Craigieburn a steep sided gorge that cuts through one side of the garden created a microclimate almost identical to that of Dawa's home village of Kharikhola. A brook runs through the gorge; the water flow is reduced to a gentle stream in summer but in winter, or after heavy rainfall, it rushes through the valley, crashing over the boulders that form the sides of the gorge. The atomised water creates the perfect moisture-laden atmosphere in which Himalayan plants thrive.

The gorge became the site for what is now known as Dawa's Sherpa garden. Cleared of sapling trees and undergrowth, the soil was dug over and improved using nothing but what Dawa refers to as his sherpa power his own muscles and tenacity. In just four months it was made ready for planting.

Dawa describes his career as a gardener as his fourth life. He spent time as a camp cook and trail guide, trained as a Buddhist monk and then worked as a sherpa. In this role he summited Everest twice, so the challenges of the gorge at Craigieburn and the persistent attentions of the small yet incredibly irritating biting midges that are a feature of this part of Scotland in summer must have seemed like small beer. And as he points out, growing the vegetables you need to stay alive on the side of a mountain has a far greater urgency than making an ornamental garden.

At the foot of the Sherpa garden, great swaths of Himalayan big blue poppies (Meconopsis) thrive, a sea of electric blue blooms shot through with iridescent silver and violet. There are numerous species and cultivars of Meconopsis in the gorge and elsewhere at Craigieburn, from Meconopsis grandis and Meconopsis sheldonii to George Sherriff Group hybrids. Their desirability is matched by their complex cultivation requirements, but the gorge suits them well. The soil is humus-rich, moist but well drained while the high tree canopy provides dappled shade, a key requirement for Meconopsis and many other Himalayan woodland edge plants.

Dawa claims not to have lost a single specimen from the hundreds of plants that went into the gorge, and not to have read a single gardening book in its making either. This latter claim is subsequently verified and qualified by Wheatcroft when she confides that Dawa has never learnt to read. What is clear, though, is that he has used an intuitive knowledge of the native flora of his home in making the garden.

Stands of Cardiocrinum giganteum (a bulb that produces a forearm-thick stem topped with huge, lily-like flowers) are planted not in deep, leaf-litter enriched peat soil, as the books suggest, but right at the edge of the stream. Farther up the gorge are stands of Arisaema speciosum, a malevolent-looking beast with dark purplish-black, white-veined flowers that look ready to devour any unsuspecting animal that might be passing by.

On a less epic scale are the ground-covering plants that spill over the rocks and weave through the taller plants, but these diminutive gems are no less interesting. There are at least three Iâve never seen before. Parochetus communis is a spreading clover, found on Himalayan riverbanks; its bright green leaves and intense blue flowers rival the Meconopsis in colour if not in size and profusion.

Growing with it is Primula geranifolia looking every inch a geranium rather than a primula with deeply cut leaves and dusky pink flowers, and Fragaria daltoniana. This rare Nepalese strawberry Wheatcroft believes these are the only plants in the UK arrived at Craigieburn by accident in a shipment from the Himalayas, and have slowly made the garden their home, lighting up dark corners with dark red drupes and leaves so glossy they look as if they have been polished. Mixed in with more widely available ground-covering plants such as Dicentra Langtrees and Epimedium cultivars, the resulting tapestry is so lush that even the few weeds that grow among it take on an exotic air.

It is evident that Dawaâs mischievous delight in his convention-bending approach to gardening has spilled into the rest of the garden. Topiary animals stride across the tops of the hedges that frame classic herbaceous borders; prayer flags and the occasional (and tastefully placed) stone Buddha peek out from among shrubs. Wheatcrofts seemingly effortless talent in designing and planting has collided with Dawa's raw intuitive skill to make a memorable and unique horticultural experience.

 

www.ft.com/cms/s/0/09b82cc6-d633-11e5-829b-8564e7528e54.html

There can be few gardening partnerships forged from more dramatic beginnings than that of Janet Wheatcroft and Dawa Sherpa. In 1995 Wheatcroft was crossing the Arun river in Nepal as a member of a plant-hunting and botanising expedition. The river was in full spate, the water roiling, when a landslide upstream sent a torrent of mud and boulders the size of London buses towards the group.

Dawa clung to Wheatcroft, exchanging âterrified glances. He eventually hauled her to safety. As incredible as it was that he saved my life, she says, it was the realisation that he wasn't going to leave me and would rather go down as well that will always stay with me. Wheatcroft and Dawa stayed in touch and, a few years later, she invited him to visit her and her husband, Andrew, at their home at Craigieburn near Moffat close to the Scottish Borders.

The foothills of the Himalayas have a summer climate very similar to that of south-west Scotland. At Craigieburn a steep sided gorge that cuts through one side of the garden created a microclimate almost identical to that of Dawa's home village of Kharikhola. A brook runs through the gorge; the water flow is reduced to a gentle stream in summer but in winter, or after heavy rainfall, it rushes through the valley, crashing over the boulders that form the sides of the gorge. The atomised water creates the perfect moisture-laden atmosphere in which Himalayan plants thrive.

The gorge became the site for what is now known as Dawa's Sherpa garden. Cleared of sapling trees and undergrowth, the soil was dug over and improved using nothing but what Dawa refers to as his sherpa power his own muscles and tenacity. In just four months it was made ready for planting.

Dawa describes his career as a gardener as his fourth life. He spent time as a camp cook and trail guide, trained as a Buddhist monk and then worked as a sherpa. In this role he summited Everest twice, so the challenges of the gorge at Craigieburn and the persistent attentions of the small yet incredibly irritating biting midges that are a feature of this part of Scotland in summer must have seemed like small beer. And as he points out, growing the vegetables you need to stay alive on the side of a mountain has a far greater urgency than making an ornamental garden.

At the foot of the Sherpa garden, great swaths of Himalayan big blue poppies (Meconopsis) thrive, a sea of electric blue blooms shot through with iridescent silver and violet. There are numerous species and cultivars of Meconopsis in the gorge and elsewhere at Craigieburn, from Meconopsis grandis and Meconopsis sheldonii to George Sherriff Group hybrids. Their desirability is matched by their complex cultivation requirements, but the gorge suits them well. The soil is humus-rich, moist but well drained while the high tree canopy provides dappled shade, a key requirement for Meconopsis and many other Himalayan woodland edge plants.

Dawa claims not to have lost a single specimen from the hundreds of plants that went into the gorge, and not to have read a single gardening book in its making either. This latter claim is subsequently verified and qualified by Wheatcroft when she confides that Dawa has never learnt to read. What is clear, though, is that he has used an intuitive knowledge of the native flora of his home in making the garden.

Stands of Cardiocrinum giganteum (a bulb that produces a forearm-thick stem topped with huge, lily-like flowers) are planted not in deep, leaf-litter enriched peat soil, as the books suggest, but right at the edge of the stream. Farther up the gorge are stands of Arisaema speciosum, a malevolent-looking beast with dark purplish-black, white-veined flowers that look ready to devour any unsuspecting animal that might be passing by.

On a less epic scale are the ground-covering plants that spill over the rocks and weave through the taller plants, but these diminutive gems are no less interesting. There are at least three Iâve never seen before. Parochetus communis is a spreading clover, found on Himalayan riverbanks; its bright green leaves and intense blue flowers rival the Meconopsis in colour if not in size and profusion.

Growing with it is Primula geranifolia looking every inch a geranium rather than a primula with deeply cut leaves and dusky pink flowers, and Fragaria daltoniana. This rare Nepalese strawberry Wheatcroft believes these are the only plants in the UK arrived at Craigieburn by accident in a shipment from the Himalayas, and have slowly made the garden their home, lighting up dark corners with dark red drupes and leaves so glossy they look as if they have been polished. Mixed in with more widely available ground-covering plants such as Dicentra Langtrees and Epimedium cultivars, the resulting tapestry is so lush that even the few weeds that grow among it take on an exotic air.

It is evident that Dawaâs mischievous delight in his convention-bending approach to gardening has spilled into the rest of the garden. Topiary animals stride across the tops of the hedges that frame classic herbaceous borders; prayer flags and the occasional (and tastefully placed) stone Buddha peek out from among shrubs. Wheatcrofts seemingly effortless talent in designing and planting has collided with Dawa's raw intuitive skill to make a memorable and unique horticultural experience.

 

www.ft.com/cms/s/0/09b82cc6-d633-11e5-829b-8564e7528e54.html

 

Craigieburn House

By Moffat

Dumfries

DG10 9LF

Phone:07757 928 648

First of all, it is important to know that the Kutubiah is not built by chance at this place: indeed, there are flows of the 7 metals that criss-cross the Earth like meridians. The Kutubiah is at the crossroads of two simple gold streams, one North-South passing through Santiago, Tomar and Marrakesh. An east-west flow passes through Damascus, Gardaïa and Marrakesh. The tower is therefore a scalar wave sensor. The rest is a parallel with experiments carried out in Ireland on identical towers and in India. The metal balls are like tachyon energy sensors or organ cannons.

Physics used to teach us that space is a kind of absolute container, separate from the flow of time. In this classical or Newtonian conception, objects traveled through or remained stationary in space, which itself was not subject to change or to internal variations. The three dimensions of space were the same, always and everywhere. Galileo's observation of the moons of Jupiter would eventually lead to the fundamental assertion, so damaging to the prevailing Christian or traditional cosmology of the time, that in fact the laws down here on earth and the laws up there in the heavens are the very same. Our "space" as we experience it on earth, according to its inviolable coordinates of width, height, and depth, or the famous x, y, and z of the Cartesian coordinate system exists uniformly throughout the universe and is governed by the same rules. With the dismissal of the ether (the fifth element the celestial spheres were thought to be made of) and the adoption of an atomist theory, the physical vision of the universe was one of billiard balls colliding in a uniform and static vacuum, with things like electromagnetism and thermal energy thrown into the mix.

 

www.ibnarabisociety.org/articles/timeofscience.html

 

In this conception, time was a measure and nothing more, and was itself assumed to be constant and unchanging. One used time in frequency and velocity values, but time itself had nothing essentially to do with the nature of space and certainly nothing to do with physical objects themselves. The great paradigm shift in physics came with Einstein's special theory of relativity, which was later to be expanded upon in his general theory of relativity. In addition to showing that there is no absolute frame of reference for physical measurements, the theory also demonstrated mathematically that what we ordinarily think of as space and time are actually intertwining realities – or two aspects of the same reality. How we move through space changes how we move through time, at least depending on the point of observation. If I travel from Earth for a period of time near the speed of light and then return, a much longer period of time will have elapsed from Earth's frame of reference than will have elapsed from my own frame of reference, in some sort of space vehicle for example. Time also changes depending on how close I am to a strong gravitational field. A clock in orbit high above the earth, for example, will run slightly slower than an identical clock on the surface of the earth.

 

Now, many books have been written in the last few decades claiming that the teachings of Eastern religions such as Buddhism and the finding of modern physics, specifically quantum mechanics and relativity theory, are really the same, and much is made of the spiritual significance of this new physics.2 Though it is a topic for another forum, I believe that the perceived intersection of physics and mysticism or religion results from a sublimation of certain hypothetical assumptions of physical data on the one hand, and a denaturing of the spiritual doctrines on the other. That is to say, certain interpretations of the physical data, such as the idea that the observer influences the state vector collapse, and the notion of multiple universes arising out of the actualization of the wave function of particles, are nothing more than philosophical struggles on the part of physicists and laymen to come to grips with the data. They are not demanded by the data themselves, which is why many physicists who agree on the same data have sometimes wildly different models for accounting for those data.3 On the religious side, one comes across pat explanations of spiritual doctrines taken out of their traditional context, and Buddhism is reduced to a group of clever insights about our mind and the nature of the world.

