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The nine basic colors. (Kindergarten requirement )
Red Orange Yellow Green Blue Purple Brown Black White
1. Red Egg, 2. Orange Egg, 3. Yellow Egg,
4. Green Egg, 5. Blue Egg, 6. Purple Egg,
7. Brown Egg, 8. Black Egg, 9. White Egg
Created with fd's Flickr Toys.
The eggs were created with www.dumpr.net
Basic Shading III
Or, a subtitle for this could be 'Orange is the New Black.' xD
*ahem* Anyways...
So here is an example of what happens when you get shading that fully consumes an object (or, in this case, our lovely tigress model). We tend to call this a silhouette. In this example, our tigress' silhouette is contrasted by the light that interacts with the white surface of the prim beneath her that has been consumed with the color orange. This sort of natural (virtual-natural?) contrast between light and shadow is fun to play with. It's apparently popular, in as much as one can say that when such things are used in commercial art that it can be said to be popular. For quite a few people may remember Apple's use of it with their i-pod product a few years back. Or in comic book/graphic novel art, especially in Batman, silhouettes are very commonly used.
So yeah, that's pretty much it for now on the whole 'art lesson', if you want to call it that. Figured people might like a little discussion on this particular element of the visual art we do and share here on Flickr. If you get anything out of it, awesome! If not. *shrugs* At least I tried. =~.^=
***
Will also add with regard to whether artists in SL and Opensim are 'real artists', let's put things in perspective:
According to the National Endowment for the Arts, artists make up only 1.4 percent, or about 2 million professionals within the US workforce. Of that 1.4%, photographers make up only 7% of the industry, and fine artists 10%, with designers making up the largest demographic at 39%. (www.washingtonpost.com/news/wonkblog/wp/2013/06/29/five-f...).
In comparison, SL has 36 million total accounts created with about 1 million monthly visitors. SL alone is a $3.2 billion dollar company, boasting 2.1 million created user virtual products, and 1.2 million transactions of virtual goods. (www.lindenlab.com/releases/infographic-10-years-of-second...)
Consider that most virtual goods are virtual clothing designs, with housing/architecture and landscaping and rental close behind. To say SL, or any virtual world where users create the content is irrelevant is not seeing the big picture and potential. Toying with making a house in a sandbox on Opensim or SL has the potential to transfer skills over to doing architecture and engineering projects, especially as 3D printing becomes more refined and accepted in the real world market. And designing? Let's face it, if an SL fashionista is good at working with textures and seams on a UV map, this too can transfer over to people being able to produce their own clothing, opening up the general market for materials to more than just Grandma's church knitting club.
If anything, professional artists are scared what this means for their future, much as traditional publishers have been frightened since the advent of the internet, where people can publish and blog all sorts of things, and thus can bypass the traditional media and make their own market. This sort of distribution model, where the average person has more control on what they can do, always freaks out the elitists. Why? Because this means they may be out of a job, especially if they can't change with the changing face of the market.
That said, change is inevitable in a changing world. Especially in the world of modern technology. While we can learn from the past, we have to still keep considering the gains of the future. For if indeed the technology can make for a greater distribution of ownership among people, rather than continue the status quo of the elitists, wouldn't that be a better model than the plantation model the elitists try to maintain? Or do we want to just let things keep going with a shrinking middle class population and continuing enlarging of the gap between the rich and the poor?
Last basic class for 2010! The next one will be January 2011 - so good bye to the little witches till autum 2011 ;)
Thanks for looking!
Photographer: Richard Scalzo
Model: Whisper
Editing: Richard Scalzo
My Site richardscalzo.net/
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Thank you so much for all the comments, criticism and :+fav:'s.
I truly appreciated it!
-This work may not be used by anyone or in any manner without my written Permission
+++ DISCLAIMER +++
Nothing you see here is real, even though the model, the conversion or the presented background story might be based on historical facts. BEWARE!
