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via Instagram ift.tt/1L40h8V — “Living With Complexity” by Donald Norman has been providing me with some good thinking material as of late. I've been reading bits and pieces over breakfast most mornings, or a couple pages before I head to sleep. One day sometime in the future I might have enough time to be able to read more than just a page or two at a time ... Or actually sit and think without a deadline or client crises getting in the way ... Someday.
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The rites of Holy Week are present in Sicily with complexity of content and symbologies due to numerous influences, very present those due to the Spanish culture, dominating the island between the sixteenth and seventeenth centuries; in the mystery of the death and resurrection of Christ, it is attended by a popular culture, referring to ancient pre-Byzantine rites that originated long before those of Mediterranean Christian culture.
These ancient rituals represent the most significant moments of the Passion of Jesus Christ, described in the Gospels, from his arrest by the Romans to the Resurrection and are part of the Holy Week celebrations, together with the normal religious functions.
The Good Friday procession at Bronte has its roots far beyond the characters received by Spanish domination, realizing itself as one of the most complex and archaic in absolute, a procession impregnated with prayer, penance and symbolism. The protagonists are the city confraternities that give a reconstruction of the Scenes of the Passion, featuring the apostles, the pious women, the Roman soldiers and Christ, and the statues of Our Lady of Sorrows, Christ the Column, Christ Crucified and Dead Christ, decorated with fresh beans, led by the faithful invoking grace in brontese dialect.
The porters of Dead Christ are in silence because Christ is dead, while the bearers of Our Lady of Sorrows intonate the songs of the adoration of the Cross of Christ.
It is a sequence of scenes that live along the winding streets of Bronte, which on Holy Friday become a great stage in which the Passion and Death of Christ is recited.
Since the morning everywhere is silent, it is not sung and does not laugh, the bells do not ring because they were "tied up" on Thursday. In a sign of sadness you can only hear the woody sound of "troccola" and drums.
The three "pious women" (with large black dresses, the face is hidden by long natural hair, grown and cared for by vote) in religious silence; there are clerics and childre veiled and dressed in white; each of them is entrusted with an object that finds precise references to the symbols of passion (a palm, chalice, cross, hammer and nails, sponge, ladder, spear, sheet of shroud, and other objects); there is Saint Michael the Archangel, who is traditionally a seven-eight-year-old child dressed in classic iconography, slowly goes along with an angel-girl who carries the "chalice of the Passion," with a cadence-step marked by the rhythm of a drum to make them a mimic with a movement that recalls that of Sicilian puppets.
The Christ is tied up and dragged by the violence of the Roman soldiers, and the Christ, curved that carries the cross helped by the little Cireneo.
The two figures of Christ are members of two families who pass the vote and devotion from father to son and carry their covered face and bare feet in the sign of penance.
All the statues, except that of the Dead Christ, are adorned with flowers and with the first fruits of the earth, especially beans and peas, as a sign of God's offering of the first fruits of this period, are carried on the shoulder of devotees: the rituals of Easter Jewish Christian period recall a symbolic pre-Christian ritual .
This is a short and long report on the procession of Bronte's Holy Friday of this year, 2017.
I riti della Settimana Santa presentano in Sicilia una complessità di contenuti e di simbologie dovute a numerosi influssi, molto presenti quelli dovuti alla cultura spagnola, dominante nell’isola tra il XVI ed il XVII secolo; nel mistero della morte e della resurrezione di Cristo, si assiste nella cultura popolare, a riferimenti risalenti da antichi riti pre-bizantini che originano da molto prima di quelli della cultura cristiana mediterranea.
Questi antichi riti rappresentano i momenti più significativi della Passione di Gesù Cristo, descritti nei Vangeli, dal suo arresto da parte dei romani alla Resurrezione e fanno parte, insieme alle normali funzioni religiose, delle celebrazioni della Settimana Santa.
La processione del Venerdì Santo a Bronte affonda le sue radici ben oltre i caratteri ricevuti dalla dominazione spagnola, realizzandosi come una delle più complesse ed arcaiche in assoluto, processione impregnata di preghiera, di penitenza e di simbolismo. Protagoniste sono le confraternite cittadine che danno vita ad una ricostruzione delle scene della Passione, con figuranti che fanno rivivere gli apostoli, le pie donne, i soldati romani ed il Cristo, insieme ad essi le statue della Madonna Addolorata, del Cristo alla Colonna, del Cristo Crocifisso e del Cristo Morto, addobbate con le fave fresche, condotte dai fedeli che invocano la grazia in dialetto brontese.
I portatori del Cristo Morto restano in silenzio perché il Cristo è morto, mentre i portatori della Madonna Addolorata intonano i canti dell’adorazione della Croce del Cristo.