 

Thus I want to be careful of including the findings of physics in a paper on the experience of time and non-time at a conference on Ibn al-'Arabī. I may joyously proclaim that Ibn al-'Arabī told us in the thirteenth century what physicists claim to have discovered only a few decades ago, but what happens when the scientists change their minds? After all, despite what the popular literature and movies tell us, there are enormous lacunae in physics, and for all we know the spatio-temporal conception ushered in by Einstein may one day itself be overturned by something as radically different. To give you some examples, quantum mechanics works for very small things, and relativity works for very big things, but at a certain point in between, for medium sized things, the theories become incompatible. This was the problem with Newtonian or classical physics: for many purposes the theory worked just fine, but physicists were puzzled because it did not work for all observed phenomena. Thus Newtonian equations will correctly predict how a baseball will travel through space, but it took relativity to correctly account for the orbit of the planet Mercury. Our present idea of gravity and the mass of the universe should have the universe flying apart, but since it does not actually do so, physicists posit dark matter, which accounts for 98 percent of the mass of the universe. The problem is since we cannot see or measure this dark matter, we do not know what it is, or really if it is there.

 

So why start a discussion of time at an Ibn 'Arabī Society gathering with physics? Firstly, despite the fact that classical physics is part of history as far as scientists are concerned, its world view still dominates the consciousness of the age. It is what is most typically taught in high school textbooks, and its assumptions are built into popular language about the subject. The next time you hear someone say "fundamental building blocks of matter" know that such a notion is completely classical in its origin. All our notions of mass, force, and energy are usually classical conceptions, that is to say conceptions beginning from the bifurcation of the world into measurable and subjective knowledge by Descartes, then Galileo's uniformity of the universal laws, and finally Newton's brilliant synthesis. Moreover, these ideas, together with the advent of the heliocentric model, was a major force, perhaps the most important force, in sidelining Christianity in the Western world. First the Church abdicated its claim to having knowledge of the natural world, and while it spent the next few centuries in the domain of moral and spiritual questions, scientists gradually reduced the world to physical bits, reduced man to a hyper developed animal, reduced animals to complex arrangements of atoms, and reduced consciousness to complex patterns of synaptic activity in the brain. Meanwhile the philosophers and pseudo-philosophers of scientism were busy trying to convince themselves and everyone else that truth was provided only by quantitative measurement. The rest was quality, which fell on the side of subjective feeling, and as we all were supposed to know, feelings are really just complex instincts, which somehow result from the structure of the brain, resulting from the structure of DNA, resulting from the happenstance arrangement of atoms.

 

Relativity theory and quantum mechanics overturned classical mechanics, which had itself overturned Christian cosmology. The paradigm shift ushered in by such figures as Einstein, Max Planck, and Neils Bohr is important because it destroyed the destroyer. Heliocentrism was erased, because from the point of view of relativity it is nonsense to say that the earth "goes round" the sun, as it is to say that the sun goes round the earth, because there is no fixed frame of reference to say which is going around which. The sun's gravitational field is stronger than the earth's, but the earth does pull on the sun, and because there is no absolute frame of reference anymore, then certainly it is correct to say the sun goes around the earth. Geocentrism actually comes out slightly ahead, since it at least corresponds to our experience from our frame of reference. From the point of view of science, however, we have lost both geocentrism and heliocentrism.

 

As for universal laws, we find that things do not behave the same everywhere. For example a clock seems to run at a different speed high above the earth. Light does not always travel in a straight line, but seems to bend from different points of reference, because space itself seems to bend and take on all sorts of shapes depending on the objects in it.

 

Then we discover that atoms are not mere little balls. Rather, it seems the only way we can properly describe what seems to be happening on very small scales is through various kinds of mathematical form, very unlike a little ball. The only reason scientists talk about wave-particle duality is because the measurements they get look sometimes like a particle, sometimes like a wave, but they never have nor ever will see what causes those measurements. The relationships between the "atoms" is mathematically incredibly complex and is more like threads in a tapestry than balls flying through space, but of course they are neither. The problem is further complicated by Bell's theorem, which shows entities like electrons to be connected, as far as we can tell, instantaneously even at distances too great for a light-speed communication to take place. This is important because relativity theory states that nothing can travel faster than the speed of light.

 

Thus the momentousness of heliocentrism, atomist theory, uniformity of spatial laws and time was shown to be not so momentous after all, but this is lost on popular thinking. Einstein certainly earned his own fame but did not manage to steal all of Newton's thunder. The most usual understanding of the natural world is still a classical one.

 

But I already cautioned myself about too great an enthusiasm for what the new physics teaches. Indeed it may be that the current paradigm is overturned, but it seems well-nigh impossible that any such a revolution will bring us closer to the classical conception that destroyed traditional cosmology in the West. We have already pushed the limits of what we can actually observe with our own senses, which is to say anything else we observe will be the effects of experiments together with the mathematical models based on the data of those experiments. Physicists' eyes are not more powerful than our own; their insight comes through the mathematical form they derive from the data. Such mathematical models are the very stuff of physical theory.

 

The significance of this is not that it elevates one theoretical model above another, but that it throws into sharp focus the fact that any model of what happens beyond the perceptible world is as good as any other from the point of view of science, so long as it correctly predicts the data. The problem with superstring theory, hidden variable theory, many-universe theory, is that they are all mathematical models based upon the exact same body of data, and they all predict the data equally well. These models are sometimes so wildly different that any pretense to some one great scientific conception of the universe must be seen as philosophical hubris. The precision of the data themselves and the success of the accompanying mathematics in predicting the behavior of the physical world on small and large scales – indeed the most successful scientific theory to date – paradoxically serves to undercut the assumption that the only real knowledge we can have of things is through scientific measurement. What we are measuring are things we can never perceive without a measurement. Classical mechanics usually dealt with ordinary scale objects. If the real knowledge we have of a baseball is the measurements we can make of it, we are still left with an object that at least corresponds to an object we actually experience, even if that experience is merely subjective or even meaningless from the point of view of science. An electron is an entity no one has, can, or ever will experience. Even if we never perceive a unicorn in fact, we could in principle.

 

The key reversal at play is the following: we measure quantum entities, but our knowledge of them is mediated completely by our ordinary experience of the world, by our pointer-readings, as Wittgenstein once remarked. I said that the new physics paradoxically undercuts classical bifurcation because it leaves us with the troubling proposition that our true scientific knowledge depends for its very survival upon the offices of our subjective, non-scientific experience. Actually, this was the case in classical mechanics as well, but the fact that quantum entities are wholly unlike ordinary entities makes the rigid bifurcation into a subjective world of quality and an objective world of quantity all the more absurd.4

 

The situation we are left with is this. The revolution of classical mechanics suffered a counter-revolution, the new physics, which neutralized the sting delivered by the heliocentric model, uniform space and time, and the classical atomist theory. Though this counter-revolution did not put traditional cosmology back in its place, it robbed the scientist of his ability to make absolute statements about what we can know. A man might be lulled into a kind of complacency about the baseball; perhaps the knowledge provided by scientific measurement is more true and reliable than his mere experience of the thing. This may not hold up to philosophical scrutiny, but overlap between the measured baseball and a baseball as one sees it gives the whole affair an air of respectability. But when the scientist tells us that true knowledge is measuring things that we cannot see, and that the scientist cannot see either, it begins to sound too strange to be believed. And of course, it is.

 

So unlike many of the popular ideas linking the new physics to traditional metaphysics, my assertion here is simply that science has exposed the fallacy of Cartesian bifurcation and the alleged supremacy of quantitative knowledge. Science has turned on itself, or more correctly, the data has betrayed philosophical scientism and exposed its limitations. We have quite literally come back to our senses.

 

If we actually pay attention to the difference between quantitative data and physical theory, we see that science has altogether lost the destructive power to make us denigrate our senses and the ideas we form from sensory experience. We know that what the scientist says about time is a model based on observations of the world, and that any number of such models possess equal validity, and all of them are subservient to the real experience of the human subject. Choosing one model above another is not a scientific decision, but a philosophical one.

 

Time, like space, is one of the most concrete aspects of our experience of the world. It is not an abstract entity such as an electron, but a reality so close and intimate that we stumble in defining it owing to its sheer obviousness. It is a mystery that baffles due to its clarity, not its obscurity. If a physicist says that time is not what we think but is actually this or that, we can agree in part and acknowledge that the reality may have aspects of which we are not aware. However, we always possess the powerful rejoinder that no matter what the data or theory, it has been formed on the basis of the physicist's ordinary human experience of time and observations taking place within that experience. Logically, it is impossible to negate the qualitative time of our own experience without undercutting the basis of the quantitative time derived through measurement, since no observation is possible without ordinary time and ordinary space. "Reification" is the problem we get when we put our theories of quantitative time above qualitative time in our hierarchy of knowledge. I may give a mathematical description of time utilizing perhaps a symbolic or allegorical use of geometric shapes, but then become trapped in my own provisional model. Even the word "linear" in linear time is a model. We make an analogy of some property of our experience of time to the properties of a physical line in space, i.e., being continuous and existing in two directions. But time is not a line, a line is a line. Having used the image of a line to enable us to talk about time in a scientifically useful way, we get trapped by an image which has taken on a life of its own, so to speak. Then anything other than linear time begins to seem absurd, a violation of time the way a loop is a violation of a line.

 

The Cartesian bifurcation which elevates quantitative measurement and theory while denigrating the real experience of qualities is ultimately absurd, because no model can repudiate the model-maker and continue to remain meaningful. It would mean that the model-maker's knowledge of what he is making a model of is dependent upon the knowledge provided by that very model itself. A bifurcationist physicist discerns a mathematical form in the data of the world, then says that this mathematical form is more true than the very perception he used to discern that mathematical form. If by this he meant that the world manifests laws present in the Intellect or Great Spirit, we could agree, since we perceive those laws by virtue of participating in that same intellect. But that is not an idea the philosophers of scientism would be willing to entertain.

 

Let me now leave off the space-time continuum of physics and come to the soul's qualitative and lived experience of these realities we call space and time. Space and time appear to us to be two modes of extension, or in simpler terms two ways in which things are spread out in relationship to each other. Spatially things are here and there, and temporally things are before and after. In another essay I discussed at length this notion of space and time as extension, and I do not wish to duplicate that discussion here.5 My purpose here is to establish a link between space and time that is not at all based on relativity theory, but arises from our living experience. Although in the classical conception which so often dominates our minds space and time are seen as two separate and unlike things, the truth is that time is impossible without space, and space is impossible without time. I do not make this assertion from the point of view of physical science, but from within the world of the metaphysics of Ibn al-'Arabī and similar metaphysical systems.

 

Let us first ask what the world would be like if there were only space, but no time. The first thing that we would notice is that change would become impossible. Think of a group of objects existing in space, and then think of them existing in a different arrangement. In order for them to go from the first arrangement to the second one, something has to happen. They have to at the very least traverse the distances necessary to arrive at the second arrangement, but how can they do that if there is only space and no time? Something has to ontologically link the two arrangements. Even if somehow they do not traverse the distance in between, the objects are still the same objects, and the only thing allowing us to call them the same objects in the two different arrangements is a reality that allows the objects to change but retain some kind of continuity. This connecting dimension is time.

 

Let us then ask what the world would be like if there were time but no space. Since there would be no spatial extension to observe, we would somehow have to measure time with our subjective experience in the absence of height, width, and depth. How would we know that there even was a course of time? Feelings have no dimension perhaps, but what about the rest of the soul? The images in our imagination, never mind the objects of the objective world, all have spatial extension, so we would have to disallow them in a world without space. That is to say, time implies a kind of inward space in the soul – a different kind of space to be sure – that makes it meaningful to speak of before and after, a referent that is constant in the face of change.

 

Let us as an exercise try to erase the words "space" and "time" from our minds and come back at the question. We notice that in life there are things that change and things that stay the same, and often the very same things seem to change and stay the same but in different respects. The baseball is the same baseball, both in the hand of the pitcher and in the glove of the catcher, but it is not wholly the same because some things about it are different, such as its location and its relationship to the things around it. We can talk about things that are constant and changing, or static and dynamic. (In Arabic the relevant terms are qārr and ghayr al-qārr.)