Some background:
After the country's independence from the United Kingdom, after its departure from the European Union in 2017, the young Republic of Scotland Air Corps (locally known as Poblachd na h-Alba Adhair an Airm) started a major procurement program to take over most basic duties the Royal Air Force formerly had taken over in Northern Britain. This procurement was preceded by a White Paper published by the Scottish National Party (SNP) in 2013, which had stated that an independent Scotland would have an air force equipped with up to 16 air defense aircraft, six tactical transports, utility rotorcraft and maritime patrol aircraft, and be capable of “contributing excellent conventional capabilities” to NATO. According to the document, “Key elements of air forces in place at independence, equipped initially from a negotiated share of current UK assets, will secure core tasks, principally the ability to police Scotland’s airspace, within NATO.” An in-country air command and control capability would be established within five years of a decision in favor of independence, it continues, with staff also to be “embedded within NATO structures”.
Outlining its ambition to establish an air force with an eventual 2,000 uniformed personnel and 300 reservists, the SNP stated the organization would initially be equipped with “a minimum of 12 interceptors in the Eurofighter/Typhoon class, based at Lossiemouth, a tactical air transport squadron, including around six Lockheed Martin C-130J Hercules, and a helicopter squadron”. The latter would not only have to take over transport duties for the army, there was also a dire need to quickly replace the former Royal Air Force’s Search and Rescue (SAR) capabilities and duties in the North with domestic resources, after this role was handed over to civilian contractor Bristow Helicopters and the RAF’s SAR units had been disbanded.
This led to the procurement of six AS365 Dauphin helicopters as an initial measure to keep up basic SAR capabilities, with the prospects of procuring more to become independent from the Bristow Helicopters contract. These aircraft were similar to the Eurocopter SA 366 MH-65 “Dolphin” for the United States Coast Guard but differed in many ways from them and also from any other navalized SA365 variant.
For the RoScAC’s SAR squadron, the SA 365 was taken as a starting point, but the helicopter was heavily modified and locally re-christened “Leumadair” (= Dolphin).
The most obvious new feature of the unique Scottish rescue variant was a fixed landing gear with the main wheels on short “stub wings” for a wider stance, stabilizing the helicopter during shipboard landings and in case of an emergency water landing - the helicopter was not able to perform water landings, even though inflatable emergency landing floats were typically fitted. Another obvious difference to other military Dauphin versions was the thimble radome on the nose for an RDR-1600 search and weather radar which is capable of detecting small targets at sea as far as 25 nautical miles away. This layout was chosen to provide the pilots with a better field of view directrly ahead of the helicopter. Additionally, an electro-optical sensor turret with an integrated FLIR sensor was mounted in a fully rotatable turret under the nose, giving the helicopter full all-weather capabilities. Less obvious were a digital glass cockpit and a computerized flight management system, which integrated state-of-the-art communications and navigation equipment. This system provided automatic flight control, and at the pilot's direction, the system would bring the aircraft to a stable hover 50 feet (15 m) above a selected object, an important safety feature in darkness or inclement weather. Selected search patterns could be flown automatically, freeing the pilot and copilot to concentrate on sighting & searching the object.
To improve performance and safety margin, more powerful Turbomeca Arriel 2C2-CG engines were used. Seventy-five percent of the structure—including rotor head, rotor blades and fuselage—consisted of corrosion-resistant composite materials. The rotor blades themselves were new, too, with BERP “paddles”at their tips, a new aerofoil and increased blade twist for increased lifting-capability and maximum speed, to compensate for the fixed landing gear and other external equipment that increased drag. To prevent leading edge erosion the blade used a rubber-based tape rather than the polyurethane used on earlier helicopters.
The “Leumadair HR.1”, so its official designation, became operational in mid-2019. Despite being owned by the government, the helicopters received civil registrations (SC-LEA - -LEF) and were dispersed along the Scottish coastline. They normally carried a crew of four: Pilot, Copilot, Flight Mechanic and Rescue Swimmer, even though regular flight patrols were only excuted with a crew of three. The Leumadair HR.1 was used by the RoScAC primarily for search and rescue missions, but also for homeland security patrols, cargo, drug interdiction, ice breaking, and pollution control. While the helicopters operated unarmed, they could be outfitted with manually operated light or medium machine guns in their doors.
However, the small fleet of only six helicopters was far from being enough to cover the Scottish coast and the many islands up north, so that the government prolonged the contract with Bristow Helicopters in late 2019 for two more years, and the procurement of further Leumadair HR.1 helicopters was decided in early 2020. Twelve more helicopters were ordered en suite and were expected to arrive in late 2021.