E’ una sequenza di scene che prendono vita lungo le tortuose strade di Bronte, le quali durante il Venerdì santo diventano un grande palcoscenico, nelle quali si recita la Passione e la Morte del Cristo.
Già dal mattino dappertutto è silenzio, non si canta e non si ride, le campane non suonano perchè sono state «legate» il giovedì. In segno di tristezza si può ascoltare solo il suono legnoso della “troccola” e dei tamburi.
Sfilano in religioso silenzio le tre "pie donne" (con grandi abiti neri, il volto è nascosto da lunghi capelli naturali, fatti crescere e curati per voto); ci sono i chierichetti e le giovinette velate e vestite di bianco; a ciascuna di esse è affidato un oggetto che trova preciso riferimento ai simboli della passione (una palma, il calice, la croce, il martello e i chiodi, la spugna, la scala, la lancia, il lenzuolo della Sindone, ed altri oggetti); ecco san Michele Arcangelo, tradizionalmente è un bambino di sette-otto anni, vestito secondo la classica iconografia, procede lentamente insieme ad una bimba-angelo che reca il “calice della Passione”, con un cadenzato passo scandito dal ritmo di un tamburo, tale da far loro mimare una sorta di movimento che richiama quello dei pupi Siciliani.
Vengono rappresentati il Cristo legato e trascinato dalla violenza dei soldati romani, ed il Cristo, curvo che porta la croce aiutato dal piccolo cireneo.
Le due figure del Cristo sono membri di due famiglie che si tramandano il voto e la devozione da padre in figlio e portano la faccia coperta ed i piedi nudi, in segno di penitenza.
Tutte le statue, tranne quella del Cristo Morto, sono adornate con fiori e con le primizie della terra (fave e piselli soprattutto, in segno d’offerta a Dio delle primizie di questo pe¬rio¬do sono portate a spalla da centi¬naia di devoti: i rituali della Pasqua giudaico cri¬stia¬na, richiamano una ritualità simbolica precri¬stiana dove la pa-rola pasqua, dall'ebraico pesah = passaggio, è sintesi di rinno¬va¬mento, di transito da una fase di morte della natu-ra (l'inver¬no) ad una fase di vita e di risveglio (la primavera), si ha così la sovrap¬po¬sizione dei rituali reli-giosi con le cele¬brazioni arcaiche legate al risveglio della na¬tura. Si innesca una disarmonia este¬tica sulle vare fra la ricca infiorata ed poveri baccelli di fave, le quali finiscono col possedere uno o più significati sim¬bolici,
come essere portatrici di un omaggio alla divinità con fine propiziatorio che discende da motivazioni antiche, legate alla vita dei pastori che nel Brontese hanno avuto ed ancor hanno larga importanza, dalla pianura proprio nel periodo pasquale, essi ritorna¬va¬no ai pascoli montani dopo aver concluso la transu¬manza e, nella occasione, portavano alle divinità il dono di una primi¬zia costituita proprio dalle faviane. A margine di questa usanza religiosa vi è un'altra ap¬pen¬dice devozionale:a lla fine della processione i por¬ta-tori del¬le vare manifestano l'antichissima credenza ma¬gico religiosa della legge del contatto secondo la quale ciò che è stato vicino al divino diventa elemento di pro¬tezione contro ogni avversità e apportatore di be¬nes¬sere spirituale e materiale, essi allora cercano di impossessarsi dei baccelli che sono stati ap¬pe¬si alle vare.
Queso è un report breve e lungo sulla processione del Venerdi Santo di Bronte di quest’anno, 2017.
A set of gaussian rationals (quotients of two complex numbers) drawn as circles whose radius is proportional to the product of the real an imaginary parts of the denominator.
An exhibition that seeks to portray Ireland and the first World War with all its complexities and contradictions has opened at the National Library. It features the lives of four people, each of whom represented a strand of Irish life at the time.
Michael O’Leary became a folk hero and a poster child, figuratively and literally, for the British war effort when he won a Victorian Cross in 1915 after storming a German machine gun nest. His family were small farmers from Co Cork and he represents the thousands of Irish Catholics who signed up to the British army.
Captain Norman Leslie was of the opposite persuasion. He was from the storied Anglo-Irish family from Co Monaghan and a committed Unionist who said the loss of “say 100,000 men . . . what is all that compared to our name, our credit, our greatness as a nation”. Sadly, he was to be among the 100,000 men and many millions more who died in the first World War. He was killed by a German sniper on October 19th, 1914 and his sword was later recovered from the battlefield. His relative Sir Jack Leslie, now 97 and himself a veteran of the second World War, was at the opening of the exhibition with the sword.