 

But I do not wish to encumber myself from the beginning with technical language. For now I simply have the "constant" and the "changing". I, too, am constant and changing. I am the same person but I am always becoming this or that, experiencing all sorts of colors and sounds and shapes in addition to my emotions, and yet the constant identity abides. In the statement, "I was sad, then I found my true love, and then I was happy," the then does not split the I into parts. It does not erase the identity.

 

Such paradoxes of the many in the one, and the one in the many, really form the basis of Ibn al-'Arabī's metaphysics, and make a good point of departure for an analysis of time and non-time. At the highest level, the mystery of the many and the one is the identity between the Ultimate Reality and the many things we usually think of as being real in and of themselves. The ontological status of things in relation to the ultimate reality is a question for metaphysics, but the mystery of the many and one also plays out in cosmology, meaning the study of the world in which the puzzles of constancy and change arise.

 

At the highest level of Akbarian thought, the manyness of the divine qualities is resolved in the unity of the supreme Self. This is not a unity of "before" and "after", where I might say that all qualities are happening right now; nor is it a unity of "here" and "there", where I might say that all qualities are in one place. Rather it is a unity of being, of identity. The Creator is not another being than the Just or the All-Merciful. They are unified in what they truly are, and mysteriously the world's illusory reality disappears in the face of this essential unity.

 

Now, Akbarians do not throw away manyness, but put it in its place, and from our point of view in the world the many divine qualities and their relationships to one another are of the greatest significance. The manyness of the qualities is unreal only for the supreme Self, but for us this manyness is as real as we are, so to speak. In fact, we depend on this manyness for whatever illusory reality we possess, because it is by virtue of the divine names and qualities and their relationships that the world comes to be. How, then, does this one in the many, many in the one, play out in the world?

 

There is no shortage of ideas that Ibn al-'Arabī and his school use to describe how the divine qualities give rise to the world. Some of the most important are emanation (fayd), self-disclosure (tajallī), identification (ta'ayyun). For this talk I want to use the symbolism of light, and the divine name "Light" or al-Nūr. Mystics and philosophers have often started with light, and its symbolism is so powerful because light is both what we see and what we see by. Light is both a means and an end. If we apply the symbolism of light to all knowledge, light is both what we know and how we know. It is, moreover, a symbol that Ibn al-'Arabī and his school often used as a metaphysical basis, the same way they could use the concepts of mercy and existence.

 

The Quran says, God is the Light of the heavens and the earth (24:35). The heavens and the earth are the realm of the constant and the changing, so let us say that God is the light of the constant and the changing, making God what we know the constant and the changing by. This leaves us to ask what the constant and the changing are. Each and every thing is, ultimately, a manifestation of a name of God. God knows His endless names, and this knowledge is the realm of the immutable identities, the al-a'yan al-thabitah. Each immutable identity is a special way in which God knows God, but God's knowledge of Himself is neither before and after nor here or there. It introduces neither distance nor duration between His names.

 

But if the identities are essences or forms in the knowledge of God that are separated neither by distances nor durations, how do we get to the situation where these identities, when they are in the world, do get separated by distance and duration? In God's knowledge the identities are immutable, but in the world they are what we are calling constant and changing. They are here and there, and they are before and after. The baseball is here, not over there. Or, the baseball is here now, but it was not here earlier. This does not happen in God's knowledge. The immutable identities are different but not apart. There is an immutable identity for the pitcher and an immutable identity for the catcher, but they exist eternally in God's act of knowing, fused but not confused, to borrow Meister Eckhart's language.

 

Akbarian cosmogenesis is a two-tiered emanation, or self-disclosure which first gives rise to the immutable identities in God's knowledge, and then externalizes or existentiates them in the world. There is a way in which these two identities, one manifest and the other unmanifest, are two different things, and another way in which they are simply the same thing viewed from two different points of view. When God's light illuminates the immutable identities – which we can reword and say when God as the Light meets with God as the Knower – the result is the world. In a sense the immutable identities are dark, because as independent beings they are nothing. They are only God's knowledge of Himself. The divine light is a gift that illuminates the identities and gives them their own reality. This light allows there to be something "other than God", this phrase "other than God" being Ibn al-'Arabī's definition of the world, because by being illuminated the identities can see each other, and see themselves, and by "see" I mean "know".

 

Now, in the world this light by which we are illuminated to each other is none other than the very realities of duration and distance. What we give the name "space" is a state of affairs where the forms of things exist in a kind of relationality to each other, separated and yet existing in the same domain and thus connected in a kind of continuum. What we give the name "time" is a state of affairs where forms exist in a different kind of relationality, where even a single given thing is able to be separated from its previous state and yet still be connected to those states by virtue of its being a single thing. Thus its states also exist in a kind of continuum. God's light in static mode is space, and His light in dynamic mode is time. The identities themselves are not space and time, for the identities are pure forms in the knowledge of God, but when God casts His light upon them they enter into the dance of spatial and temporal interaction we call the world. This light enables the realities of sound, color, shape, smell, feeling, number, mass, and energy to connect and manifest the forms. Light is the vessel, both in static and dynamic mode, upon which the identities journey in between the plenary darkness of God's knowledge on the one hand and the uninhabitable darkness of pure nothingness on the other.

 

This is one possible understanding of the divine saying where God says, "Do not curse time, for I am time." By cursing time, we are in reality cursing the light of God, which is identical with Himself. It is by God giving of Himself, of His light, that our existence as beings going through changing states is even possible. But it then follows that one could also say that God is space. Islamic metaphysics does not have, to my knowledge, a classification of space as it does of time. As I am sure will be widely discussed in this conference, there is a distinction made between sarmad, dahr, and zamān, or eternity, sempiternity, and ordinary time. But if what I am saying about the divine light is true, is it not equally true to say that God is space?

 

In the bodily world the divine light shines in a certain mode, far short of all the possibilities of divine illumination. The light is relatively dim, and though I see myself and others, I cannot see much, and the wholeness and connectedness of things is largely hidden in a darkness that is yet to be illuminated. The possibilities of this world are basically limited, at least in our ordinary experience, to the usual dimensions of space and time. Akbarian metaphysics teaches that the imaginational world, the world ontologically superior to the world of bodies, is more illuminated. In that world, the rules governing the constant and the changing, or distance and duration, are not the same. Remember that the imaginational world, like the world of bodies, is still a world of extension, which is to say that it is a world of manifested forms – of shapes, colors, duration, changing states. But because it is so luminous, the possibilities for the interaction of the constant and the changing are much greater. The forms in the imaginational world are indeed not limited by bodily space and time, though there is an imaginational space and an imaginational time. Recall the saying that the bodily world in relation to the imaginational world is like a ring tossed into a vast wilderness. Rūmī declares that there is a window between hearts, meaning that we are connected to each other at the level of our souls, both across space and across time. True believers can have dreams foretelling the future, and great saints can meet in spirit if not in body. These wonders do not take place by virtue of bodily existence, but by virtue of the imaginational world, the world of souls.

 

Not only do the conditions of space and time change from bodily to imaginational existence, but they change from this world to the next, from the dunyā to the ākhirah. This is what Dāwūd al-Qaysarī means when he says that there are some divine names whose governance of the world lasts for a certain duration. That is to say, there is a certain way in which the divine light manifests the forms in our ordinary earthly life, but at the end of the world the cycle of that kind of light, of that particular divine name, will come to a close. The hereafter will then be governed by another divine name, another kind of divine light. That which is impossible here will be possible there because the divine light will illuminate ever more possibilities for the interplay of forms and identities. Space itself will be greater and more infinite, time itself will be infused with greater barakah and potential for realizing the self-disclosures of God.

 

Thus far I have been discussing the ontological status of time together with space, because I think the two are inseparable insofar as they are two modes of the divine light as far as worldly existence is concerned. But what does the reality of time mean for the spiritual journey of the soul?

 

If we take Ibn al-'Arabī's metaphysics and cosmology to their logical conclusion, I believe we can say the following. God created us as a freely given gift, simply so that we who were not could be, that we who were nothing could be living beings. But at the same time God experiences all of our pains and our joys, our stupidity and our wisdom, our fear and our courage with us in a mysterious way. Recall the hadīth where God says, "I was sick, and you did not visit Me," (Muslim 4661) and the Quranic verse "Those who hurt God and His Messenger …" (33:57). Yet for God there is no pain, stupidity, or fear, because God is not confined to the moment of suffering. He knows the whole life. God does not move down the line with us as we do, although He lives what we live. God could never suffer as we suffer because for God there is no despair, no hopelessness. Hopelessness is the most human of sufferings.

 

For God, the pain is like the pain of separation we feel at the very moment we are running to meet our beloved. We are in fact separated, and the effect of running and the distance between us is a kind of suffering, but that suffering is totally redeemed by the hope we have, the certitude, that we have in the meeting with our beloved. The pain that God experiences with us is like the pain we experience while running to our beloved. It is not really a pain at all; it is a part of the fullness of the moment. God sees in our life, when we cannot, the abundance and perfection of our destiny in a way so perfectly complete that the so-called suffering is ever blessed and redeemed in the final reunion. We are not God, though, and so for us the experience of pain is not the same, but it is what it must be for a being God created for joy. When we become more like God, we suffer more in the way God "suffers", so to speak. We gradually experience and taste how death is just a flavor of life.

 

In us, God is always running to the beloved, He lives the separation in the total light of (re)union, death in the light of life, pain in the light of total bliss. We may think that we are just stamping our feet, out of breath, running to a horizon that never seems to come closer, but we are growing still.

 

To turn a nothing into a something like God is going to have to hurt sometimes, ripping open nothingness and pulling out a god-like being strand by strand, sinew by sinew, love by love, pain by pain, stupidity by stupidity … into bliss, wisdom, wholeness, and ever greater life.

 

Think of a pebble in the shoe of the running lover. If that lover had placed all his hope in a perfect shoe, a perfect foot to go in that perfect shoe with a perfect sock, all to create a perfect fit. If he longed for it and made it his great hope, a pebble in his shoe while he was running would crush him, reduce him to anger, despair, agony, humiliation.

 

But what does a true lover care about a pebble in his shoe? Does he even feel it? Would he care? Perhaps it would make for an even fonder memory of the reunion.

 

The Quran promises that "… in Paradise the believers shall neither fear nor grieve" (2:62), meaning that the light of God will so illuminate us that we shall see the beauty of all things past and of what may come. It is in the darkness and opacity of the past, the inability to grasp the greater harmony of what happens to us, that causes the pain of grief. In grief, we suffer from the past. In fear, we suffer from the future. When God's light shows us the way, we suffer from neither. The Quran does not deny the passage of time in Paradise, only the difficulties we experience on account of it in this world. Our memory is illuminated and causes us no more trouble, and our imagination, that faculty capable of reaching out to the future, can conceive of no cause for despair or hopelessness. The ignorance built into the darkness of the world simply cannot exist in the full light of God in Paradise. It is thus that the soul transcends time, not by leaving it but by conquering it.

 

Our destiny in this world is both static and dynamic, which is to say that we are a harmony of parts and of experiences, of aspects and states. We can understand easily that beauty in the spatial sense is the presence of unity in multiplicity, which is to say, of harmony in all its forms. Music is the classic example of dynamic harmony, of a harmony that not only exists statically in a chord for example, but also dynamically, in a progression of counterpoint and in the movements of a melody.

 

If the soul can conquer time and live in it in Paradise, what about here in this world? What enables us to wake up to the harmony of our destiny in this world and the next? Surely we must acknowledge that an awakening is called for, because we do grieve and fear, groping about in the dark while falling prey to unhappiness and despair. How can we become like God and experience reunion in separation? The Sufis indeed speak of taking on the divine qualities (al-ittisāf bi-sifātillāh), and this is done through the remembrance of God, the dhikr, in all its forms. It is through the dhikr that the light of God shines brighter and brighter upon the soul, transforming and purifying it. A Sufi shaykh has said that when the traveler looks back upon his life, he will see that dhikr as a kind of golden chain passing through all its states and experiences. This means that through the remembrance, practiced faithfully, the Sufi overcomes the vicissitudes of time.