General characteristics:
Crew: 2 pilots and 2 crew
Length: 12,06 m (39 ft 2 1/2 in)
Height: 4 m (13 ft 1 in)
Main rotor diameter: 12,10 m (39 ft 7 1/2 in)
Main rotor area: 38.54 m² (414.8 sq ft)
Empty weight: 3,128 kg (6,896 lb)
Max takeoff weight: 4,300 kg (9,480 lb)
Powerplant:
2× Turbomeca Arriel 2C2-CG turboshaft engines, 636 kW (853 hp) each
Performance:
Maximum speed: 330 km/h (210 mph, 180 kn)
Cruise speed: 240 km/h (150 mph, 130 kn)
Range: 658 km (409 mi, 355 nmi)
Service ceiling: 5,486 m (17,999 ft)
Armament:
None installed, but provisions for a 7.62 mm M240 machine gun or a Barrett M107 0.50 in (12.7
mm) caliber precision rifle in each side door
The kit and its assembly:
Another chapter in my fictional alternative reality in which Scotland became an independent Republic and separated from the UK in 2017. Beyond basic aircraft for the RoScAC’s aerial defense duties I felt that maritime rescue would be another vital task for the nascent air force – and the situation that Great Britain had outsourced the SAR job to a private company called for a new solution for the independent Scotland. This led to the consideration of a relatively cheap maritime helicopter, and my choice fell on the SA365 ‘Daupin’, which has been adapted to such duties in various variants.
As a starting point there’s the Matchbox SA365 kit from 1983, which is a typical offer from the company: a solid kit, with mixed weak spots and nice details (e. g. the cockpit with a decent dashboard and steering columns/pedals for the crew). Revell has re-boxed this kit in 2002 as an USCG HH-65A ‘Dolphin’, but it’s technically only a painting option and the kit lacks any optional parts to actually build this type of helicopter in an authentic fashion - there are some subtle differences, and creating a convincing HH-65 from it would take a LOT of effort. Actually, it's a real scam from Revell to market the Matchbox Dauphin as a HH-65!
However, it was my starting basis, and for a modernized/navalized/military version of the SA365 I made some changes. For instance, I gave the helicopter a fixed landing gear, with main wheels stub wings taken from a Pavla resin upgrade/conversion set for a Lynx HAS.2, which also comes with better wheels than the Matchbox kit. The Dauphin’s landing gear wells were filled with 2C putty and in the same process took the stub wings. The front landing gear well was filled with putty, too, and a adapter to hold the front twin wheel strut was embedded. Lots of lead were hidden under the cockpit floor to ensure that this model would not becaome a tail sitter.
A thimble radome was integrated into the nose with some PSR – I opted for this layout because the fixed landing gear would block 360° radar coverage under the fuselage, and there’s not too much ground clearance or space above then cabin for a radome. Putting it on top of the rotor would have been the only other option, but I found this rather awkward. As a side benefit, the new nose changes the helicopter’s silhouette well and adds to a purposeful look.
The rotor blades were replaced with resin BERP blades, taken from another Pavla Lynx conversion set (for the Hobby Boss kit). Because their attachment points were very different from the Matchbox Dauphin rotor’s construction, I had to improvise a little. A rather subtle change, but the result looks very plausible and works well. Other external extras are two inflatable floating devices along the lower fuselage from a Mistercraft ASW AB 212 (UH-1) kit, the winch at port side was scratched with a piece from the aforementioned BK 117 and styrene bits. Some blade antennae were added and a sensor turret was scratched and placed in front of the front wheels. Additional air scoops for the gearbox were added, too. Inside, I added two (Matchbox) pilot figures to the cockpit, plus a third seat for a medic/observer, a storage/equipment box and a stretcher from a Revell BK 117 rescue helicopter kit. This kit also donated some small details like the rear-view mirror for the pilot and the wire-cutters - not a typical detail for a helicopter operating over the open sea, but you never know...
The only other adition is a technical one: I integrated a vertical styrene pipe behind the cabin as a display holder adapter for the traditional hoto shooting's in-flight scenes.
