View allAll Photos Tagged callygraphy
++++++++++++++++++++++++++++++++++++++++++++++++++++++++
DEAR FRIENDS AND COLLEAGUES; THANK YOU FOR VIEWING, FAVING AND COMMENTING MY DIGITAL OBSERVATIONS.
© Ben Heine || Facebook || Twitter || www.benheine.com
_______________________________________________
For more information about my art: info@benheine.com
_______________________________________________
Esperanto is a language introduced in 1887 by Dr. L.L. Zamenhof after years of development. He proposed Esperanto as a second language that would allow people who speak different native languages to communicate, yet at the same time retain their own languages and cultural identities. Esperanto doesn't replace anyone's language but simply serves as a common second language. Esperanto can be learned in much less time than any other language. (Some say that it is four times easier). Esperanto is politically unbiased.
Although there aren't a lot of people who speak Esperanto in any one place, there are some almost everywhere. There are over a hundred periodicals regularly published in Esperanto. There are thousands of books in Esperanto, both translated and original works. There are millions of webpages.
People who speak Esperanto are internationally minded, concerned about social justice and peace, and are helping to preserve linguistic diversity. Meetings and conventions in America, Europe, and Asia provide a fun opportunity to travel and meet new people from around the world. (Source: esperanto-usa.org)
------------
Let’s Erect a New Tower of Babel
Essay by an Information Scientist
(November 6, 1974)
The Tower of Babel has come to mean exactly the opposite of what it was. Babel was probably Babylon, a great metropolis where everyone spoke the same language. And at Babylon, man built the huge and towering ziggurats so beautifully pictured by Peter Breughel and others. To the writer of Genesis the technology of that great metropolis and its single language must have seemed like marvels indeed. The writer could imagine its destruction only as the result of divine wrath. How else could mankind have declined from such a lofty state?
The abandonment of the Tower of Babel and of the common language of its builders is attributed in Genesis to the wrath of an angry God. At Babel God observed that “the whole earth was of one language and one speech… and now nothing will be restrained from them which they have imagined to do... Confound their language that they may not understand one another’s speech.”
Thus, the Tower of Babel was a great technological achievement whose construction was unhampered by linguistic difficulties. There was no translation problem for those early scientists and engineers. God’s curse has left us essentially incommunicado. 1would like to suggest that mankind has suffered enough since then. We should now complete a modern Tower of Babel through the universal adoption of English as the mandatory language of science. Considering how far we have progressed in molecular biology, this suggestion may seem superfluous. But surely the potential danger to all mankind in this new technology makes English as necessary as the metric system.
Communication by speech was a ‘divine’ gift to mankind alone. The ancients knew well the irony implicit in divine gifts. It is the theme of much classic Greek drama, where the audience knows what the hero and his fellows in the play do not know--that the divine gift, whatever it happens to be in the particular play, brings with it the seed and the moment of destruction. We are accustomed to say that science knows no boundaries and no lesser allegiances than knowledge and the search for truth. But of course we should know, from reading sociologists from Marx to Merton, that the notion of science unbounded is mostly utopian foolishness. Perhaps science ideally should know no boundaries, no restrictions, but in fact it knows many. National aspiration, cultural milieu, social philosophy, economic power, political wrangling, and language are but a few.
Language may be a divine gift, but the diversity of language must surely be the tragic irony implicit in this particular divine gift. Is it overly simplistic or even stupid to suggest --like the author of Genesis-- that we would be better off as human beings, and as scientists, if we did “understand one another’s speech, ” if we could more nearly approach one another’s thought ?
Linguistic diversity is the tip of a great mental iceberg. We have been blessed and cursed not only to speak differently but to think differently because of it. Is there any doubt that thought not only shapes speech but, as Whorf suggested that language shapes thought? What is easily expressed in one language may be beyond conceptualization in another. Whether this applies to molecular biology or any other branch of modern science is easily enough appreciated if one were to imagine an attempt to translate The Double Helix into Eskimo.
I don’t believe that English is the language most suited to science because it is the best language. It is simply the language that scientists as a whole now best understand. We must goon from that fact. English is by no means a simple language. It does not have that to recommend it. Even though it can claim the grandeur of Shakespeare and the glory of the King James Bible, it also carries the stigma of having been the oral and administrative instrument of unparalleled colonial exploitation. It may not be as lucid as French, as vigorous as German, as musical as Italian, as subtle as Russian, or as tender as Spanish. I am told it is not as deceptively concrete as Chinese, nor as heart-easing as Gaelic, but it is the language now best understood by scientists. The overwhelming superiority and recommendation of its being best understood should not be underestimated. The government of India seems to agree, whatever the compromises to which the national consciousness has forced it to pay lip service.
The chauvinists of particular languages would perhaps prefer French because it was the language of Racine. Others might prefer the German of Schnitzler, or the Italian of Dante, or the Russian of Pushkin, or the Spanish of Garcia Lmca. But I do not recommend English as the lingua fianca of science because it was the language of Shakespeare. Most of the world cannot read even in their own languages works of men that have enriched their cultures.