 

And this brings us finally to the dimension of non-time, which from man's point of view, both in the spiritual life and in the hereafter, is the spirit, or the heart, or the intellect. The heart or spirit or intellect is the point in man where the divine light resides and can shine down into the soul. It is the mysterious divine spark, both created and uncreated, or as some would say, neither. The spiritual life is the wedding of the soul to the spirit, not the elimination of the soul. Remember that by virtue of being made in the image of God we all possess an intrinsic dimension of light ourselves. The illumination we receive is truly just an aspect of our own nature, as Ibn al-'Arabī says so clearly in the Fusūs. In the spiritual life, in the remembrance of God, the spirit or heart acts upon the soul, illuminating it, transforming it, untying its knots, turning it clear where it was once opaque. From the point of view of time, progress is made in tying together our temporal selves with our non-temporal selves so that the former can be transfigured by the latter. When the non-time or eternity of the spirit enters fully into the soul, the Sufi becomes ibn al-waqt, newly born in each moment. Wa Allāhu a'lam.

  

Tesla continued to experiment with Ether-Akasha, and very soon, he developed a new generation of devices and equipment, but we need to make the story shorter. He discovered that he could imbibe the Ether-Akasha from the surrounding space, and to use it for different very useful works. One of the very crucial discovery was the fact that streams of Ether-Akasha, when hitting the metal object, will induce huge voltages within the lattice of the metallic structure. Of course, this is going on, on micro-level only, and it is harmless for humans. Therefore, due to such enormously high voltages, electrons will be expelled and ejected into the surrounding area, in the air actually, where they will react with atoms of oxygen, and negatively charged ions will be produced. In fact, just in one stroke, two electrons will join to the atom of oxygen, which already has six electrons in the outer shell, and now there will be eight of them. This is one very revolutionary cognition actually, because this is exactly, the principle used along with ancient pyramids. Please, it is extremely important to notice that the top of every pyramid was covered with gold; that was the so-called golden capstone. It was having exactly the same function, to radiate an enormous amount of negative ions all around, after the streams of Ether-Akasha we are surrounded with, strike into them. This principle was used extensively in Marrakesh as well along with Kutubiah. In fact, this principle becomes the main postulate of the sthapatyaveda and the vastu construction science. Indeed, this is the main purpose of the sthapatyaveda; to produce huge amount of negative ions, which will keep the house itself and the complete vastu, the entire plot, under the protection from the influence of positive ions, very bad and devastating for human health, and very devolving when we consider the level of consciousness. The story of negative ions is very important for this essay, it is not so simple, it asks for more explanations, and it will be addressed separately in an additional chapter.

  

28 Tesla continued to experiment with Ether-Akasha, and very soon, he developed a new generation of devices and equipment, but we need to make the story shorter. He discovered that he could imbibe the Ether-Akasha from the surrounding space, and to use it for different very useful works. One of the very crucial discovery was the fact that streams of Ether-Akasha, when hitting the metal object, will induce huge voltages within the lattice of the metallic structure. Of course, this is going on, on micro-level only, and it is harmless for humans. Therefore, due to such enormously high voltages, electrons will be expelled and ejected into the surrounding area, in the air actually, where they will react with atoms of oxygen, and negatively charged ions will be produced. In fact, just in one stroke, two electrons will join to the atom of oxygen, which already has six electrons in the outer shell, and now there will be eight of them. This is one very revolutionary cognition actually, because this is exactly, the principle used along with ancient pyramids. Please, it is extremely important to notice that the top of every pyramid was covered with gold; that was the so-called golden capstone. It was having exactly the same function, to radiate an enormous amount of negative ions all around, after the streams of Ether-Akasha we are surrounded with, strike into them. This principle was used extensively in Vedic India as well along with temples and private houses. In fact, this principle becomes the main postulate of the sthapatyaveda and the vastu construction science. Indeed, this is the main purpose of the sthapatyaveda; to produce huge amount of negative ions, which will keep the house itself and the complete vastu, the entire plot, under the protection from the influence of positive ions, very bad and devastating for human health, and very devolving when we consider the level of consciousness. The story of negative ions is very important for this essay, it is not so simple, it asks for more explanations, and it will be addressed separately in an additional chapter.

 

For example, just there in New York, Tesla was raising balloons filled with helium or similar gas easier than air, high in the sky. The balloon itself would have been wrapped with the foil made of aluminum. That was the active metallic material, and the very important element Tesla needed for his devices. It served as an input terminal to his much complex device actually. Tesla was using this device for taping the radiant energy, the Ether-Akasha, from the space around. It is all very complex actually, so I do not want to go deeper into this topic. Just to say that the device could have supplied the energy for heaters to heat homes, for light bulbs, and for electric motors that should have been modified a little bit for that purpose. All that Tesla had achieved already there along with his labs in New York or around.

 

This is the moment when Tesla cognized the unbounded potential of this Ether-Akasha system he just has developed. This is the moment when he learned how much more advanced this system is comparing to even his newly developed AC polyphase system. This is the moment when he abandoned all further researches on the alternating current and polyphase system. Hence, in some stage, he started the research on the high-frequency polyphase system, but that was also far behind the Ether-Akasha system he just established, and which offered wireless transmission. Therefore, unnecessary expenses for the expensive distributing system is not needed anymore. He did set up the ideal system, which could have been the basis of the Age of Enlightenment actually. Indeed, that was the technology of the Age of Enlightenment.

 

However, for his system to be complete, he still needed something more to do. His system was designed and tested in New York and the surrounding fields and lawns only. The thing is that he needed to perform an additional set of experiments and an entirely new series of checking and testing. He needed something bigger, something on an industrial scale. New York was not an appropriate terrain for this purpose anymore. After all, officials and authorities would not have allowed such “very hazardous” experiments. He did find a new terrain for his further step, and that was the Colorado Springs.

Project Colorado Springs

… was supposed to be the final testing for something even bigger, for construction of a series of pyramid-like structures, with the same basic function. Actually, each unit would have had many functions. It would be the relay in the network of the same structures, for wireless energy transmission, but at the same time, it would be the source for billions and billions of negative ions to be released in the environment so that local people would be elevated higher in consciousness. Tesla made possible that communication system would be installed along with his relay system. He predicted and prepared the radio communication through his system, but TV as well. He realized that pictures could easily be sent on distances as well. All was supposed to be much better than we have even today because Ether-Akasha is the media with inexhaustible options. Simply, his system had marvelous features, and Humanity was just one-step to the Age of Enlightenment.

 

For Tesla, Colorado Springs was a very successful project. It did cost a lot, this is true, but it was very important to set up all the parameters of his system. He chose Colorado Springs, because it is in the mountains, very high in altitude. He had used the plateau that was about 2000 meters above the sea level, and he achieved marvelous results during 1899, and 1900.

 

After that project in Colorado Springs, Tesla was ready for the new and final step, for the construction of the broadcasting tower for his wireless transmitting energy system. That was chosen to be on Long Island, near New York, and especially, near to the water. According to the previous owner of the land, it got the name …

The Wardenclyffe Project

… Indeed, Tesla needed to be close to the water just as ancient pyramids have been once upon a time. He needed to establish a very good grounding system for his broadcasting tower, and for that, he needed a terrain with plenty of underground caverns filled with water, the so-called aquafers. Just like with the real pyramids indeed. Without a good grounding system, the system would not have worked at all

 

Tesla started with the construction of the broadcasting tower in 1901, right after his very successful Colorado Springs Project. This is where we are coming to a very critical moment. As it seems, when bankers and financiers realized that he is doing something that will activate free use of energy, well, they shut down all his projects immediately. All of sudden Tesla became … persona non-grata. All contracts deals for donations, and sponsoring were broken. This is where the very hard time for Tesla began. Despite everything, as it seems, he finished his broadcasting tower; it was operational for some time, but never fully. Never according to all Tesla’s plans. Nevertheless, Tesla was doing some further experiments, very probably all until 1917, when the complete tower was deconstructed and demolished. Due to war perils, they made an official statement for doing so.

 

ust to finish this story of Nikola Tesla and Ether-Akasha, which is shortened and minimized maximally, because several encyclopedic volumes would not be enough to deliver all that Tesla did on this topic. Perhaps there will be a good opportunity to focus more on Nikola Tesla because he definitely deserves our full attention. Therefore, maybe even the complete essay of mine will be devoted to Tesla very soon. However, for the moment, I will just be free to expose a few references. There is the beautiful article exposed in Atlantis Rising, January-February edition of 2007, (#61), by Jeane Manning …

Current Wars and our lost “true electric age”

… Another beautiful article from the same magazine, Atlantis Rising, from May-June edition 2012, (#93), by Phillip Coppens, under the title …

The threat to Tesla’s Legacy

 

t another article from Atlantis Rising, September-October edition of 2010, (#83) …

Nikola Tesla & the God Particle

… by Marc J. Seifer Ph.D. All articles are available through the Atlantis Rising Library, or through some other free services on the web. Today, the person who comprehended the highest knowledge on Tesla’s work is most probably …

Goran Marjanovic

 

BScE

… from the University of Nis, Serbia. Here there is one recent work of him exposed on the … Academia.edu … www.academia.edu/38109658/Nikola_Teslas_Ether_Technologie... Once again, just to summarize, Nikola Tesla did a great job in deciphering the phenomenon of electricity to the very core. Now we know that any electric or electromagnetic activity is closely connected with, and related to the Ether-Akasha. Nevertheless, why, and how it happened that we do not know about? Why don’t we teach that in the schools? How is it possible that there is no trace or clue to connect the two? However, maybe there are. Maybe we are learning about but under another name!? To document this, I will narrate the story of …

electromotive force

… and my first personal contact with it. Electromotive force is a term defined in electro science to explain why electrons, under certain conditions, are moving around within the crystalline lattice of any metallic structure. This is the very foundation of the science of electricity. I remember the days when I was a young student in a technical school in Zagreb, the school that carries the name of Nikola Tesla by the way, and the school that is devoted to mastering the electronic and electro-technic science and practical skills. This is the kind of school where the knowledge about electric and magnetic phenomena is in the main focus, and this subject is primary in the curriculum. I remember very well the first contact with the term of …

electromotive force

…

emf

… All theories in learning the basic principles in electro science will start with electromotive force actually. It is explaining why electrons are moving around, and why they are doing this and this, and not doing certain other things. Whosoever was learning something about electricity must have passed through this phase. Therefore, they will explain that electrons are moving due to the difference of potentials, what is generating a certain voltage, and what is basically true. However, behind the voltage, they say, there is the electromotive force actually. I also remember very well curiosity of all of us when hearing this story. We wanted to know more about electromotive force itself. Some colleges of mine that were always ready for discussions and polemics of any kind, they immediately raised many questions about

emf

. However, even though we had a brilliant professor who was the legend of the school actually, we could not get any profound answer to what

emf

really is. In fact, this is not the matter of professor, because he also learned it from his professors in the same dogmatic form. This is a very important moment indeed. The basic idea why electrons are moving around is turned into a dogmatic explanation so that in fact nobody knows why they are doing so. Such kind of explanation we call exactly this way …

the dogma

. Well, today, if you ask any engineer of electronic what electromotive force is, well be ready for some very funny answers and explanations. Fine, even by this dogmatic explanation, the field of electronic and the science about electricity has been booming, providing us with very sophisticated equipment and devices. Comparing to life in the 19

th

century and before, our achievements are grandiose. However, is this our maximum? Is this our climax? Are we at the pinnacle of our achievements when electric technology is in the question? Nikola Tesla discovered that the use of Ether-Akasha offers much, much more. Interestingly, we get much more power when we separate gross level electrons, and when we get pure streams of Ether-Akasha. However, this is not all. Such media already is all around us. We already are immersed in the media called Ether-Akasha, just because this is the basic tissue of the Universe itself and of the entire Creation actually. This energy is all around us, and it is free to use. It can even be used wirelessly. All that we need to do is to connect with; we just need to plug in.