The Irish Republican tradition was represented by Joseph Plunkett, one of the seven signatories of the Proclamation. Among the exhibition is a letter from him to the captured Irish Prisoners of War in German camps urging them to sign up to the German war effort through an Irish brigade.
The relatives of those left behind are represented by the diaries of Mary Martin – three of her 12 children served in the British forces. The exhibition depicts her desperate attempts to find her missing son Charlie, who died.
A student talks about his team's project, "Payload Hauler Omni Directional (PHOD)," sponsored by Nearth. The team included mechanical engineers Alex Koslov, Jay Stillmun and Andrew Timmons, and was asked to improve upon a payload hauling device designed to transport things up and down shafts. The students focused on reducing drivetrain complexity, enclosing components and creating an easy way to use payload.
Complexity Group Grapes On a Train 2013
To read more about this trip, please CLICK HERE
© 2013 Tina Wong; The Wandering Eater. All Rights Reserved. Images may not be reproduced, copied, or used in any way without written permission.
One frame extracted from audiovisual live performance "Sounds of Complexity", in collaboration with Kinotek. Patches are entirely programmed in VVVV. The sound part of the performance is constituted by the electroencephalographic activity of a person, translated in audible audio spectrum. Such frequencies control in real-time specifical parameters of the visualization.
Info:
www.mattiacasalegno.net/index.php?/projects/sounds-of-com...
Video extract here: www.vimeo.com/4240405
Complexity Group Grapes On a Train 2013: Barbecue After Party at a private condo in Montreal, Quebec, Canada
To read more about this trip, please CLICK HERE
© 2013 Tina Wong; The Wandering Eater. All Rights Reserved. Images may not be reproduced, copied, or used in any way without written permission.
Photo showing impressions from "Roundtable Playing with Urban Complexity" / Fachhochschule OÖ - Hagenberg Campus (AT)
credit: Florian Voggeneder
photo not taken by me
taken by my 10 year old son (so jealous)
www.flickr.com/photos/85828818@N00/?donelayout=1
manipulated by me...
Photo showing impressions from "Roundtable Playing with Urban Complexity" / Fachhochschule OÖ - Hagenberg Campus (AT)
credit: Florian Voggeneder
- Session Chair: David Lazer
- On the Origins of Rich and Poor Country Clusters. César A. Hidalgo
(MIT).
- Digital Access, Political Networks, and the Diffusion of Democracy.
Lauren Rhue (NYU Stern), Arun Sundararajan (NYU Stern).
- Promoting National Initiatives for Technology-Mediated Social
Participation. Ben Shneiderman (Univ. of Maryland) and Jennifer Preece
(Univ. of Maryland).
Tomorrow's leaders must think and act as global citizens in order to address the challenges facing humanity. Broadly defined, global citizens are people who are consciously prepared to live and work in the complex interdependent society of the 21st century and contribute to improving the common global welfare of our planet and its inhabitants.
The program aims to engage participating students as global citizens, helping them develop the knowledge, skills, values, and commitment to:
- Understand the nature of globalization, including its positive and negative impacts around the world, and realize how it is transforming human society;
- Appreciate the diversity of humanity in all of its manifestations, from local to global, and interact with different groups of people to address common concerns;
- Recognize the critical global challenges that are compromising humanity's future and see how their complexity and interconnections make solutions increasingly difficult; and
- Collaborate with different sets of stakeholders, by thinking globally and acting locally, to resolve these critical challenges and build a more equitable and sustainable world.
The session format includes lectures and discussions with an international faculty as well as formal and informal work in small groups. Topics addressed in plenary lectures and discussions include globalization and global responsibility; the social, economic, and political aspects of migration; the historical legacy of the Holocaust, human rights, humanitarian intervention; sustainable development; and the implications of the United States' influence around the world.
Participants will consider how these issues relate to their current situations and future personal, educational, and professional plans. They will also have the opportunity to develop projects and activities related to the session topic that can be implemented at their colleges and universities, in their local communities, and beyond.
Complexity Group Grapes On a Train 2013: Barbecue After Party at a private condo in Montreal, Quebec, Canada
To read more about this trip, please CLICK HERE
© 2013 Tina Wong; The Wandering Eater. All Rights Reserved. Images may not be reproduced, copied, or used in any way without written permission.
This is a very small test part Elegoo sent me to print, to test the resolution capability. It is something like 1" in length, and a little over 1/4" in height. Yet the thing has through holes and various precision complexity. This printer is awesome, for a 3D printer.
This picture is just after printing, still attached to the printer's base plate. Still covered/wet in what I call "Birthing Fluid"
Don't have original source.
efsd-reflections.blogspot.com/2010/08/typologies-of-parti...
Update March 12, 2015:
According to this post, source is: "Excerpt from Warringah Council (Australia) Community Engagement Matrix, 2011"