The urge to be once again’ ‘of one language and one speech,” in and outside of science, should not be dismissed as anti-cultural. It is a powerful urge that expresses itself in many forms, such as our delight in a “silent” movie by Charlie Chaplin, or the universal embracement of the modern television broadcast. The urge has also been powerful enough to spawn numerous “artificial” languages like Volapuk, Esperanto, lnterlingua, Novial, etc. In retrospect, it may seem remarkable that people of so many nations grasped so eagerly at the ‘linguistic’ monstrosities frankensteined by idealist inventors.
Looking today, for example, at a page of Volapuk, a once popular and now ‘dead’ artificial language, one finds it hard to believe that anyone could ever have taken such a WorldSpeak (the name Volapiik meant that) seriously. But in the l9th century a great many people did. On the other hand, artificial languages have not been solely the product of amateur utopians or entrepreneurial egotists, as was often the case. Distinguished linguistic scientists like Otto Jespersen tried their hand at it as well. Some rate Jespersen’s Novial the best of the lot. The time may come when English will be universally understood. I join with Professor Steiner (1) in expressing the hope that the universality of English will be accompanied by an increasing bilingualism or trilingualism. A world of bilingual nations will be better off for its ability to share the benefits of different linguistic cultures, as well as those of technology.
(1) Steiner, G. What is an educated man now? (JZOmion) ZYmes Higher Education Supplement 11 October, 1974, p. 13
------------
The essay appeared on www.garfield.library.upenn.edu
Le kufi (en arabe : كوفي, on trouve aussi les graphies koufi, coufique ou koufique) est un style de calligraphie arabe, développé initialement dans la ville de Koufa en Irak. Il s'agit de la plus ancienne forme calligraphique de l'arabe. Les premiers exemplaires du Coran sont calligraphiés suivant ce style. Sous une forme modifiée, plus carrée, on le retrouve sur de nombreux monuments musulmans.
Trabajo final de Tipografía I Gaitto Sábados. Libro objeto, experimental. En base a las palabras "Coleccionable del asesino desalmado".
Mi historia es la de un hombre que se enamora de una mujer, la cual lo rechaza. Ahí empieza a matar mujeres para crear una "mujer perfecta" igual a esa de la cual se había enamorado, pero esta no iba a poder rechazarlo.
L’écriture maghrébine, maghribi ou maghrebi, est un ensemble de styles calligraphiques de l’écriture arabe développée à partir du xe siècle dans l’Occident musulman, c’est-à-dire au Maghreb et en Espagne. Les différents styles maghribi varient dans la hauteur et les formes anguleuses mais ont en commun les larges courbes et un trait gracile avec peu de contraste entre de plein et délié.
Drawn after the USK Rhein-Main orchestra-event, finished on location two days later.
The weather was very warm, a spring-day in the end of February. Pigment Liner, watercolor-stick in blue, callygraphy fountain pen and grey brush pen on Watercolour-cardboard, 28,5 x 44 cm
My favorite wall in China town, Bangkok.
It almost closes the end of a small lane in Talat Noy (the small market). It is like a beautiful inspiring friend you like to see under different lights, always gorgeous. Almost Every time i pass by BKK, I will walk a bit more to take an iced coffee near by... and a few pictures ! ;-)
...
if I may invite you: view large on black
Passing in front of a propaganda billboard.
In Kaesong, you're locked in an hotel in the middle of the old town. The guides refuse to let you go out as as they say, it is the same outside of the hotel! After long negotiations, you can walk few minutes in Kaesong and see real moment of local life!
© Eric Lafforgue
The Bookworm.
Dangerous word games. An ancient grimoire of arcane lore, wisely forbidden. Contra naturam textual seduction: an urge to force the seal with sharp sibilant syllables. A whispered mistake, a lethal misspelling of the literal Spell, springs the hidden rhyme trap for a kill in cold ink. A grammar drama. The word becrushes flesh. And the final quote is declaimed by the Conqueror Worm again.
A graphite and computer illustration inspired by a book that I have not read, Mysteries of the Worm, since its author, Ludvig Prinn, never wrote it, something quite natural considering that he himself never existed. These drawbacks have not prevented it from being a frequently cited work, first by Robert Bloch and then by H. P. Lovecraft and much of his literary circle ("Tibi, magnum Innominandum, signa stellarum nigrarum et bufoniformis Sadoquae sigillum").
It took me about seven months to finish this drawing, although it was perfectly defined in style and content from the beginning, basically because I photographed myself to find the angle and the pose. But I am an extremely slow learner, I have not spent a lot of time and part of it has been spent experimenting with artistic techniques and technologies that I have never used. Ultimately I like the final result.
~~~~~ ^(;,;)^ ~~~~~
Léxico lesivo.