 

Throughout this essay, and throughout some other essays of mine, the term …

negative ions

… was already used on many occasions. However, I think now is the time to say something more about negative ions, and their counterparts …

positive ions

. In general, every atom that loses or receives electrons in the outer shell, that atom becomes an ion. Usually, atoms try to stay electrically neutral, so that the electrically positive charge of protons in the core is equal to the charge of electrically negatively charged electrons in the shell. In fact, in electrical terms, the true counterpart of electrons in the shell, are positrons within the core of the atom. However, this is a very long story. If an atom loses an electron or electrons, it became a positive ion, because its charge has changed in favor of protons in the core of the atom, which carries the positive electric charge. For such an atom, we say that it is positively charged ion. If the atom receives electrons in the outer shell, then it becomes a negative ion because it is negatively charged. The electrons in the shell outnumber the protons in the core of the atom, the equilibrium among charges is lost, and the atom is not electrically neutral anymore, it has a negative charge. It becomes a negative ion. However, our physiology does not react equally to such positive and negative charged ions. It is proved that positive ions are influencing our body in a very bad way. When they enter the body, we call them free radicals, and they will cause the oxidation process. Due to that, they will speed up the aging process, and they will promote the growth of bad bacteria and bad microorganisms, what in the final stage can generate many diseases and health problems. Therefore, scientifically and medically it is proved that positive ions have negative effects on humans, on the level of the physiology, behavior, and wellbeing. Opposite to that, it is observed that negative ions have an extremely beneficial influence on a human body, clearness of the mind, the process of thinking, and can even elevate human consciousness to the higher level. This is to say that we want to increase the number of negative ions in the environment we live in. In addition, we want to increase the number of negative ions within our physiology as well. At the same time, we want to decrease the number of positive ions around and within our body, because, their influence is harmful. We have some natural phenomena that are known throughout history, but only recently have been scientifically validated. When winds blow over dry sandy desert, it will produce and carry with it many positive ions, which will have very bad effects on local people. Usually, it happens with the south wind. From the website …

  

www.econesthomes.com/natural-building-resources/articles/...

…

François Quévillon

L'atomisation du temps

 

Exposition à l'espace d'art et d'essai contemporains Occurrence (Montréal, QC).

Du 7 mai au 18 juin 2011.

Présenté en collaboration avec Elektra.

 

Solo exhibition at Occurrence (Montreal, QC).

May 7th to June 18th 2011.

Presented in collaboration with Elektra.

 

www.francois-quevillon.com

www.occurrence.ca

www.elektramontreal.ca

www.perte-de-signal.org

Each polymer purse holds a perfume atomiser

IMG_4004_wm

THE MAYBACH SW-38

 

Gottlieb Daimler and Wilhelm Maybach can be considered two grandfathers of mechanical transportation, and both the Daimler Motoren Gesellschaft and the Maybach Motorenbau had great impact on the early history of the automobile. Wilhlem Maybach worked closely with Gottlieb Daimler during the development of the very first automobile at roughly the same time that Karl Benz was developing his Patentmotorwagen.

 

Maybach was an incredibly gifted engineer, who among his many inventions could count the honeycomb radiator and the atomising carburetor. Prior to and during World War I, he performed development work on a number of aircraft engines, while perfecting his own large displacement V-12 used to power the dirigibles invented by Count Zeppelin. Maybach's original intention was to remain an engine manufacturer, but he had difficulty finding a market for his technically superior, but always expensive and complex products.

 

The first Maybach W3 automobile was introduced in 1921, and development over the ensuing years culminated with the fabulous V-12 type DS-7 and DS-8 in the early 1930s. While the absolute pinnacle of engineering at the time, these models were, on the one hand, very large, usually requiring a chauffeur, and incredibly expensive, exclusive and heavy on maintenance on the other with their many cylinders and 8-speed pre-selector vacuum assisted gearboxes. Few had the need for such an over-the-top machine, and even fewer could afford it.

 

The smaller type SW-38 was introduced in 1936. This was the final model to be released before the war and was available in three versions with straight-six engines of 3.5 litre, 3.8 litre and 4.2 litre capacities. The engineering was a tour-de-force, and the automotive world was stunned by this 6-cylinder car, which was capable of reaching speeds close to 100 mph, a bench-mark velocity during the era. The build quality remained on par with the DS cars, and the exquisite manufacture of even the smallest accessories left absolutely nothing to be desired. Customers were captivated by this new lighter and more agile model. It was a deserved commercial success for the marque and sold well in consideration of its exclusivity. A total of 520 chassis were built between 1936 and 1939, which was a substantial number in Maybach terms. Only around 152 of these fabulous Maybachs are known to exist today, so ownership continues to be very exclusive.

 

THE MOTOR CAR OFFERED

 

While the SW-38 was meant to be a new smaller Maybach, "small" is a relative value, and it is only in relation to its gargantuan siblings that the SW-38 can be considered a compact automobile.

 

According to information printed in the main reference work for the marque, Michael Graff Wolff Metternich's Maybach Register, chassis 2240 was delivered new to TOTAL KG, Förstner & Co. of Berlin, who were manufacturers of fire extinguishers. It is described as having been fitted with a Spezial Four Door Cabriolet body, which it clearly retains to this day. The register states that this coachwork was by Petera & Söhne of Hohenelbe, Sudetengau, a lesser known German coachbuilder, who exhibited at the Berlin Auto Show in 1938, although today it wears plates for Spohn, one of those most associated with the brand, an anomaly of little consequence given that its coachwork is clearly original.

 

Modest details of its specific features as new are also listed by Metternich, including a split windscreen and Telefunken radio. It is understood also from this source that as new the car was finished in black with a black top and beige leather upholstery. Its Berlin registration was IA 2057 when delivered in 1939.

 

Mr. Metternich then notes its postwar history to have found the car at the U.S. Air Force base in Frankfurt/Main, where it was assigned to the 'National Supply' and served as a taxi for several years. After this period of service the cabriolet is understood to have been brought to America by a U.S. Army soldier. It would spend time in Gainesville, Florida, then later an owner in Pittsburgh and Keesport, Pennsylvania. Some years ago it would become the property of the famed Imperial Palace Museum Collection in Las Vegas. During its time in that custody the car was comprehensively restored to the condition it can be found today.

 

It was acquired by the current owner some years ago, to join a prominent American collection of pre-war automobiles where it has continued to be cherished and used sparingly.

 

Over the course of the last two decades the Maybach name has of course been revived and quite rightly is associated with the pinnacle of quality, even alongside Mercedes-Benz. Today, this majestic Maybach returns to Europe for the first time in nearly half a century. A remarkable statement of its era, it would no doubt be welcomed at Concours events across the continent.

 

Les Grandes Marques du Monde au Grand Palais

Bonhams

Sold for € 672.750

Estimated : € 750.000 - 950.000

 

Parijs - Paris

Frankrijk - France

February 2017

UN FIN DE SIGLO ESPECTACULAR

Ya Victor Hugo en su prólogo de Hernani manifestaba: “Libertad en el arte, libertad en la sociedad; aquí está el doble objetivo”.

 

Durante los últimos años del siglo XIX y primeros del XX, Europa entra en un período de expansión económica, científica y política que da como resultado, entre otros, una de las fases más enriquecedoras, eclécticas, creativas y alborotadoras de la historia del arte europeo en general y de la pintura en particular.

Reflejo de una sociedad burguesa y adinerada que todo lo cuestiona e investiga y que se sacude el yugo de un pensamiento único, la pintura sufre una vertiginosa atomización donde se suceden y simultanean numerosas escuelas pictóricas que abarcan multitud de técnicas, temáticas y registros (aparece el desarrollo de las artes gráficas) que explosionan con frenesí buscando nuevos medios de expresión. Sirva de muestra que es el siglo XIX un periodo que se inicia con la recreación del Partenón y acaba con la construcción de la Torre Eiffel.

Son esos tiempos finiseculares que, con epicentro en París, han venido a etiquetarse como “fin de siècle” y “belle époque”. Sí, ciertamente París es a esta época lo que en su momento fue Florencia al Renacimiento o Roma al Barroco.

En España, concretamente en Catalunya, a toda esta corriente artística se la llamó sencillamente “Modernisme” y se corresponde, de alguna manera, con el “Art Nouveau” francés y belga, la “Secession” austriaca, el “Modern Style” anglosajón, el Jugendstil alemán y la “Floreale” italiana.

Pero no hay que engañarse, toda esta eclosión no representó una ruptura radical con el pasado antiguo (de hecho existe en estos tiempos una revalorización del arte bizantino, románico y gótico) y reciente (el propio neoclasicismo y romanticismo), sino que se nutre de él e incluso se fusiona y transforma en muchas ocasiones en una evolución imparable buscando nuevos sentidos a la belleza y la estética.

Todo este impulso creador se verá reflejado en esos años y en las décadas venideras en un imparable “totum revolutum” de “ismos” que se suceden y yuxtaponen unos a otros y con los que se intenta poner en valor uno u otro sentido de la expresión y de los nuevos lenguajes artísticos.

En realidad casi todos estos movimientos surgidos al amparo del siglo XIX y proyectados durante las primeras décadas del XX, no son auténticas disciplinas, sino diferentes modos de expresar la belleza y la estética: romanticismo, realismo, prerrafaelismo, impresionismo (pre, neo y post), esteticismo, simbolismo, sintetismo, orientalismo, fauvismo, cubismo, expresionismo, y un largo etcétera.

Como suele decirse, los cambios entre grandes épocas suelen producirse de manera lenta y progresiva. Uno no se acuesta siendo medieval y se levanta humanista, pero ciertamente con el fin del siglo XIX y las primeras décadas del XX se dieron las condiciones ya anticipadas por Victor Hugo en las que “No hay nada más poderoso que una idea a la que le ha llegado su tiempo”.

________________

A SPECTACULAR END OF CENTURY

Already Victor Hugo in his prologue to Hernani stated: "Freedom in art, freedom in society; here is the double objective".

 

During the last years of the 19th century and the first years of the 20th century, Europe entered a period of economic, scientific and political expansion that resulted in, among other things, one of the most enriching, eclectic, creative and tumultuous phases of the history of European art in general and of painting in particular.

A reflection of a bourgeois and wealthy society that questions and investigates everything and shakes off the yoke of a single thought, painting suffers a dizzying atomisation where numerous pictorial schools succeed each other and simultaneously cover a multitude of techniques, themes and registers (the development of the graphic arts appears) that explode with frenzy in search of new means of expression. It is a sign that the 19th century is a period that begins with the recreation of the Parthenon and ends with the construction of the Eiffel Tower.

These are the finisecular times that, with their epicentre in Paris, have come to be labelled as "fin de siècle" and "belle époque". Yes, certainly Paris is to this time what Florence was to the Renaissance or Rome to the Baroque.

In Spain, specifically in Catalonia, this whole artistic movement was simply called "Modernisme" and corresponds, in some way, to the French and Belgian "Art Nouveau", the Austrian "Secession", the Anglo-Saxon "Modern Style", the German "Jugendstil" and the Italian "Floreale".

But we must not deceive ourselves, this whole hatching did not represent a radical break with the ancient past (in fact there is a revaluation of Byzantine, Romanesque and Gothic art in these times) and the recent past (neoclassicism and romanticism itself), but it is nourished by it and even merges and transforms itself in many occasions into an unstoppable evolution looking for new meanings to beauty and aesthetics.

All this creative impulse will be reflected in those years and in the coming decades in an unstoppable "totum revolutum" of "isms" that follow and juxtapose one another and with which we try to put in value one or another sense of expression and of the new artistic languages.