Painting and markings:
It took some time to settle upon a design. I wanted something bright – initially I thought about Scottish colors (white and blue), but that was not garish enough, even with some dayglo additions. The typical all-yellow RAF SAR livery was also ruled out. In the end I decided to apply a more or less uniform livery in a very bright red: Humbrol 238, which is, probably due to trademark issues, marketed as “Arrow Red (= Red Arrows)” and effectively an almost fluorescent pinkish orange-red! Only the black anti-glare panel in front of the windscreen, the radome and the white interior of the fenestron tail rotor were painted, too, the rest was created with white decal stripes and evolved gradually. Things started with a white 2mm cheatline, then came the horizontal stripes on the tail, and taking this "theme" further I added something similar to the flanks as a high contrast base for the national markings. These were improvised, too, with a 6mm blue disc and single 1.5 mm bars to create a Scottish flag. The stancils were taken from the OOB decal sheet. The interior became medium grey, the crew received bright orange jumpsuits and white "bone domes".
No black ink washing or post-panel-shading was done, since the Dauphin has almost no surface details to emphasize, and I wanted a new and clean look. Besides, with wll the white trim, there was already a lot going on on the hull, so that I kept things "as they were". Finally, the model was sealed with a coat of semi-gloss acrylic varnish for a light shine, except for the rotor blades and the anti-glare panel, which became matt.
Quite a tricky project. While the Matchbox Dauphin is not a complex kit you need patience and have to stick to the assembly order to put the hull together. PSR is needed, esp. around the engine section and for the underside. On the other side, despite being a simple model, you get a nice Dauphin from the kit - but NOT a HH-65, sorry. My fictional conversion is certainly not better, but the bright result with its modifications looks good and quite convincing, though.
Anthony S. Fauci, M.D., was appointed Director of NIAID in 1984. He oversees an extensive research portfolio of basic and applied research to prevent, diagnose, and treat established infectious diseases such as HIV/AIDS, respiratory infections, diarrheal diseases, tuberculosis and malaria as well as emerging diseases such as Ebola and Zika. Credit: NIAID
basic, functional, utilitarian, .... made for fishing!
A film image taken in the Turkish Republic of Northern Cyprus
A group of 324th Training Squadron basic trainees perform formation and parade drills in preparation of their graduation on Lackland Air Force Base, Texas.
Defense Media Agency Hometown News
Photo by Master Sgt. Cecilio Ricardo
Date: 04.24.2009
Location: Lackland AFB, US
Related Photos: dvidshub.net/r/kmi3v6
The jobs of scribes... at the future of work gathering that I hosted at work. (background below)
Opening: "Technology is driving an economic transformation. The effects on wealth and income are already significant, and emerging technologies promise greater effects in the coming decade. While the economic pie is bigger than ever, wages for the median worker in America and other advanced nations have stagnated, increasing inequality. Not everyone is participating in our economy’s bounty, and many of those left behind are becoming angry or disillusioned. With more powerful technologies available than ever before, the challenge before us is to create a better society than ever before."
Some comments, without attribution:
“We have an aging society. Mature people and societies want to get rid of risk. There are huge economic costs to decreasing risk.”
On the risk of AI: “If current trends continue, people are going to rise up before the machines.”
“When thinking about education for all, you want your competitors and the people you fight wars against to be educated. The alternative is ISIS.”
Something that occurred to me midway: many of the new jobs in the new economy (like Uber drivers and Mechanical Turkers) are at the edge of automation, and thus, are ever so ephemeral against the march of Moore’s Law.
We hope to pull a lot of it together into an open letter. On the whiteboard, we started with the 200-year endgame and pondered utopian and dystopian futures, long past the debates on transition times (e.g., robots can do anything physical better than a human by then). And we tried to come up with business/gov't/social movement ideas to address the path dependence of where we are today and were we hope we can go.
We explored democratizing vectors in the near term (education, broadband, fluidity (lifelong credentialing, immigration, etc.) and for the longer term, distribution vectors (basic wage, taxes) since, in the endgame, global democratization within an information economy will ironically further accelerate the rich-poor gap. Everyone will have access to the American Dream, writ large, but it will feel like the lottery. And, within many countries, like the U.S., the prior winners of the lottery run the lottery. This does not sound like a firm foundation for trust in the system.
I'm experiencing rising damp. The guy I'm paying to sort it out has brought his own dilapidated radio to listen to. Basic plastering is complete and currently curing. Next step..... skimming.