Arriesgados juegos de palabras. Un vetusto grimorio de saberes arcanos, sabiamente prohibidos. Seducción textual contra natura: un ansia de forzar el sello con afiladas sílabas sibilantes. Tan solo un error susurrado, un deletreo letal de la cita literal, y resortes de rimas ocultas disparan la trampa que mata a tinta fría. Dramática gramática del verbo deshaciendo la carne. Y la cita final es declamada, de nuevo, por el Gusano Vencedor.
Una ilustración a grafito y ordenador inspirada por un libro que no he leído, Misterios del Gusano, dado que su autor, Ludvig Prinn, jamás lo escribió, algo bastante natural, considerando que él mismo no llegó a existir. Estos inconvenientes no han impedido que sea una obra citada frecuentemente, primero por Robert Bloch y después por H. P. Lovecraft y buena parte de su Círculo literario ("Tibi, magnum Innominandum, signa stellarum nigrarum et bufoniformis Sadoquae sigillum").
He tardado unos siete meses en acabar este dibujo, aunque estuvo perfectamente definido en estilo y contenido desde el principio, básicamente porque me fotografié de primeras para encontrar el ángulo y la pose. Pero soy un aprendiz extremadamente lento, no le he prestado mucho tiempo y parte del mismo lo he dedicado a experimentar técnicas y tecnologías artísticas que nunca había usado. Al final me gusta cómo ha quedado.
Abstract Calligraphy
Calligraphy: Kaalam - Julien Breton | www.kaalam.com
Photography: Mr Guep - David Gallard | www.spherik.fr
Not just another 'sandscape' on the beach...love the elegant curves. View On Black
This was taken on a wharf, where they deposit sand from all over, like from the dredged harbour, winning sand from wherever they can.
It is brought here, managed by huge bulldozers and special cranes. When sand is needed, like for 'refreshing' beaches or 'pumping' them up after an erosive winter or constructions of any kind, the massive trucks roll in. Here, it is on the East side of Ostend on the Belgian Coast, enormous works going on. I am going to write a blog about the dangers...
I got into big trouble... in quicksand. We're fine now.
You aren't really allowed in. There are warnings!
More later.... magdaindigo.blogspot.com/2010/04/living-dangerously.html
I always found it a fascinating place, everchanging always full of interest.
Hope your day is bright and thanx for visiting, Magda (*_*)
Please do not COPY or use this image on websites, blogs or any other media without my explicit permission. © All rights reserved
Why not view the set as a slide-show?
Also I often upload more than one image at the same time, I see a tendency to only view the last uploaded...
O Homem de Neandertype habitava as antigas planícies tipográficas do Vale dos Impressos há cerca de 30.000 anos, tendo coexistido com o Homo Calligraphos no começo dos tempos. O crânio acima foi encontrado no sítio arqueológico de Dessau, junto a artefatos de entrelinha e ferramentas de Paica em ótimo estado de composição. Os Neandertypes dominavam a técnica do chumbo e estavam adaptados ao ambiente semi-gráfico das oficinas de tipografia. Seus crânios eram aproximadamente 50% menores em pontos Didot que os dos humanos modernos, e sua altura-de-x não ultrapassava 1,60m. Alimentavam-se, sobretudo, das letras em preto e branco dos catálogos de Letraset, sendo também exímios catadores de sementes de Linotipo - o que provavelmente levou ambas espécies à extinção.
//
The Neandertype Man inhabited the ancient typographic plains of the Prints Valley about 30,000 years ago, and coexisted with Homo Calligraphos in the beginning of times. The skull above was found on the archaeological site of Dessau, along with interline artifacts and Pica tools in excellent composition state. The Neandertypes dominated the hot metal technique and were adapted to the semi-graphic environment of printing offices. Their skulls were approximately 50% smaller in Didot points than that of modern humans, and their x-height did not exceed 1.60m. They fed themselves mostly of black and white letters from Letraset catalogs, also being proficient pickers of Linotype seeds - which probably led both species to extinction.
-----
dimensão: 13 cm de altura.
material: gesso, tinta acrílica, Uni Pin 0.05, paciência e duas paixões: caveiras e letras.
feito em 15 meses, sem pressa.
set 13.
(thanx Ellen & Nicole)
These is an alphabet I made to be used as the first letters of each chapter.
I made it with Osmiroid calligraphy markers on watercolor paper.
Caligrafía gestual. Tinta china y acuarela sobre planograf, 2005.
Actualmente en la trastienda de la Galería Van Riel.
Gestual calligraphy. Ink and water color on planograf-paper, 2005.
At Van Riel Gallery, Buenos Aires, Argentina.
Trabajo final de Tipografía I Gaitto Sábados. Libro objeto, experimental. En base a las palabras "Coleccionable del asesino desalmado".
Mi historia es la de un hombre que se enamora de una mujer, la cual lo rechaza. Ahí empieza a matar mujeres para crear una "mujer perfecta" igual a esa de la cual se había enamorado, pero esta no iba a poder rechazarlo.
Caligrafía gestual. Tinta china, acuarela y sellos sobre papel, 2005.
Gestual calligraphy. Ink, water color and rubber stamps on paper, 2005.