In reality, almost all these movements that emerged in the 19th century and were projected during the first decades of the 20th century are not authentic disciplines, but rather different ways of expressing beauty and aesthetics: romanticism, realism, pre-Raphaelism, impressionism (pre, neo and post), aestheticism, symbolism, synthetism, orientalism, fauvism, cubism, expressionism, and a long etcetera.

As is often said, changes between great periods tend to occur slowly and progressively. One does not go to bed a medieval person and rise a humanist, but certainly with the end of the 19th century and the first decades of the 20th the conditions already anticipated by Victor Hugo occurred in which "There is nothing more powerful than an idea whose time has come".

 

UN FIN DE SIGLO ESPECTACULAR

Ya Victor Hugo en su prólogo de Hernani manifestaba: “Libertad en el arte, libertad en la sociedad; aquí está el doble objetivo”.

 

Durante los últimos años del siglo XIX y primeros del XX, Europa entra en un período de expansión económica, científica y política que da como resultado, entre otros, una de las fases más enriquecedoras, eclécticas, creativas y alborotadoras de la historia del arte europeo en general y de la pintura en particular.

Reflejo de una sociedad burguesa y adinerada que todo lo cuestiona e investiga y que se sacude el yugo de un pensamiento único, la pintura sufre una vertiginosa atomización donde se suceden y simultanean numerosas escuelas pictóricas que abarcan multitud de técnicas, temáticas y registros (aparece el desarrollo de las artes gráficas) que explosionan con frenesí buscando nuevos medios de expresión. Sirva de muestra que es el siglo XIX un periodo que se inicia con la recreación del Partenón y acaba con la construcción de la Torre Eiffel.

Son esos tiempos finiseculares que, con epicentro en París, han venido a etiquetarse como “fin de siècle” y “belle époque”. Sí, ciertamente París es a esta época lo que en su momento fue Florencia al Renacimiento o Roma al Barroco.

En España, concretamente en Catalunya, a toda esta corriente artística se la llamó sencillamente “Modernisme” y se corresponde, de alguna manera, con el “Art Nouveau” francés y belga, la “Secession” austriaca, el “Modern Style” anglosajón, el Jugendstil alemán y la “Floreale” italiana.

Pero no hay que engañarse, toda esta eclosión no representó una ruptura radical con el pasado antiguo (de hecho existe en estos tiempos una revalorización del arte bizantino, románico y gótico) y reciente (el propio neoclasicismo y romanticismo), sino que se nutre de él e incluso se fusiona y transforma en muchas ocasiones en una evolución imparable buscando nuevos sentidos a la belleza y la estética.

Todo este impulso creador se verá reflejado en esos años y en las décadas venideras en un imparable “totum revolutum” de “ismos” que se suceden y yuxtaponen unos a otros y con los que se intenta poner en valor uno u otro sentido de la expresión y de los nuevos lenguajes artísticos.

En realidad casi todos estos movimientos surgidos al amparo del siglo XIX y proyectados durante las primeras décadas del XX, no son auténticas disciplinas, sino diferentes modos de expresar la belleza y la estética: romanticismo, realismo, prerrafaelismo, impresionismo (pre, neo y post), esteticismo, simbolismo, sintetismo, orientalismo, fauvismo, cubismo, expresionismo, y un largo etcétera.

Como suele decirse, los cambios entre grandes épocas suelen producirse de manera lenta y progresiva. Uno no se acuesta siendo medieval y se levanta humanista, pero ciertamente con el fin del siglo XIX y las primeras décadas del XX se dieron las condiciones ya anticipadas por Victor Hugo en las que “No hay nada más poderoso que una idea a la que le ha llegado su tiempo”.

________________

A SPECTACULAR END OF CENTURY

Already Victor Hugo in his prologue to Hernani stated: "Freedom in art, freedom in society; here is the double objective".

 

During the last years of the 19th century and the first years of the 20th century, Europe entered a period of economic, scientific and political expansion that resulted in, among other things, one of the most enriching, eclectic, creative and tumultuous phases of the history of European art in general and of painting in particular.

A reflection of a bourgeois and wealthy society that questions and investigates everything and shakes off the yoke of a single thought, painting suffers a dizzying atomisation where numerous pictorial schools succeed each other and simultaneously cover a multitude of techniques, themes and registers (the development of the graphic arts appears) that explode with frenzy in search of new means of expression. It is a sign that the 19th century is a period that begins with the recreation of the Parthenon and ends with the construction of the Eiffel Tower.

These are the finisecular times that, with their epicentre in Paris, have come to be labelled as "fin de siècle" and "belle époque". Yes, certainly Paris is to this time what Florence was to the Renaissance or Rome to the Baroque.

In Spain, specifically in Catalonia, this whole artistic movement was simply called "Modernisme" and corresponds, in some way, to the French and Belgian "Art Nouveau", the Austrian "Secession", the Anglo-Saxon "Modern Style", the German "Jugendstil" and the Italian "Floreale".

But we must not deceive ourselves, this whole hatching did not represent a radical break with the ancient past (in fact there is a revaluation of Byzantine, Romanesque and Gothic art in these times) and the recent past (neoclassicism and romanticism itself), but it is nourished by it and even merges and transforms itself in many occasions into an unstoppable evolution looking for new meanings to beauty and aesthetics.

All this creative impulse will be reflected in those years and in the coming decades in an unstoppable "totum revolutum" of "isms" that follow and juxtapose one another and with which we try to put in value one or another sense of expression and of the new artistic languages.

In reality, almost all these movements that emerged in the 19th century and were projected during the first decades of the 20th century are not authentic disciplines, but rather different ways of expressing beauty and aesthetics: romanticism, realism, pre-Raphaelism, impressionism (pre, neo and post), aestheticism, symbolism, synthetism, orientalism, fauvism, cubism, expressionism, and a long etcetera.

As is often said, changes between great periods tend to occur slowly and progressively. One does not go to bed a medieval person and rise a humanist, but certainly with the end of the 19th century and the first decades of the 20th the conditions already anticipated by Victor Hugo occurred in which "There is nothing more powerful than an idea whose time has come".

 

THE MAYBACH SW-38

 

Gottlieb Daimler and Wilhelm Maybach can be considered two grandfathers of mechanical transportation, and both the Daimler Motoren Gesellschaft and the Maybach Motorenbau had great impact on the early history of the automobile. Wilhlem Maybach worked closely with Gottlieb Daimler during the development of the very first automobile at roughly the same time that Karl Benz was developing his Patentmotorwagen.

 

Maybach was an incredibly gifted engineer, who among his many inventions could count the honeycomb radiator and the atomising carburetor. Prior to and during World War I, he performed development work on a number of aircraft engines, while perfecting his own large displacement V-12 used to power the dirigibles invented by Count Zeppelin. Maybach's original intention was to remain an engine manufacturer, but he had difficulty finding a market for his technically superior, but always expensive and complex products.

 

The first Maybach W3 automobile was introduced in 1921, and development over the ensuing years culminated with the fabulous V-12 type DS-7 and DS-8 in the early 1930s. While the absolute pinnacle of engineering at the time, these models were, on the one hand, very large, usually requiring a chauffeur, and incredibly expensive, exclusive and heavy on maintenance on the other with their many cylinders and 8-speed pre-selector vacuum assisted gearboxes. Few had the need for such an over-the-top machine, and even fewer could afford it.

 

The smaller type SW-38 was introduced in 1936. This was the final model to be released before the war and was available in three versions with straight-six engines of 3.5 litre, 3.8 litre and 4.2 litre capacities. The engineering was a tour-de-force, and the automotive world was stunned by this 6-cylinder car, which was capable of reaching speeds close to 100 mph, a bench-mark velocity during the era. The build quality remained on par with the DS cars, and the exquisite manufacture of even the smallest accessories left absolutely nothing to be desired. Customers were captivated by this new lighter and more agile model. It was a deserved commercial success for the marque and sold well in consideration of its exclusivity. A total of 520 chassis were built between 1936 and 1939, which was a substantial number in Maybach terms. Only around 152 of these fabulous Maybachs are known to exist today, so ownership continues to be very exclusive.

 

THE MOTOR CAR OFFERED

 

While the SW-38 was meant to be a new smaller Maybach, "small" is a relative value, and it is only in relation to its gargantuan siblings that the SW-38 can be considered a compact automobile.

 

According to information printed in the main reference work for the marque, Michael Graff Wolff Metternich's Maybach Register, chassis 2240 was delivered new to TOTAL KG, Förstner & Co. of Berlin, who were manufacturers of fire extinguishers. It is described as having been fitted with a Spezial Four Door Cabriolet body, which it clearly retains to this day. The register states that this coachwork was by Petera & Söhne of Hohenelbe, Sudetengau, a lesser known German coachbuilder, who exhibited at the Berlin Auto Show in 1938, although today it wears plates for Spohn, one of those most associated with the brand, an anomaly of little consequence given that its coachwork is clearly original.

 

Modest details of its specific features as new are also listed by Metternich, including a split windscreen and Telefunken radio. It is understood also from this source that as new the car was finished in black with a black top and beige leather upholstery. Its Berlin registration was IA 2057 when delivered in 1939.

 

Mr. Metternich then notes its postwar history to have found the car at the U.S. Air Force base in Frankfurt/Main, where it was assigned to the 'National Supply' and served as a taxi for several years. After this period of service the cabriolet is understood to have been brought to America by a U.S. Army soldier. It would spend time in Gainesville, Florida, then later an owner in Pittsburgh and Keesport, Pennsylvania. Some years ago it would become the property of the famed Imperial Palace Museum Collection in Las Vegas. During its time in that custody the car was comprehensively restored to the condition it can be found today.

 

It was acquired by the current owner some years ago, to join a prominent American collection of pre-war automobiles where it has continued to be cherished and used sparingly.

 

Over the course of the last two decades the Maybach name has of course been revived and quite rightly is associated with the pinnacle of quality, even alongside Mercedes-Benz. Today, this majestic Maybach returns to Europe for the first time in nearly half a century. A remarkable statement of its era, it would no doubt be welcomed at Concours events across the continent.

 

Les Grandes Marques du Monde au Grand Palais

Bonhams

Sold for € 672.750

Estimated : € 750.000 - 950.000

 

Parijs - Paris

Frankrijk - France

February 2017

The driver of the unique British Railways Standard 8 Caprotti 4-6-2 71000 Duke of Gloucester has a word with a support crew member on the footplate during preparation on Loughborough shed. The engine came complete with a support crew of 4 which means the driver & fireman have no prep or disposal duties which can't be bad!

 

The shot was taken from LNER K4 2-6-0 61994 The Great Marquess whose boiler stretches ahead on the left. Notice the rag hanging off the handrail - it's a reminder to the driver that the atomiser is on and needs to be closed on disposal.

  

UN FIN DE SIGLO ESPECTACULAR

Ya Victor Hugo en su prólogo de Hernani manifestaba: “Libertad en el arte, libertad en la sociedad; aquí está el doble objetivo”.

 

Durante los últimos años del siglo XIX y primeros del XX, Europa entra en un período de expansión económica, científica y política que da como resultado, entre otros, una de las fases más enriquecedoras, eclécticas, creativas y alborotadoras de la historia del arte europeo en general y de la pintura en particular.

Reflejo de una sociedad burguesa y adinerada que todo lo cuestiona e investiga y que se sacude el yugo de un pensamiento único, la pintura sufre una vertiginosa atomización donde se suceden y simultanean numerosas escuelas pictóricas que abarcan multitud de técnicas, temáticas y registros (aparece el desarrollo de las artes gráficas) que explosionan con frenesí buscando nuevos medios de expresión. Sirva de muestra que es el siglo XIX un periodo que se inicia con la recreación del Partenón y acaba con la construcción de la Torre Eiffel.