.The Mana Spirits, also known as Elemental Spirits, are magical beings representative of the elements that make up the world. There are eight spirits in all:Salamander, the spirit of fire Undine, the spirit of water, Gnome, the spirit of earth, Jinn, the spirit of wind, Dryad, the spirit of wood,Luna, the spirit of the moon,Wisp, the spirit of light,Shade, the spirit of darkness.According to Seiken Densetsu 3, in her creation of the world, the Mana Goddess forged the Mana Sword and with it sealed the eight God-Beasts inside Mana Stones, which were then scattered across the world; the Elementals were charged with the duty of protecting the Stones. While each Elemental is a powerful spirit, being an embodiment has a drawback in that they can be physically harmed or limited, notably Jinn (Sylphid) in Seiken Densetsu 3 and Salamando in Secret of Mana. In the World History Encyclopedia featured in Legend of Mana, the Elementals are descended from the Mana Goddess, the embodiment of the creative and destructive forces of Mana, each being born from the light which formed the respective elements of Fa'Diel, the world of Mana.There is a basic system of opposing elemental pairs in the games before Legend of Mana: Undine (water) and Salamando (fire); Gnome (earth) and Sylphid/Jinn (wind); Lumina/Wisp (light) and Shade (darkness); Dryad (nature) and Luna (celestial). The system works differently in Legend of Mana, with the four Western Elements in a circular relationship: Undine overcomes Salamander, who overcomes Gnome, who overcomes Jinn, who overcomes Undine, thus launching the cycle over again; while Wisp and Shade are opposites, and Aura (gold/metal) becomes the new opposite to Dryad (wood) (see Elements).
mana.wikia.com/wiki/Mana_Spirit
www.mythsdreamssymbols.com/dreamsarchetypes.html
Imagine you are sitting in a theater, listening to a heroine sing longingly of her beloved. Suddenly the stage is invaded by two bands of acrobatic warriors. They tumble and twirl, cartwheel and somersault, flip this way and that. From the orchestra come sounds of cymbal, gong, and clapper to punctuate the action.
Dreams and myths are constellations of archetypal images. They are not free compositions by an artist who plans them for artistic or informational effects. Dreams and myths happen to human beings. The archetype speaks through us. It is a presence and a possibility of "significance." The ancients called them "gods" and "goddesses."What then is an archetype? Jung discovered that humans have a "preconscious psychic disposition that enables a (man) to react in a human manner." These potentials for creation are actualized when they enter consciousness as images. There is a very important distinction between the "unconscious, pre- existent disposition" and the "archetypal image." The archetype may emerge into consciousness in myriads of variations. To put it another way, there are a very few basic archetypes or patterns which exist at the unconscious level, but there are an infinite variety of specific images which point back to these few patterns. Since these potentials for significance are not under conscious control, we may tend to fear them and deny their existence through repression. This has been a marked tendency in Modern Man, the man created by the French Revolution, the man who seeks to lead a life that is totally rational and under conscious control. Where do the archetypes come from? In his earlier work, Jung tried to link the archetypes to heredity and regarded them as instinctual. We are born with these patterns which structure our imagination and make it distinctly human. Archetypes are thus very closely linked to our bodies. In his later work, Jung was convinced that the archetypes are psychoid, that is, "they shape matter (nature) as well as mind (psyche)" (Houston Smith, Forgotten Truth, 40). In other words, archetypes are elemental forces which play a vital role in the creation of the world and of the human mind itself. The ancients called them elemental spirits How do archetypes operate? Jung found the archetypal patterns and images in every culture and in every time period of human history. They behaved according to the same laws in all cases. He postulated the Universal Unconscious to account for this fact. We humans do not have separate, personal unconscious minds. We share a single Universal Unconscious. Mind is rooted in the Unconscious just as a tree is rooted in the ground. Imagine the Universal Unconscious as a cosmic computer. Our minds are subdirectories of the root directory. If we look in our personal "work areas," we find much material that is unique to our historical experience--could only have happened to us--but it is shaped according to universal patterns. If we humans have the courage to seek the source to which our "account" belongs, we begin to discover ever more impersonal and universal patterns. The directories of the cosmic computer to which we can gain access are filled with the myths of the human species. Modern man fancies that he has escaped the myths through his conscious repudiation of revealed religion in favor of a purely rational natural religion (read: Natural Science). But consider his theories of human origin. In the beginning, there was a Big Bang, a cosmic explosion. This is an image from which reason may begin to work, but it is not itself a rational statement. It is a mythical construct. Consider the theory of biological evolution. Man's ancestors emerge from the seas, and they in turn emerged from a cosmic soup of DNA. The majority of creation myths also begin with the same image of man emerging from primordial oceans. See Genesis 1 or the Babylonian creation epic. Consider the Modern tendency to call ourselves persons from the Latin persona. The term derives from the "mask" of Dionysus. Moderns are the wearers of masks! The reality is concealed in the darkness of mystery. This too is a mythical construct. Synchronicity Personality theorists have argued for many years about whether psychological processes function in terms of mechanism or teleology. Mechanism is the idea that things work in through cause and effect: One thing leads to another which leads to another, and so on, so that the past determines the present. Teleology is the idea that we are lead on by our ideas about a future state, by things like purposes, meanings, values, and so on. Mechanism is linked with determinism and with the natural sciences. Teleology is linked with free will and has become rather rare. It is still common among moral, legal, and religious philosophers, and, of course, among personality theorists. Among the people discussed in this book, Freudians and behaviorists tend to be mechanists, while the neo-Freudians, humanists, and existentialists tend to be teleologists. Jung believes that both play a part. But he adds a third alternative called synchronicity.
Synchronicity is the occurrence of two events that are not linked causally, nor linked teleologically, yet are meaningfully related. Once, a client was describing a dream involving a scarab beetle when, at that very instant, a very similar beetle flew into the window. Often, people dream about something, like the death of a loved one, and find the next morning that their loved one did, in fact, die at about that time. Sometimes people pick up he phone to call a friend, only to find that their friend is already on the line. Most psychologists would call these things coincidences, or try to show how they are more likely to occur than we think. Jung believed the were indications of how we are connected, with our fellow humans and with nature in general, through the collective unconscious. Jung was never clear about his own religious beliefs. But this unusual idea of synchronicity is easily explained by the Hindu view of reality. In the Hindu view, our individual egos are like islands in a sea: We look out at the world and each other and think we are separate entities. What we don't see is that we are connected to each other by means of the ocean floor beneath the waters. The outer world is called maya, meaning illusion, and is thought of as God's dream or God's dance. That is, God creates it, but it has no reality of its own. Our individual egos they call jivatman, which means individual souls. But they, too, are something of an illusion. We are all actually extensions of the one and only Atman, or God, who allows bits of himself to forget his identity, to become apparently separate and independent, to become us. But we never truly are separate. When we die, we wake up and realize who we were from the beginning: God. When we dream or meditate, we sink into our personal unconscious, coming closer and closer to our true selves, the collective unconscious. It is in states like this that we are especially open to "communications" from other egos. Synchronicity makes Jung's theory one of the rare ones that is not only compatible with parapsychological phenomena, but actually tries to explain them!
www.mythsdreamssymbols.com/dreamsarchetypes.html
On this day ghosts and other supernatural creatures come out from the Underworld and move among the living. Families prepare food and other offerings and place them on a shrine dedicated to deceased relatives.Mana You must understand that these archetypes are not really biological things, like Freud's instincts. They are more spiritual demands. For example, if you dreamt about long things, Freud might suggest these things represent the phallus and ultimately sex. But Jung might have a very different interpretation. Even dreaming quite specifically about a penis might not have much to do with some unfulfilled need for sex. It is curious that in primitive societies, phallic symbols do not usually refer to sex at all. They usually symbolize mana, or spiritual power. These symbols would be displayed on occasions when the spirits are being called upon