Son esos tiempos finiseculares que, con epicentro en París, han venido a etiquetarse como “fin de siècle” y “belle époque”. Sí, ciertamente París es a esta época lo que en su momento fue Florencia al Renacimiento o Roma al Barroco.

Pero no hay que engañarse, toda esta eclosión no representó una ruptura radical con el pasado antiguo, de hecho existe en estos tiempos una revalorización de la pintura plana, del arte bizantino, románico y gótico, sino que se nutre de él e incluso se fusiona y transforma en muchas ocasiones en una evolución imparable buscando nuevos sentidos a la belleza y la estética.

Bien mirado, no se trata de una renuncia a la realidad, más bien, es un nuevo enfoque de la misma que la complementa y, de alguna manera, la completa.

Todo este impulso creador se verá reflejado en esos años y en las décadas venideras en un imparable “totum revolutum” de “ismos” que se suceden y yuxtaponen unos a otros y con los que se intenta poner en valor uno u otro sentido de la expresión con nuevos lenguajes artísticos.

En realidad casi todos estos movimientos surgidos al amparo del siglo XIX y proyectados durante las primeras décadas del XX, no son auténticas disciplinas, sino diferentes modos de expresar la belleza y la estética: romanticismo, realismo, prerrafaelismo, impresionismo (pre, neo y post), esteticismo, simbolismo, sintetismo, orientalismo, fauvismo, cubismo, expresionismo, y un largo etcétera.

Como suele decirse, los cambios entre grandes épocas suelen producirse de manera lenta y progresiva. Uno no se acuesta siendo medieval y se levanta humanista, pero ciertamente con el fin del siglo XIX y las primeras décadas del XX se dieron las condiciones ya anticipadas por Victor Hugo en las que “No hay nada más poderoso que una idea a la que le ha llegado su tiempo”.

________________

A SPECTACULAR END OF CENTURY

Already Victor Hugo in his prologue to Hernani stated: "Freedom in art, freedom in society; here is the double objective".

 

During the last years of the 19th century and the first years of the 20th century, Europe entered a period of economic, scientific and political expansion that resulted in, among other things, one of the most enriching, eclectic, creative and tumultuous phases of the history of European art in general and of painting in particular.

A reflection of a bourgeois and wealthy society that questions and investigates everything and shakes off the yoke of a single thought, painting suffers a dizzying atomisation where numerous pictorial schools succeed each other and simultaneously cover a multitude of techniques, themes and registers (the development of the graphic arts appears) that explode with frenzy in search of new means of expression. It is a sign that the 19th century is a period that begins with the recreation of the Parthenon and ends with the construction of the Eiffel Tower.

These are the finisecular times that, with their epicentre in Paris, have come to be labelled as "fin de siècle" and "belle époque". Yes, certainly Paris is to this time what Florence was to the Renaissance or Rome to the Baroque.

But we must not deceive ourselves, all this emergence did not represent a radical break with the ancient past, in fact there is in these times a revaluation of the flat painting, of the Byzantine, Romanesque and Gothic art, but it is nourished by it and even merged and transformed in many occasions in an unstoppable evolution looking for new meanings to the beauty and the aesthetics.

On the contrary, it is a new approach to reality that complements it and, in some way, completes it.

All this creative impulse will be reflected in those years and in the coming decades in an unstoppable "totum revolutum" of "isms" that follow and juxtapose one another and with which we try to put in value one or another sense of expression with new artistic languages.

In reality, almost all these movements that emerged in the 19th century and were projected during the first decades of the 20th century are not authentic disciplines, but rather different ways of expressing beauty and aesthetics: romanticism, realism, pre-Raphaelism, impressionism (pre, neo and post), aestheticism, symbolism, synthetism, orientalism, fauvism, cubism, expressionism, and a long etcetera.

As is often said, changes between great periods tend to occur slowly and progressively. One does not go to bed a medieval person and rise a humanist, but certainly with the end of the 19th century and the first decades of the 20th the conditions already anticipated by Victor Hugo occurred in which "There is nothing more powerful than an idea whose time has come".

 

The OGZ The Opium. Addiction has spread globally, a new variation of the opium, in liquid form, filled with blackcurrant and aniseed flavours that instantly hooks the soul…

 

>> Flavour Profile: Menthol, Blackcurrant, Aniseed

>> Bottle Size: 30ml (25ml Shortfill)

>> Mix Ratio: 70VG 30PG

 

Rushing, splashing runs the river

Through the Aberglaslyn valley.

Sunlight flashes off the water

As it weaves between the boulders.

 

White the water as it dashes

Over pebbles, through the rapids.

Atomised, the mountain waters –

Mist now hanging in the broadleaves.

 

Footpath follows river’s progress;

Something splashes in the water –

Dipper diving for his supper,

Bobbing in the swirling eddies.

 

On the other bank, the railway :

Narrow gauge from port Caernarvon.

Piercing hoot of locomotive,

Hiss of steam and clanking carriage.

  

Passengers admire the beauty

Of the deep blue glassy waters.

Fifteen minutes from Porthmadog;

River slowing as it widens.

 

Poem by

Mike Jones

 

136:365

THE MAYBACH SW-38

 

Gottlieb Daimler and Wilhelm Maybach can be considered two grandfathers of mechanical transportation, and both the Daimler Motoren Gesellschaft and the Maybach Motorenbau had great impact on the early history of the automobile. Wilhlem Maybach worked closely with Gottlieb Daimler during the development of the very first automobile at roughly the same time that Karl Benz was developing his Patentmotorwagen.

 

Maybach was an incredibly gifted engineer, who among his many inventions could count the honeycomb radiator and the atomising carburetor. Prior to and during World War I, he performed development work on a number of aircraft engines, while perfecting his own large displacement V-12 used to power the dirigibles invented by Count Zeppelin. Maybach's original intention was to remain an engine manufacturer, but he had difficulty finding a market for his technically superior, but always expensive and complex products.

 

The first Maybach W3 automobile was introduced in 1921, and development over the ensuing years culminated with the fabulous V-12 type DS-7 and DS-8 in the early 1930s. While the absolute pinnacle of engineering at the time, these models were, on the one hand, very large, usually requiring a chauffeur, and incredibly expensive, exclusive and heavy on maintenance on the other with their many cylinders and 8-speed pre-selector vacuum assisted gearboxes. Few had the need for such an over-the-top machine, and even fewer could afford it.

 

The smaller type SW-38 was introduced in 1936. This was the final model to be released before the war and was available in three versions with straight-six engines of 3.5 litre, 3.8 litre and 4.2 litre capacities. The engineering was a tour-de-force, and the automotive world was stunned by this 6-cylinder car, which was capable of reaching speeds close to 100 mph, a bench-mark velocity during the era. The build quality remained on par with the DS cars, and the exquisite manufacture of even the smallest accessories left absolutely nothing to be desired. Customers were captivated by this new lighter and more agile model. It was a deserved commercial success for the marque and sold well in consideration of its exclusivity. A total of 520 chassis were built between 1936 and 1939, which was a substantial number in Maybach terms. Only around 152 of these fabulous Maybachs are known to exist today, so ownership continues to be very exclusive.

 

THE MOTOR CAR OFFERED

 

While the SW-38 was meant to be a new smaller Maybach, "small" is a relative value, and it is only in relation to its gargantuan siblings that the SW-38 can be considered a compact automobile.

 

According to information printed in the main reference work for the marque, Michael Graff Wolff Metternich's Maybach Register, chassis 2240 was delivered new to TOTAL KG, Förstner & Co. of Berlin, who were manufacturers of fire extinguishers. It is described as having been fitted with a Spezial Four Door Cabriolet body, which it clearly retains to this day. The register states that this coachwork was by Petera & Söhne of Hohenelbe, Sudetengau, a lesser known German coachbuilder, who exhibited at the Berlin Auto Show in 1938, although today it wears plates for Spohn, one of those most associated with the brand, an anomaly of little consequence given that its coachwork is clearly original.

 

Modest details of its specific features as new are also listed by Metternich, including a split windscreen and Telefunken radio. It is understood also from this source that as new the car was finished in black with a black top and beige leather upholstery. Its Berlin registration was IA 2057 when delivered in 1939.

 

Mr. Metternich then notes its postwar history to have found the car at the U.S. Air Force base in Frankfurt/Main, where it was assigned to the 'National Supply' and served as a taxi for several years. After this period of service the cabriolet is understood to have been brought to America by a U.S. Army soldier. It would spend time in Gainesville, Florida, then later an owner in Pittsburgh and Keesport, Pennsylvania. Some years ago it would become the property of the famed Imperial Palace Museum Collection in Las Vegas. During its time in that custody the car was comprehensively restored to the condition it can be found today.

 

It was acquired by the current owner some years ago, to join a prominent American collection of pre-war automobiles where it has continued to be cherished and used sparingly.

 

Over the course of the last two decades the Maybach name has of course been revived and quite rightly is associated with the pinnacle of quality, even alongside Mercedes-Benz. Today, this majestic Maybach returns to Europe for the first time in nearly half a century. A remarkable statement of its era, it would no doubt be welcomed at Concours events across the continent.

 

Les Grandes Marques du Monde au Grand Palais

Bonhams

Sold for € 672.750

Estimated : € 750.000 - 950.000

 

Parijs - Paris

Frankrijk - France

February 2017

www.facebook.com/satelliteHeartPhotography

Element Pink Lemonade NS20 Pods: Element Pink Lemonade flavour Aspire Gusto Mini pods

 

>> Flavour Profile: Red Fruits, Lemonade

>> Mix Ratio: 65VG 35PG

>> 3 x 2ml pods

I VG Macarons Strawberry Cream is an authentic Macaron base topped off with Strawberries and Cream.

Each bottle of I VG contains 50ml of nicotine free eLiquid, with space to add 10ml of your chosen base.

The Tigertek Springer S RTA is a rebuildable tank atomiser, 24mm in diameter. It adopts an innovative screwless coil building deck with interchangeable springs for easy single coil building and replacement. You can press the post down and install the coil easily.

 

As seen on Market Street, San Francisco.

Vaping AMP Terk RDA: Collaborated with the best known builder in the industry. Advanced and futuristic design with maximum airflow in mind.

Hellvape Dead Rabbit RTA is a 25mm RTA, the resulting product of Hellvape and Vapin’ Heathen.The build deck is slightly reiterated from the previous Dead Rabbit atomizers, keeping the raised build deck to allow for extending coil leads to be snipped without painstaking measuring. The top side airflow ring channels airflow from the top and vents it into the inner coil chamber to create an environment conducive to flavour and vapour.

 

Hellvape Dead Rabbit RTA Specifications:

* 25mm Rebuildable Tank Atomiser

* Ample build space and generous post holes

* Gold plated positive post for better conductivity

* Protruding 510 pin and peek insulation

* 2ml juice capacity

 

Innokin Plex Tank is the new sub-ohm tank from Innokin featuring Scion Plexus coil heads, which provide superior longevity and exceptional flavour production.

Innokin Plex Specifications:

>> Sliding top fill port

>> Plexus coil heads (Scion compatible)

>> Glass viewing window tank

>> Large adjustable air flow

>> Fancy mouthpiece

Vaping is safe and fun. More importantly, it’s delicious! Rebuildable Dripping Atomizers is one of the most advanced e-cigarette device. Find out which is best vape tank for flavor, clouds and much more from our number of products. With their impressive cloud quantity and the kind of ease it allows us to change flavors, they have become a muse to many and the best rebuildable dripping atomizers are known to lure in, even the most unforgiving smokers to quit cigarettes.

THE MAYBACH SW-38

 

Gottlieb Daimler and Wilhelm Maybach can be considered two grandfathers of mechanical transportation, and both the Daimler Motoren Gesellschaft and the Maybach Motorenbau had great impact on the early history of the automobile. Wilhlem Maybach worked closely with Gottlieb Daimler during the development of the very first automobile at roughly the same time that Karl Benz was developing his Patentmotorwagen.