to increase the yield of corn, or fish, or to heal someone. The connection between the penis and strength, between semen and seed, between fertilization and fertility are understood by most cultures.The concept of archetypes is central to Jungian psychology and myth analysis. However there are many different ways of looking at what exactly an archetype is (cf Heiddegger). Carol Pearson, in her book, Awakening The Heroes Within shows how five different individuals would view the idea of archetypes.A Shaman, or other seeker after spiritualism, will conceive of archetypes as gods and goddesses, encoded in the collective unconscious, whom are scorned at great risk. Academics and other rationalists, who are typically suspicious of anything that sounds mystic, may conceive of archetypes as controlling paradigms or metaphors, the invisible patterns in the mind that control how we experience the world.Scientists may see the process of identifying archetypes as similar to other scientific processes. Physicists learn about the smallest subatomic particles by studying the traces they leave; psychologists and other scholars study archetypes by examining their presence in art, literature, myth, and dream. Carl Jung recognized that the archetypical mages that recurred in his patients' dreams also could be found in the myths, legends, and art of ancient peoples, as well as in contemporary iterature, religion, and art. They know that they are archetypical becausethey leave the same traces over time and space. People who are committed to religious positions that emphasize one all-encompassing God, can distinguish the spiritual truth of monotheism from the pluralistic psychological truth of archetypes. The god we mean when we speak of "The One True God" is beyond the human capacity to envision and name. The archetypes are like different facets of that God, accessible to the psyche's capacity to imagine numinous reality. Thus these archetypes helpthe person connect to the Eternal; they make great mysteries more accessible by providing multiple images. This is evident in both the Catholic idea of the Trinity (The Father, The Son, and The Holy Ghost), and the Buddhist idea of one Buddha (which is then divisible into the 40, the 400, and the 4000 facets or aspects of that single deity, each with it's own name and story). Finally archetypes are the primal symbols of aspects of our own nature. By identifying with one of more archetypes we can identify our own nature. By portraying these archetypes, we portray ourselves. Thus we can use these archetypes as a spiritual guide to the discovery of selfhood. And what does an archetype mean to ? That's simple. Archetypes are symbols. In the Hermetic Tradition there is very little difference between the symbol and the thing it represents. This is explicit in the Law of Association. By manipulating the symbol it is therefore also possible to directly manipulate the thing. And because archetypes are symbols representing facets of ourselves they allow us to change ourselves. As within, so without. The macrocosm embodies the microcosm.So much for the content of the psyche. Now let's turn to the principles of its operation. Jung gives us three principles, beginning with the principle of opposites. Every wish immediately suggests its opposite. If I have a good thought, for example, I cannot help but have in me somewhere the opposite bad thought. In fact, it is a very basic point: In order to have a concept of good, you must have a concept of bad, just like you can't have up without down or black without white. This idea came home to me when I was about eleven. I occasionally tried to help poor innocent woodland creatures who had been hurt in some way -- often, I'm afraid, killing them in the process. Once I tried to nurse a baby robin back to health. But when I picked it up, I was so struck by how light it was that the thought came to me that I could easily crush it in my hand. Mind you, I didn't like the idea, but it was undeniably there.According to Jung, it is the opposition that creates the power (or libido) of the psyche. It is like the two poles of a battery, or the splitting of an atom. It is the contrast that gives energy, so that a strong contrast gives strong energy, and a weak contrast gives weak energy. The second principle is the principle of equivalence. The energy created from the opposition is "given" to both sides equally. So, when I held that baby bird in my hand, there was energy to go ahead and try to help it. But there is an equal amount of energy to go ahead and crush it. I tried to help the bird, so that energy went into the various behaviors involved in helping it. But what happens to the other energy? Well, that depends on your attitude towards the wish that you didn't fulfill. If you acknowledge it, face it, keep it available to the conscious mind, then the energy goes towards a general improvement of your psyche. You grow, in other words.