 

Maybach was an incredibly gifted engineer, who among his many inventions could count the honeycomb radiator and the atomising carburetor. Prior to and during World War I, he performed development work on a number of aircraft engines, while perfecting his own large displacement V-12 used to power the dirigibles invented by Count Zeppelin. Maybach's original intention was to remain an engine manufacturer, but he had difficulty finding a market for his technically superior, but always expensive and complex products.

 

The first Maybach W3 automobile was introduced in 1921, and development over the ensuing years culminated with the fabulous V-12 type DS-7 and DS-8 in the early 1930s. While the absolute pinnacle of engineering at the time, these models were, on the one hand, very large, usually requiring a chauffeur, and incredibly expensive, exclusive and heavy on maintenance on the other with their many cylinders and 8-speed pre-selector vacuum assisted gearboxes. Few had the need for such an over-the-top machine, and even fewer could afford it.

 

The smaller type SW-38 was introduced in 1936. This was the final model to be released before the war and was available in three versions with straight-six engines of 3.5 litre, 3.8 litre and 4.2 litre capacities. The engineering was a tour-de-force, and the automotive world was stunned by this 6-cylinder car, which was capable of reaching speeds close to 100 mph, a bench-mark velocity during the era. The build quality remained on par with the DS cars, and the exquisite manufacture of even the smallest accessories left absolutely nothing to be desired. Customers were captivated by this new lighter and more agile model. It was a deserved commercial success for the marque and sold well in consideration of its exclusivity. A total of 520 chassis were built between 1936 and 1939, which was a substantial number in Maybach terms. Only around 152 of these fabulous Maybachs are known to exist today, so ownership continues to be very exclusive.

 

THE MOTOR CAR OFFERED

 

While the SW-38 was meant to be a new smaller Maybach, "small" is a relative value, and it is only in relation to its gargantuan siblings that the SW-38 can be considered a compact automobile.

 

According to information printed in the main reference work for the marque, Michael Graff Wolff Metternich's Maybach Register, chassis 2240 was delivered new to TOTAL KG, Förstner & Co. of Berlin, who were manufacturers of fire extinguishers. It is described as having been fitted with a Spezial Four Door Cabriolet body, which it clearly retains to this day. The register states that this coachwork was by Petera & Söhne of Hohenelbe, Sudetengau, a lesser known German coachbuilder, who exhibited at the Berlin Auto Show in 1938, although today it wears plates for Spohn, one of those most associated with the brand, an anomaly of little consequence given that its coachwork is clearly original.

 

Modest details of its specific features as new are also listed by Metternich, including a split windscreen and Telefunken radio. It is understood also from this source that as new the car was finished in black with a black top and beige leather upholstery. Its Berlin registration was IA 2057 when delivered in 1939.

 

Mr. Metternich then notes its postwar history to have found the car at the U.S. Air Force base in Frankfurt/Main, where it was assigned to the 'National Supply' and served as a taxi for several years. After this period of service the cabriolet is understood to have been brought to America by a U.S. Army soldier. It would spend time in Gainesville, Florida, then later an owner in Pittsburgh and Keesport, Pennsylvania. Some years ago it would become the property of the famed Imperial Palace Museum Collection in Las Vegas. During its time in that custody the car was comprehensively restored to the condition it can be found today.

 

It was acquired by the current owner some years ago, to join a prominent American collection of pre-war automobiles where it has continued to be cherished and used sparingly.

 

Over the course of the last two decades the Maybach name has of course been revived and quite rightly is associated with the pinnacle of quality, even alongside Mercedes-Benz. Today, this majestic Maybach returns to Europe for the first time in nearly half a century. A remarkable statement of its era, it would no doubt be welcomed at Concours events across the continent.

 

Les Grandes Marques du Monde au Grand Palais

Bonhams

Sold for € 672.750

Estimated : € 750.000 - 950.000

 

Parijs - Paris

Frankrijk - France

February 2017

German autograph card. Photo: Christian Schoppe.

 

Moritz Bleibtreu (1971) is a German actor, whose notable roles include Manni in Lola rennt/Run Lola Run (1998), Tarek Fahd in the psychological thriller Das Experiment/The Experiment (2001) and Andreas Baader in Der Baader Meinhof Komplex/The Baader Meinhof Complex (2008). More recently, he starred in the comedy Es war einmal in Deutschland.../Bye Bye Germany (2017) and the drama Roads (2019).

 

Moritz Johann Bleibtreu was born in 1971 in Munich, Germany. He was the son of Austrian-born parents, actors Hans Brenner and Monica Bleibtreu, and the great-grand-nephew of the actress Hedwig Bleibtreu. Bleibtreu grew up in Hamburg. His first appearance on TV was in the late seventies on a children's television series called Neues aus Uhlenbusch/News from Uhlenbusch (Rainer Boldt, 1980-1982), written by his mother Monica and Rainer Boldt. Alongside his mother he appeared in the miniseries Mit meinen heißen Tränen/Notturno (Fritz Lehner, 1986), starring Daniel Olbrychski. After he left school when he was 16, he lived in Paris and New York City where he attended acting school. In 1992, he began his acting career at the Schauspielhaus in Hamburg. He also had numerous small parts in television productions. In 1993 he played a supporting role in the TV series Schulz & Schulz, starring Götz George, which already showed his great versatility. In the 1990s he played some major television roles, but in 1998, he decided to "stop making TV movies because cinema is an active form of watching, whereas television is a passive one."

 

In the late 1990s, Moritz Bleibtreu appeared in two films which made him a star: the Road Movie Knockin 'on Heaven's Door (Thomas Jahn, 1997) with Til Schweiger and Bleibtreu as the comic gangster Abdul, and Lola rennt/Run Lola Run (Tom Tykwer, 1998) with Franka Potente. The latter follows a woman who needs to obtain 100,000 Deutsche Mark in twenty minutes to save her boyfriend's life. Bleibtreu played the slightly dim boyfriend Manni. The film received critical acclaim and several accolades. Next, he starred as the idiot brother in the Russian film Luna Papa (Bakhtyar Khudojnazarov, 1999), shot in the Karakum region in Tajikistan. Then he starred in the German-Turkish road movie Im Juli/In July (2000), by filmmaker Fatih Akin. With Akin, he would also make the films Solino (Fatih Akin, 2002), Chiko (Özgür Yıldırım, 2008) and Soul Kitchen (Fatih Akin, 2009). An international success was the thriller Das Experiment/The Experiment (Oliver Hirschbiegel, 2001), based on Mario Giordano's novel Black Box. The film deals with a social experiment which resembles Philip Zimbardo's Stanford prison experiment of 1971. A cult in Germany is the stoner film Lammbock (Christian Zübert, 2001). The protagonists are two pizza delivery men (Bleibtreu and Lucas Gregorowicz) who decide to up their income by adding marijuana to the menu and get into trouble after attracting the attention of an undercover cop. In 2017, the sequel Lommbock was made after many requests at Facebook. With Vanessa Redgrave, Bleibtreu starred in The Keeper: The Legend of Omar Khayyam (Kayvan Mashayekh, 2005) about the life of the famous Persian intellectual Omar Khayyám. In the United States, the film became a sleeper hit, playing in 14 US cities for nearly one year. He also played a small part in Munich (Steven Spielberg, 2005).

 

Moritz Bleibtreu then played the lead in Elementarteilchen/The Elementary Particles/Atomised (Oskar Roehler, 2006) based on the novel Les Particules élémentaires by Michel Houellebecq. For this role, he was awarded in 2006 with the Silver Bear as the best performer of the Berlinale. Yhe following years he appeared in international productions like the American-British drama The Walker (Paul Schrader, 2007), starring Woody Harrelson, the Italian drama La masseria delle allodole/The Lark Farm (Paolo and Vittorio Taviani, 2007) about the Armenian Genocide, and the American sports action comedy Speed Racer (2008), written, co-produced and directed by the Wachowskis. A success was Der Baader Meinhof Komplex/The Baader Meinhof Complex (Uli Edel, 2008) with Martina Gedeck. The film is based on the book by Stefan Aust andretells the story of the early years of the West German far-left terrorist organisation the Rote Armee Fraktion (Red Army Fraction, or Red Army Faction, a.k.a. RAF) from 1967 to 1977. The film was nominated for the Oscar and the Golden Globe for Best Foreign Language Film. He co-starred with Tobias Moretti in the historical dramaJud Süss – Film ohne Gewissen/Jew Suss: Rise and Fall (Oskar Roehler, 2010), dramatising the creation process of the antisemitic Nazi propaganda film Jud Süß (1940). It was nominated for the Golden Bear at the 60th Berlin International Film Festival. In Italy, he appeared in the crime film Vallanzasca – Gli angeli del male/Angel of Evil (Michele Placido, 2010), starring Kim Rossi Stuart and based on the biography of bank robber Renato Vallanzasca. He had a small part in the American apocalyptic action horror film World War Z (Marc Forster, 2013), starring Brad Pitt. It is the highest-grossing zombie film of all time. he also appeared in the biographical thriller The Fifth Estate (Bill Condon, 2013) about the news-leaking website WikiLeaks with Benedict Cumberbatch as its editor-in-chief and founder Julian Assange. He also played supporting parts in the British drama Woman in Gold (Simon Curtis, 2015), starring Helen Mirren, and the Italian-French thriller Le confessioni/The Confessions (Roberto Andò, 2016), which stars Toni Servillo. More recently, he starred in the comedy Es war einmal in Deutschland.../Bye Bye Germany (Sam Garbarski, 2017) and the drama Roads (Sebastian Schipper, 2019). Moritz Bleibtreu lives in Reinbek near Hamburg. Since 2008, he is the father of a boy.

 

Sources: Andrea LeVasseur (AllMovie), Wikipedia and IMDb.

 

And, please check out our blog European Film Star Postcards.

CBDfx Vape Additive 500mg, this vape additive contains 500mg of 100% organically grown cannabidiol. The CBD is CO2 extracted from the highest quality, organically grown and EU sourced hemp.

 

This proprietary blend of VG/PG mixture can be vaped, or taken orally as a CBD tincture. The liquid carries the leafy, tea-like flavour profile of the natural hemp plant and pairs nicely with dessert and fruit-flavoured e-liquids.

 

CBDfx’s vape oil additive mixes easily with your favourite e-juice with the included dropper. With this vape additive, you get the convenience of using your favourite vape gear while gaining the ability to dose CBD.

 

CBDfx’s vape additive is cGMP certified and made in the USA. CBD is also rich in Omega-3 fatty acids.

Building Completed 2015

Architect: V. Eschalier

I found this to be a pretty bleak, depressing, and difficult novel to read. It is written from a perpective of 70 years or so in the future, looking back on the lives of two half-brothers through the second half of the 20th century. Both men struggle to establish meaningful relationships with their peers, especially with women, and with each other. Both have been brought up by a different grandmother,having been abandoned by their parents. Houellebecq uses their dysfunctionality to examine the society in which they live - post-religious, sexually liberal, materialist - and finds it greatly wanting. Discussing science and philosophy in this context, with frequent references to French culture, Houellebecq's fictional world was, to me, opaque and obscure. Much of it went right over my head. Houellebecq's futuristic premise is that early 21st century society undergoes a 'metaphysical mutation', entering into a Huxleyan brave new world, but one which, due to the sociological and scientific changes what have taken place since Brave New World was written, offers a genuine utopia, rather then the dystopia that Huxley envisaged. I can't decide whether this is intended to be ironic or not. Is Houellebecq suggesting that humanity will, after all, ignore Huxley's warning and go down the path of genetically manufacturing its future? He spends 350 pages discussing the hopelessness of love, and the destructiveness of desire, finally making both redundant. The novel, on the face of it, celebrates this redundancy, but is Houellebecq actually warning us that the alternative to our painful, emotional lives is a sterile, cloned existence, and inviting us to choose?? Perhaps.

This is a relentlessly masculine novel, and one that, though compelling, I really didn't enjoy.