But if you pretend that you never had that evil wish, if you deny and suppress it, the energy will go towards the development of a complex. A complex is a pattern of suppressed thoughts and feelings that cluster -- constellate -- around a theme provided by some archetype. If you deny ever having thought about crushing the little bird, you might put that idea into the form offered by the shadow (your "dark side"). Or if a man denies his emotional side, his emotionality might find its way into the anima archetype. And so on. Here's where the problem comes: If you pretend all your life that you are only good, that you don't even have the capacity to lie and cheat and steal and kill, then all the times when you do good, that other side of you goes into a complex around the shadow. That complex will begin to develop a life of its own, and it will haunt you. You might find yourself having nightmares in which you go around stomping on little baby birds! If it goes on long enough, the complex may take over, may "possess" you, and you might wind up with a multiple personality. In the movie The Three Faces of Eve, Joanne Woodward portrayed a meek, mild woman who eventually discovered that she went out and partied like crazy on Saturday nights. She didn't smoke, but found cigarettes in her purse, didn't drink, but woke up with hangovers, didn't fool around, but found herself in sexy outfits. Although multiple personality is rare, it does tend to involve these kinds of black-and-white extremes. The final principle is the principle of entropy. This is the tendency for oppositions to come together, and so for energy to decrease, over a person's lifetime. Jung borrowed the idea from physics, where entropy refers to the tendency of all physical systems to "run down," that is, for all energy to become evenly distributed. If you have, for example, a heat source in one corner of the room, the whole room will eventually be heated.When we are young, the opposites will tend to be extreme, and so we tend to have lots of energy. For example, adolescents tend to exaggerate male-female differences, with boys trying hard to be macho and girls trying equally hard to be feminine. And so their sexual activity is invested with great amounts of energy! Plus, adolescents often swing from one extreme to another, being wild and crazy one minute and finding religion the next.As we get older, most of us come to be more comfortable with our different facets. We are a bit less naively idealistic and recognize that we are all mixtures of good and bad. We are less threatened by the opposite sex within us and become more androgynous. Even physically, in old age, men and women become more alike. This process of rising above our opposites, of seeing both sides of who we are, is called transcendence.
www.mythsdreamssymbols.com/dreamsarchetypes.html
The ego is the centre of consciousness. It is identity. It is 'I'. But it is not the totality of the psyche. Being the king of consciousness amounts to dominion over a small but important land surrounded by a wide world of terra incognita. The more aware the King is of lands beyond his domain the more secure he will be on his throne, but he must not be tempted to open the borders to it all. In Jungian theory the unconscious is far too vast to ever be made fully conscious, poking about in it is not without danger, yet ignoring it is also a mistake since it leads to a brittle fixedness which at best impedes growth, at worst can break when under the pressure of the 'threat' of change.So called "humanist spirit" relates to the thought and the viewpoint concerning man's mental life: the humanist spirit is linked with humanitarianism and is different from each other. Compared with animals, the author concluded: Tao (Dao) and Food, kindheartedness and living, righteousness and benefit, moral integration and feats of strength, principles and appetites and independent will, etc. all are human personality values. Simultaneously strong human social responsibility is also human social value. Human beings live in nature, mutually coordinate, and co-exist in harmony together with nature which is also the representation of man's natural
www.google.fr/search?q=ghosts+supernatural+creatures+Unde...
One of my smallest series. LDD was being a b**ch, so I could not rotate the front of the the standard Pzr II. :( I also have an unfinished Marder II and an unfinished Brückenleger II.
Credit to PA for his basic Panzer II.
Credit to Heer for his Sturmpanzer II.
Credit to L4L for his gun on the Wespe.
So I decided to give this whole repaint thing another shot,my next victim of course had to be Icy.This time however I opted to repaint from scratch instead of enhance,results were,okay...I guess.I tried to make her look downright bitchy and at the peak of her PMS,I think it translated well.Either way,cant really blame me for trying,I'll get better.
Advinha quem teve tempo de uma foto decente nesse feriado?! Eu msm!!!!
Depois de tantos vermelhos e azuis eu tava doida de vontade de um esmalte preto.
Apesar de eu quase não usar eu amo esmalte preto. Geralmente rola uma preguiça de esmaltar e limpar por isso tô sempre adianto.
Acontece que o Pérola Negra tava encalhado há uns 5 meses e quando bati os olhos nele sabia que seria o escolhido.
Mesmo ele sendo lindo, eu não queria algo tão básico então resolvi carimbar. Já faz tempo que eu tava ensaiando uma carimbada dupla e resolvi me arriscar.
Não ficou como eu tinha imaginado. Acho que eu deveria ter colocado o branco por cima do prata, teria destacado mais.
Mesmo não tendo ficado perfeito eu gostei. Pra mim valeu a tentativa!
Por hj é isso gente! Até a próxima.
Trick or Treat Lane offers items for the modern witch. This isn't your grandma's magick! For more links and more info, see my Dark blog ~ aznanasaccouterments.blogspot.com/
*Picture property of Iplehouse* Today is a lucky day... I ordered Carina basic on a layaway... can't believe I'm getting my first Iplehouse doll... she's 65cm large, I ordered her with make-up type B (like on these pictures) and large breasts.... also with some fashions, wig and shoe set.... GOSH, I'm sooo happy !!!